Badass Guitar Information To Learn

CONTENTS
Part 5 - Core Melody and Melodic Cells

chapter page
48 Core Melody Built with Duality Tones................................................. 1431
49 Commonality Chords................................................................................ 1469
50 Melodic Cells................................................................................................ 1473
51 Fragment Patterns...................................................................................... 1577
52 Thirds and Sixths......................................................................................... 1653
53 Double Stops................................................................................................ 1701
54 Cluster Playing with Triads and Thirds................................................ 1755
55 Chromaticized Arpeggios....................................................................... 1765
56 Theme and Variation................................................................................. 1787
57 Harmonic Scalar Pulse.............................................................................. 1801
58 Improv Level 5: Core Melody and Melodic Cells............................ 1831
©1998-2018 Jim Gleason. All Rights Reserved.

page 1430

48
Part 5: Core Melody and Melodic Cells back to contents
Core Melody
Built with
Duality Tones
• Duality Tones and Core Melody
• Chord Tones in Pentatonic Scales
• Core Melodic Tones
• Melodic Devices to Establish Chord Tones
• The Order of Melodic Importance
• Scale-Chord Matching and Contrasting
• Modes and Harmony Chosen by Feel

page 1432 Core Melody Built with Duality Tones Part 5: Core Melody and Melodic Cells back to contents
DUALITY TONES AND CORE MELODY

Duality tones are those notes that are both in the key scale and in the important current chord. Core
melody is primarily duality tones. Exceptions include significant chromatics and upper and lower
appogiaturas. See Tonal Themes And Schemes/Improv Schemes And Comping/Duality Tones.
Duality Tones as the Chord Tone Part of a Scale

The chord tones of a particular chord that are part of a scale are duality tones when the scale is used to
make melody and the duality tones are emphasized (brought to the listener’s attention) in melody. The
chord tones that are part of a scale could be called a subset of the scale. Here are links to some examples
of such subsets:
• Pentatonic Fingering/Triads and Pentatonic Scales (the chords and arpeggios are subsets of the
pentatonic scales),
• Major Scale-Tone Triads/Triad Subsets of the Major Scale,
• Scales for Songs in All Keys (shows pentatonic scale subsets of major scales),
• Default Scales, Chords and Arpeggios/Arpeggios and Their Scales.
Core Melody is Typically Two Notes per Bar

Core melody is usually one or two notes per bar. It’s like a skeletal structure. We’ll often hear a core
melody sung as a summary obligato behind a lead vocalist or instrumentalist in the background vocals
or in an accompanying ensemble like a string or horn section.
All of the core melodic tones are in the key scale, like an A minor pentatonic scale. Most of them are
also in the current chord, if it is an important chord. Some chords are short and transitional and are
ignored. Rarely, an appogiatura is used in a core melody, like Yesterday where a non-chordal tone is
used that resolves up or down a scale step to a chord tone.
There can be many core melodies for any chord progression. It is very educational to de-construct
existing melodies and determine their core melody. For any particular melody, knowledgable improvisers
would largely agree what the core melody with two notes per bar should be. For any chord progression
a many core melodies can be written and many elaborations can be made on each core melody.
Great Improvisers Use Core Melody

Too often, improvised solos are just a bunch of fast scales and cool licks, but no melody. It better when
you can remember something singable while listening to an improvisation.

back to contents Part 5: Core Melody and Melodic Cells Core Melody Built with Duality Tones page 1433
How have great improvisers like Bach, Mozart, Beethoven, Bartok, Charlie Parker, John Coltrane, Keith
Jarrett and Chick Corea spontaneously created good melody in improvisation? They learned a lot about
chord progression, arranging, theme and variation. And about core melody.
Stimulation
Great melody provides ongoing stimulation for the listener at both the cell and phrase level simultane-
ously. It needs a balance between familiarity and innovation. It needs a timely balance for the specific
listener(s) between cutting edge and historical. Some entertainers, like Bach and Charlie Chaplin find
a way to be timeless.
Make your melody understandable. Punctuate. Memorize phases that lead into a particular chord like
the II or VI chord. Be able to execute them flawlessly and know how to vary them. Make them under-
standable to the listener. Relentlessly keep the attention of the listener like Eddie Murphy in Delirious
or Robin Williams in Live On Broadway. So, it’s like comedic timing.
Again, the frequency of setup and target must be just stimulating enough. You have to control stimula-
tion at the cell, phrase and section level. Memorize a lot of boilerplate stuff like licks and core melodies
for common progressions. Develop spontaneous composition with them. Keep this subject in mind
over the months and years and you’ll get good at it.

CHORD TONES IN PENTATONIC SCALES

Finding Tones Common to Chords and a Pentatonic Scale
In rock, pop and blues guitar solos commonly use pentatonic scales. Usually a single pentatonic scale is
featured, named after the key. This is called a pentatonic key scale. This makes it easy for the listener to
predict much of what will be played, which is conducive to them liking it.
Important chords in the accompaniment which are also in the are key scale are emphasized by being
played louder, longer, more often, ending a phrase. Anything that will draw attention to them. This give
the music more depth and associates the accompaniment with the melodic line. Some chords in the
accompaniment are not important and are not referenced with notes in the melody.
how to use the tables of diagrams on the following pages

On the following pages pentatonic fingering and chord commonality is shown. On each page, a particular
pentatonic scale fingering is featured. Each fingering may be used for a minor key and for a major key.
These are relative major and minor keys and would be played with the same exact notes, but establishing
one note or another as the key, as shown by the circled notes on each of the two diagrams at the top of
the page. On each diagram, all of the circled notes are the same notes in octaves.
The rest of the each page shows elaborations of the scale as part of major scales and shows both the
pentatonic part of the major scale and the chord parts of the major scale.
every diagram shows the same pentatonic scale fingering in bold black numbers
Notice that on each entire page, every diagram has bold black numbers in the same pattern as the two
pentatonic fingerings at the top of the page. The numbers represent a major scale based on the number
“1” in the diagrams. Each diagram in a row is a set representing a single major scale. Each row of
diagrams can be played at any fret. The pentatonic scale would be named after the number reflected by
the circles in the diagrams at the top of the page.
chords are represented for major scale tones one through six
Major scale tone triads occur on each step of a major scale, each built with three notes in an every-other-
note pattern such as 1-3-5, 2-4-6, etc. The major and minor chords built on steps one through six are
commonly used, but not the diminished triad on step seven; so it is not shown here.

finding commonality: grey backed notes in bold black

It is your job to find notes for any chord that are also in the pentatonic scale and emphasize them during
the chord. The notes with a grey background are the chord tones. The pentatonic scale tones are bold
black. Simpler traditional chord progression is based on chords of a single major scale. Start with that.
Find progressions for songs that use a single row.
In modern music, minor chords are changed to major. For the most part, the tones common to the key
pentatonic scale and the chord are the same for the major and minor chord versions of the changed
chord. Where it is not the same, the note from the minor version of the chord that is in the scale can
remain and serve a an intentionally flatted blue note.
For example, House Of The Rising Sun is in the key of A minor. It uses primarily the A minor pen-
tatonic scale for its melody and typical improvisation. House Of The Rising Sun uses the chords of
the C major scale with the tone center on “A”. The D minor chord in the C major scale is changed to
D major, but this changes an “F” note to an “F#” note, and doesn’t affect the A minor pentatonic scale.
Also, the E minor chord of the C major scale is changed to E major. In this case, that changes a note in
the A minor pentatonic scale: “G” changes to “G#”. However, continuing to use the “G” note against the
E major chord with the “G#” is acceptable as a “blue note”, where the E minor sound is intentionally cast
against the E major chord for a bluesy (dark mood) effect.
Intro To Pentatonic And Chord Commonality In C major, V position

start with A minor pentatonic, fingering 1
Let’s start with the A minor pentatonic scale, fingering one in the fifth position and the C major scale.
Learn these six arpeggios: C major, D minor, E minor, F major, G major and A minor. The diminished
seventh triad built on the seventh step of the major scale is rarely used and should be ignored at first.
With the pentatonic scale well-memorized, contemplate one of the arpeggios in a range of three or four
consecutive strings and, in your mind, determine which notes are common to both the pentatonic scale
and the arpeggio.
pentatonic, major scale, arpeggios and common tones

In pentatonic-based melody on a chord progression. We should first study melody built on a single
major scale, like the C major scale. We need an awareness of four fretboard fingering structures. The
pentatonic scale, the major and the parent major scale (or other seven-tone scale), the major and minor
arpeggios build on the scale and the notes that are in common with the pentatonic scale and the current
chord.

the pentatonic scale

The pentatonic scale fingerings below are identical, except for the notes that name them. Like this
pair, every pentatonic fingering has a relative major and minor tone center. Each tone center repeats in
octaves.
E form m711 pentatonic G form ma69 pentatonic

Am V C V
the major scale

The major scale is every note on the row of diagrams. Disregarding the grey backgrounds and the size
of the notes, every diagram has the same numbered major scale pattern.
In all six of the diagrams below, the same pentatonic scale pattern can be seen as the notes with large
black numbers, regardless of whether they have a grey background.
I major II minor III minor IV major V major VI minor

C IV Dm IV Em IV F IV G IV Am IV
7 7 7 7 7 7
62 5 1 36 625136 62 5136 62 5136 625136 62 51 36
4 4 4 4 4 4
7 362 7 7 36 2 7 7 362 7 7 362 7 7 362 7 7 362 7
1 4 51 14 51 1 4 51 14 51 1 4 51 1 4 51

the arpeggios
The set of triads (three-note chords) below are all made up with notes of the notes of the C major scale.
The major triads built on steps I, IV and V are C, F and G. The minor triads built on II, III and VI
are Dm, Em and Am. In any major scale, the chords built on I, IV, V are major and those on II, III, V
are minor. The diminished triad that occurs on step VII is rarely used and is omitted from this study.

C V Dm V Em IV F V G V Am V
Arpeggios for each of the triads below are shown with the the grey-backed notes. Notice that all the
notes of each chord above are part of the arpeggio for the same chord name below. Arpeggios can show
every chord tone in an area of the fretboard, where there are sometimes two notes on the same string.
Chord fingerings have one note per string.

C V Dm IV Em IV F IV G IV Am IV
7 7 7 7 7 7
62 5 1 36 625136 62 5136 62 5136 625136 62 51 36
4 4 4 4 4 4
7 362 7 7 36 2 7 7 362 7 7 362 7 7 362 7 7 362 7
14 51 14 51 1 4 51 14 51 1 4 51 14 51
pentatonic and chord commonality: core melodic tones

The tones that are both large black numbers and grey backgrounds are common to the chord and the
pentatonic scale, as you can see in the diagrams above. These are the core melodic tones.

C V Dm V Em V F V G V Am V
513 62 6 5 3 6 1 6 25 6 1 36
3 62 3 6 2 36
1 51 5 1 1 5 1 1

song examples
These songs can all be played in fifth position using either A minor pentatonic or C major pentatonic
as a basis of improvisation.
House Of the Rising Sun (Am), Crossroad Blues (Am), From Four Until Late (C), Sweet Home Chicago (Am),
D’Yer Maker (C), The Entertainer, (C) Cocaine Rag (Am), Nobody Knows You When You’re Down and Out
(C), While My Guitar Gently Weeps (Am), Don’t Think Twice It’s Alright (C), Hurricane (Am), Cowgirl in the
Sand (Am and C), Let It Be (Am and C), Jam Man (Chet Atkins, Am), Ghost Riders in the Sky, (Am) Hey Hey
My My (Am), John Barleycorn (Am), Moondance (Am), On Every Page (Am and C)
Applying to the Full Fretboard in All Keys

To be able to play core melody in all keys and all over the fretboard, you need to memorize four finger-
ings in each of five octave shapes: pentatonic scale, major scale, major arpeggio and minor arpeggio.
Twenty things. You also need to know that major triads are built on steps one, four and five of a major
scale and that minor triads are built on steps two, three and six. Then you need to determine the notes
are common to both the pentatonic scale and the arpeggio on three or four consecutive strings at a time.
Core melodies can be made with pentatonic scales or heptatonic scales (like the major scale or harmonic
minor) and with chromatics. Start with pentatonic scales.
See the next section: Twenty Fingerings to Memorize.

Twenty Fingerings to Memorize

pentatonic
Squares are minor tone centers, circles are major tone centers.
fingering 1 fingering 2 fingering 3 fingering 4 fingering 5
1 11 1 1 1 111 1 1 1 1 1 1 1 1
2 11 1 1 1 1 1 2 2 2 1 1
3 3 3 2 3 3
4 4 4 443 33 3 3 3 3 3 4 4 4 4 4 4 4 3 3 3
4
major scale
These are numbered according to the lowest-pitched tone on the sixth string.
E form D form C form A form G form
fingering 7 fingering 2 fingering 3 4fingering 5 fingering 6
73 62 7 73 3 62 5 73 736 7
14 51 251462 4 14 514 25 62 5 136
73 736 7 4
251462 362573 514 25 625136 7362 7
4 14 4 14 51
7
major arpeggio
1 1 1 1 1 1 1 1 1
2 1 1 1 1 2 2 2 1
2 3 3
3 3 3 3 3 4 4 4 3 3 3 4 4 4
4
minor arpeggio
1 1 1 1 1 1 1 1 1 1 1 1
2 2 1 1 2 2
3 3 3 3 3
4 4 4 4 3 3 3 4 4 4 4 4
4

Pentatonic Fingering 1 Chord Commonality

G form ma6/9 E form m7/11
G Form I major and E form VI minor

G XI Am XI Bm XI C XI D XI Em XI
F IX Gm IX Am IX Bb IX C IX Dm IX
7 7 7 7 7 7
62 5 1 36 625136 62 5136 62 5136 625136 62 51 36
4 4 4 4 4 4
7 362 7 7 36 2 7 7 362 7 7 362 7 7 362 7 7 362 7
14 51 14 51 14 51 14 51 14 51 14 51
G Form IV major and E form II minor

G V Am X Bm X C X D X Em X
C X Dm X Em X F IX G IX Am IX
F III Gm X Am X Bb X C X Dm X
25 146 2 25146 2 7 3 7 3 7 3 7 3
25146 2 25146 2 251462 25146 2
362573 3 6 25 7 3
4 14 4 14 3 6257 3 3 62573 3 62573 3 6257 3
7 3 7 3 4 14 4 14 4 14 4 14
G Form V major and E form III minor

G VII Am VII Bm VII C VII D VII Em VII
C XII Dm XII Em XII F XII G XII Am XII
F V Gm V Am V Bb V C V Dm V
362 57 3 362573 362 573 362 573 36 2573 362 57 3
4 1 4 4 1 4 4 1 4 4 1 4 4 1 4 4 1 4
736 736 73 6 736 736 736
5 1 4 25 51 4 25 51 4 25 51 4 25 5 1 4 25 514 25


E form ma6/9 D form m711
E form I major and D form VI minor

G II Am II Bm II C II D II Em II
C VII Dm VII Em VII F VII G VII Am VII
F XII Gm XII Am XII Bb XII C XII Dm XII
7 362 7 7 36 2 7 7 362 7 7 362 7 7 362 7 7 362 7
1 4 51 1 4 51 1 4 51 1 4 51 1 4 51 14 51
7 3 3 3 3 73
7 7 3 7 7
251462
2514 6 2 251462 251 462 251462 251462
E Form IV major and D form II minor

3 62 5 7 3 36 25 7 3 362 5 7 3 3 62 5 7 3 3 62573 3 62 5 7 3
4 14 4 14 4 14 4 14 4 14 4 14
7 36 7 3 6 7 36 7 36 7 6
3 7 36
514 25 51 4 25 514 2 5 51 4 2 5 514 25 514 25
E Form V major and D form III minor

G IX Am IX Bm IX C IX D IX Em IX
C II Dm II Em II F II G II Am II
F VII Gm VII Am VII Bb VII C VII Dm VII
736 736 736 736 736 736
5 14 25 5 1 4 25 5 1 4 25 5 1 4 25 5 1 4 25 514 25
7 7 7 7 7 7
62 5 1 36 6 25 1 36 625 1 36 625136 625136 6 2 5 1 36
4 4 4 4 4 4


D form ma6/9 C form m711
D Form I major and C form VI minor

G IV Am IV Bm IV C IV D IV Em IV
C IX Dm IX Em IX F IX G IX Am IX
F II Gm II Am II Bb II C II Dm II
7 3 7 3 7 3 7 3 7 3 7 3
25 14 6 2 251462 2514 62 251 46 2 2514 6 2 251462
36257 3 36 25 7 3 362 5 7 3 36257 3 3625 73 36257 3

4 14 4 14 4 14 4 14 4 14 4 14
D Form IV major and C form II minor

7 3 6 7 3 6 7 3 6 7 36 7 3 6 7 3 6
514 25 514 25 514 25 514 25 514 25 514 25
7 7 7 7 7 7
6251 36 6251 3 6 6251 36 625136 6 25136 625136
4 4 4 4 4 4
D Form V major and C form III minor

7 7 7 7 7 7
62 5 1 36 6 251 3 6 62 5 1 36 62 5 1 36 625 1 36 62 5 1 36
4 4 4 4 4 4
7 362 7 7 3 6 2 7 7362 7 73 62 7 73 6 2 7 7 36 2 7
14 51 14 51 1 4 51 1 4 51 1 4 51 1 4 51


C form ma6/9 A form m711
C Form I major and A form VI minor

362 5 7 3 36 25 7 3 362 5 7 3 362 5 7 3 36 25 7 3 362 5 7 3
4 14 4 14 4 14 4 14 4 14 4 14
736 736 7 36 736 736 736
51 4 2 5 51 4 25 51 4 2 5 51 4 25 51 4 25 51 4 2 5
C Form IV major and A form II minor

D VI Em VI F#m VI G VI A VI Bm VI
7 7 7 7 7 7
62 5 1 36 6 251 3 6 62 51 36 62 5 1 3 6 625136 62 5136
4 4 4 4 4 4
7 362 7 7 3 6 2 7 7 3 62 7 7 3 62 7 73 62 7 7 36 2 7
14 51 14 51 14 51 14 51 14 51 14 51
C Form V major and A form III minor

7362 7 736 2 7 7362 7 7362 7 7362 7 7362 7
1 4 51 1 4 51 1 4 51 1 4 51 1 4 51 14 51
73 73 73 73 73 73
25 1 4 62 25 1 4 62 25 14 62 25 1 4 62 25 14 62 251462


A form ma6/9 G form m711
A Form I major and G form VI minor

7 36 7 36 7 36 7 36 7 36 367
514 25 51 4 25 514 25 514 25 514 25 514 2 5
7 7 7 7 7 7
625136 6 25136 625136 625136 6 25136 625136
4 4 4 4 4 4
A Form IV major and G form II minor

7362 7 736 2 7 7362 7 7362 7 7362 7 7362 7
1 4 51 1 4 51 1 4 51 1 4 51 1 4 51 14 51
73 73 73 73 73 73
25 1 4 62 25 1 4 62 25 14 62 25 1 4 62 25 14 62 251462
A Form V major and G form III minor

G IV Am IV Bm IV C IV D IV Em IV
C IX Dm IX Em IX F IX G IX Am IX
F II Gm II Am II Bb II C II Dm II
73 73 73 73 73 73
251462 2514 6 2 251 462 251 4 62 251 462 251462
3625 73 36 25 73 362573 362573 3625 73 36 2 5 7 3

4 1 4 4 1 4 4 1 4 4 1 4 4 1 4 4 1 4

minor 7/11 pentatonic chord tones

Functions of Minor 7/11 Pentatonic Scale Tones (bold)
Key Scale Tones ➝ 1 b2 2 b3 3 4 #4/b5 5 #5/b6 6 b7 7 1
I7 tones ➝ 1 ➝ 3 ➝ 5 b7 1
IV7 tones ➝ 5 b7 1 3 5
V7 tones ➝ 5 b7 ➝ 1 ➝ 3
IV7b9 tones ➝ 5 b7 1 b9 3 5
bVI 7 tones ➝ 3 5 b7 1 9 3
Im7 tones ➝ 1 b3 ➝ 5 b7 1
II7 tones ➝ b7 1 3 5 b7
IIm9 tones ➝ b7 1 ➝ 9 b3 5 b7
III7 tones ➝ b7 ➝ 1 ➝ 3 5
VIm7 tones ➝ b3 ➝ 5 ➝ b7 1 b3
VIm9 tones ➝ b3 ➝ 5 ➝ b7 1 ➝ 9 b3
V9 tones ➝ 5 b7 ➝ 1 9 ➝ 3
I9 tones ➝ 1 9 ➝ 3 ➝ 5 b7 1
Im9 tones ➝ 1 9 b3 ➝ 5 b7 1
I major tones ➝ 1 ➝ 3 ➝ 5 1
IV major tones ➝ 5 1 3 5
IV ma 7 tones ➝ 5 ➝ 7 1 3 5
IV ma 9 tones ➝ 5 ➝ 7 1 ➝ 9 3 5
I major 6 tones ➝ 1 ➝ 3 ➝ 5 6 1
I major 7 tones ➝ 1 ➝ 3 ➝ 5 ➝ 7 1
IV add 9 tones ➝ 5 1 ➝ 2 3 5
Im7b5 tones ➝ 1 b3 b5 b7 1
bVI ma9 tones ➝ 3 5 ➝ 7 1 9 3
Vm7 tones ➝ 5 b7 ➝ 1 b3
Vm9 tones ➝ 5 b7 ➝ 1 9 b3
IV minor tones ➝ 5 1 b3 5
IV m7 tones ➝ 5 b7 1 b3 5
IV m9 tones ➝ 5 b7 1 9 b3 5
IV9 tones ➝ 5 b7 1 ➝ 9 3 5
I dim. 7 tones ➝ 1 b3 b5 6 1
VI7 tones ➝ 3 ➝ 5 ➝ b7 1
IIIm7 tones ➝ b7 ➝ 1 ➝ b3 5
IIm7 tones ➝ b7 1 b3 5 b7
bVII9 tones ➝ 9 3 5 b7 1 9

dominant 7/11 pentatonic chord tones

Functions of 7/11 Pentatonic Scale Tones (bold)
I7 tones ➝ 1 ➝ 3 ➝ 5 b7 1
IV7 tones ➝ 5 b7 1 3 5
V7 tones ➝ 5 b7 ➝ 1 ➝ 3
IV7b9 tones ➝ 5 b7 1 b9 3 5
bVI 7 tones ➝ 3 5 b7 1 9 3
Im7 tones ➝ 1 b3 ➝ 5 b7 1
II7 tones ➝ b7 1 3 5 b7
IIm9 tones ➝ b7 1 ➝ 9 b3 5 b7
III7 tones ➝ b7 ➝ 1 ➝ 3 5
VIm7 tones ➝ b3 ➝ 5 ➝ b7 1 b3
VIm9 tones ➝ b3 ➝ 5 ➝ b7 1 ➝ 9 b3
V9 tones ➝ 5 b7 ➝ 1 9 ➝ 3
I9 tones ➝ 1 9 ➝ 3 ➝ 5 b7 1
Im9 tones ➝ 1 9 b3 ➝ 5 b7 1
IV ma 7 tones ➝ 5 ➝ 7 1 3 5
IV ma 9 tones ➝ 5 ➝ 7 1 ➝ 9 3 5
I major 6 tones ➝ 1 ➝ 3 ➝ 5 6 1
I major 7 tones ➝ 1 ➝ 3 ➝ 5 ➝ 7 1
IV add 9 tones ➝ 5 1 ➝ 2 3 5
bVI ma9 tones ➝ 3 5 ➝ 7 1 9 3
Vm7 tones ➝ 5 b7 ➝ 1 b3
Vm9 tones ➝ 5 b7 ➝ 1 9 b3
IV m9 tones ➝ 5 b7 1 9 b3 5
IV9 tones ➝ 5 b7 1 ➝ 9 3 5
I dim. 7 tones ➝ 1 b3 b5 6 1
VI7 tones ➝ 3 ➝ 5 ➝ b7 1
bVII9 tones ➝ 9 3 5 b7 1 9
©1997-2008 Jim Gleason. All Rights Reserved

ma6/9 pentatonic chord tones

Functions of Major 6/9 Pentatonic Scale Tones (bold)
I7 tones ➝ 1 ➝ 3 ➝ 5 b7 1
IV7 tones ➝ 5 b7 1 3 5
V7 tones ➝ 5 b7 ➝ 1 ➝ 3
IV7b9 tones ➝ 5 b7 1 b9 3 5
bVI 7 tones ➝ 3 5 b7 1 9 3
Im7 tones ➝ 1 b3 ➝ 5 b7 1
II7 tones ➝ b7 1 3 5 b7
IIm9 tones ➝ b7 1 ➝ 9 b3 5 b7
III7 tones ➝ b7 ➝ 1 ➝ 3 5
VIm7 tones ➝ b3 ➝ 5 ➝ b7 1 b3
VIm9 tones ➝ b3 ➝ 5 ➝ b7 1 ➝ 9 b3
V9 tones ➝ 5 b7 ➝ 1 9 ➝ 3
I9 tones ➝ 1 9 ➝ 3 ➝ 5 b7 1
Im9 tones ➝ 1 9 b3 ➝ 5 b7 1
IV ma 7 tones ➝ 5 ➝ 7 1 3 5
IV ma 9 tones ➝ 5 ➝ 7 1 ➝ 9 3 5
I major 6 tones ➝ 1 ➝ 3 ➝ 5 6 1
I major 7 tones ➝ 1 ➝ 3 ➝ 5 ➝ 7 1
IV add 9 tones ➝ 5 1 ➝ 2 3 5
bVI ma9 tones ➝ 3 5 ➝ 7 1 9 3
Vm7 tones ➝ 5 b7 ➝ 1 b3
Vm9 tones ➝ 5 b7 ➝ 1 9 b3
IV m9 tones ➝ 5 b7 1 9 b3 5
IV9 tones ➝ 5 b7 1 ➝ 9 3 5
I dim. 7 tones ➝ 1 b3 b5 6 1
VI7 tones ➝ 3 ➝ 5 ➝ b7 1
bVII9 tones ➝ 9 3 5 b7 1 9

m6/9 pentatonic chord tones

Functions of Minor 6/9 Pentatonic Scale Tones (bold)
I7 tones ➝ 1 ➝ 3 ➝ 5 b7 1
IV7 tones ➝ 5 b7 1 3 5
V7 tones ➝ 5 b7 ➝ 1 ➝ 3
IV7b9 tones ➝ 5 b7 1 b9 3 5
bVI 7 tones ➝ 3 5 b7 1 9 3
Im7 tones ➝ 1 b3 ➝ 5 b7 1
II7 tones ➝ b7 1 3 5 b7
IIm9 tones ➝ b7 1 ➝ 9 b3 5 b7
III7 tones ➝ b7 ➝ 1 ➝ 3 5
VIm7 tones ➝ b3 ➝ 5 ➝ b7 1 b3
VIm9 tones ➝ b3 ➝ 5 ➝ b7 1 ➝ 9 b3
V9 tones ➝ 5 b7 ➝ 1 9 ➝ 3
I9 tones ➝ 1 9 ➝ 3 ➝ 5 b7 1
Im9 tones ➝ 1 9 b3 ➝ 5 b7 1
IV ma 7 tones ➝ 5 ➝ 7 1 3 5
IV ma 9 tones ➝ 5 ➝ 7 1 ➝ 9 3 5
I major 6 tones ➝ 1 ➝ 3 ➝ 5 6 1
I major 7 tones ➝ 1 ➝ 3 ➝ 5 ➝ 7 1
IV add 9 tones ➝ 5 1 ➝ 2 3 5
bVI ma9 tones ➝ 3 5 ➝ 7 1 9 3
Vm7 tones ➝ 5 b7 ➝ 1 b3
Vm9 tones ➝ 5 b7 ➝ 1 9 b3
IV m9 tones ➝ 5 b7 1 9 b3 5
IV9 tones ➝ 5 b7 1 ➝ 9 3 5
I dim. 7 tones ➝ 1 b3 b5 6 1
VI7 tones ➝ 3 ➝ 5 ➝ b7 1
bVII9 tones ➝ 9 3 5 b7 1 9

7/11b5 pentatonic chord tones

Functions of Minor 7/11b5 Pentatonic Scale Tones (bold)
Key Scale Tones ➝ 1 b2 2 b3 3 4 b5 5 #5/b6 6 b7 7 1
I7 tones ➝ 1 ➝ 3 ➝ 5 b7 1
IV7 tones ➝ 5 b7 1 3 5
V7 tones ➝ 5 b7 ➝ 1 ➝ 3
IV7b9 tones ➝ 5 b7 1 b9 3 5
bVI 7 tones ➝ 3 5 b7 1 9 3
Im7 tones ➝ 1 b3 ➝ 5 b7 1
II7 tones ➝ b7 1 3 5 b7
IIm9 tones ➝ b7 1 ➝ 9 b3 5 b7
III7 tones ➝ b7 ➝ 1 ➝ 3 5
VIm7 tones ➝ b3 ➝ 5 ➝ b7 1 b3
VIm9 tones ➝ b3 ➝ 5 ➝ b7 1 ➝ 9 b3
V9 tones ➝ 5 b7 ➝ 1 9 ➝ 3
I9 tones ➝ 1 9 ➝ 3 ➝ 5 b7 1
Im9 tones ➝ 1 9 b3 ➝ 5 b7 1
IV ma 7 tones ➝ 5 ➝ 7 1 3 5
IV ma 9 tones ➝ 5 ➝ 7 1 ➝ 9 3 5
I major 6 tones ➝ 1 ➝ 3 ➝ 5 6 1
I major 7 tones ➝ 1 ➝ 3 ➝ 5 ➝ 7 1
IV add 9 tones ➝ 5 1 ➝ 2 3 5
bVI ma9 tones ➝ 3 5 ➝ 7 1 9 3
Vm7 tones ➝ 5 b7 ➝ 1 b3
Vm9 tones ➝ 5 b7 ➝ 1 9 b3
IV m9 tones ➝ 5 b7 1 9 b3 5
IV9 tones ➝ 5 b7 1 ➝ 9 3 5
I dim. 7 tones ➝ 1 b3 b5 6 1
VI7 tones ➝ 3 ➝ 5 ➝ b7 1
bVII9 tones ➝ 9 3 5 b7 1 9

CORE MELODIC TONES
Melody, Not Just Licks

Blues players commonly search for decades to find the “sweet” notes in building their licks. Song writers
spend countless hours working at their craft, experimenting and trying to find good melody. Too often,
they end up developing lots of licks and good technique, but they forget about melody. Great improvis-
ers can create substantial melody in their improvisation spontaneously. How do they do it?
Its best to primarily create intuitively, through experimentation and interaction with other musicians.
However, the process can be sped up if you learn something about the basis of good melody.
Good melody expresses a key for the listener, with a melodic line. The melody makes reference to
important chords in the progression, so the listener could somewhat imagine the accompaniment even
if the heard the melody unaccompanied.
They have a great knowledge of chord progression, arranging, building phrases and licks, theme and
variation and they use a core melody. They think of the skeletal structure of their melody and fill in with
their licks as they build a melody on a chord progression.
Core melody is usually about two notes per bar, uses primarily the key scale and is almost exclusively
made with tones that are common to the key scale and current chord, or a version of the current chord.
The core melody tone might be an added harmony or altered tone in the current chord.
In developing their improvising in an intuitive manner, musicians accumulate a vocabulary of phrases
and licks with which to make melody on a chord progression. As they anticipate the sound of each
chord or chord group that will come up next, they audition themes (licks or motifs) in their memory,
imagining the theme played against the chord progression. Part of this process has to do with chord
sound and part of it has to do with rhythm.
Chord sounds can be emulated with scales by emphasizing one or more of the notes in the current
chord. It is best if this is most often done with key scales, to retain the sense of key and therefore
providing a unifying tonal center for the entire piece (or section) of music.
Core Melodic Tones Are Target Tones

Entire songs or at least sections of songs are typically in a single key, like A minor. Key scales are named
after the key. Various types of key scales are used, usually to make each one better harmonize with the
chord it is being used with, in the emotive style preferred by the player.
Core melodic tones are those notes that are both in the key scale and in the current chord. Improvisers
may develop their craft for decades without consciously thinking about this. Through experimentation,
they find the notes that sound well with each chord. If they were consciously look for core melodic
tones as notes both in the key scale and current chord, they would find the notes much faster.
major and minor triad arcs

On a graphic instrument like a fretboard instrument (guitar, bass, mandolin), they can memorize shapes
that represent those notes. For guitarists, the basis of those shapes is the arcs of major and minor
arpeggios and full-fretboard major scale tones.
Examples In A minor
Am pent V Am V C V Dm V E7 V Fma7 V G V
use notes in the

bottom row for  Am C Dm, D Em, Em7, E, E7 F, Fma7 G
restricting the b3 5 1 b7 b3 5 b7 1 b3 5 1 b7
range to the first
four strings
1 4 1 4
 b3 b7 b3 b7 b3 b7
numbered in A
Otherside example 1 video link
Imagined Notes
Listeners can recall a song with varying degrees of clarity and “play the song back” in their mind. At least
they could listen to the recording of song a few times, then stop it at a random point and still hear a few
seconds of the part that follows in their memory. Try this with recordings.
If you hear the accompaniment to a blues in C without a “C” note, you’ll probably imagine the C note
because of your familiarity with the chord progression. Play the chords below and try it. Strum once a
beat in “Freddie Green” style (Count Basie’s guitarist). After playing it, play the sixth string, eighth fret
“C” note and see if you were imagining it. It is the tone center we have heard in blues.
bar 1 bar 2 bar 3 bar 4 bar 5 bar 6 bar 7 bar 8
I9 IV9 I9 I9 IV9 IV7b9 I9 VI7

bar 9 bar 10 bar 11 bar 12 ending chord

IIm V9 I9 VI7 IIm V9 I9
In our memory, each note we hear is kept in our short term memory, especially emphasized notes and
notes that relate to something we have heard before. So the notes that are sustained in our short term
memory effectively sound as chord tones.
Memories of core melodic tones are created by notes that leave an impression in the listeners memory,
such as the last note in a phrase or a note that has been played at the beginning or end of a repeating
figure, when the figure is repeated with the note omitted. It doesn’t matter so much which instrument
or voice is emitting each chord tone. Each note of the chord may be emitted by a different instrument
or voice.
Adding Tones to a Chord

If a note is an appropriate addition to the chord, you can emphasize it and add it to the chord sound. If,
for example the piano or guitar is playing an “A” major chord and the vocalist is sustaining a note which
is the sixth of an “A” scale, the overall sound is “A6”.
Find Scale Tones Common to the Current Chord

For each chord in a progression, determine which of key scale tones are also in the current chord, or are
likeable additions to the current chord. Begin by learning to play a major scale named after the root
of each chord through both octaves in the fretboard area where you intend on soloing. Learn which
major scale tones or altered major scale tones will be needed for the chord on which you are improvising.
Determine which of those chord notes are also in each scale you will use. Emphasize those scale tones
and you’ll be emulating the sound of the current chord.

Make One Chord Sound Work for Many Chords

examples of chords a minor chord will work on
For one reason or another, A minor will work on all of these (see “this works by conceiving...”, below):
Am I A I C I Dm I D I F I
Am V A V C V Dm V D V F V
E minor will work on all of these (see “this works by conceiving...”, below):
Em I E I G I Am I A I C I
Em VII E VII G VII Am VII A VII C VIII
D minor will work on all of these (see “this works by conceiving...”, below):
Dm V D V F V Gm V G V Bb V

chords by number that can be represented with a minor chord

You can find b3 and 4 in pentatonic scales. Look at the minor pentatonic fingerings by number. The
next two tones above “1”, the tone center are “b3” and “4”. Flat six is one fret toward the guitar body from
“5”, or two frets toward the head of the guitar from “b7”.
by number I bIII IVm IV bVI

in A minor Am C Dm D F
in E minor Em G Am A C
in D minor Dm F Gm G Bb
in C minor Cm Eb Fm F Ab
minor pentatonic
examples of chords a major chord will work on

For one reason or another, C major will work on all of these (see “this works by conceiving...”, below):
C III Dsus4 V F V Gsus4 III Am V
D major will work on all of these (see “this works by conceiving...”, below):
D I Esus4 I G I Asus4 I Bm II

G major will work on all of these (see “this works by conceiving...”, below):
G I Asus4 I C I Dsus4 I Em I
this works by conceiving other versions of the original chords

By thinking of other versions of the original chords with added harmonies or flatted notes, you can
make a particular chord part of many chords.
In the diagrams below, you can see that Am is part of A7#9, C6, Dm9, D9 and Fma7.
Am V A7#9 IV C6 V Dm9 III D9 IV Fma7 V
substitute for  A I C I Dm I D I F I
In the diagrams below, you can see that C major is part of A7#9, C6, Dm9, D9 and Fma7.
C I D9sus4 I Fma9 I G13sus4 I Am7 I
substitute for  Dsus4 I F I Gsus4 I Am I

using relative major and minor pentatonic

You may already know that each common pentatonic fingering can be used for a minor key and for a
different major key. The scale can be used to represent the major and minor chords named after the keys
that the scale is used for. C major and A minor pentatonic share the same scale tones. So, you could use
the scale for either C major or A minor.
If you think of the scale in terms of the minor version (like A minor, C major’s relative minor), you
would tend to emphasize the minor chord part of the scale, making the mood darker. If you think of
the scale in terms of the major version (like C major, A minor’s relative major), you will emphasize the
major chord part of the scale, making the mood brighter.
Minor pentatonic tone centers are indicated below with the rectangle ( ). Major pentatonic tone
centers are indicated with the hexagon ( ). Notice that when the major and minor tone centers are
on the same string, the major tone center is three frets above the minor tone center (three frets toward
the body of the guitar). In the same octave shape, the major pentatonic fingering number is one higher
than the minor for the same tone center.
pentatonic scale
chords built on the third of the original

It is useful to determine which step of a major scale a particular chord was taken from. Study Major
Scale-Tone Triads, so you can do this. As part of that study, you would learn the cycle of thirds on
which chords are built by default. It is shown below. The letter cycle involves one or more sharps or
flats for every key except C major.
the seven number cycle of the seven letter cycle of

every-other number every-other letter
1 F
6 3 D A
4 5 B C
2 7 G E

One every major scale tone, a three-note chord (triad) or a four-note chord could be built in thirds. For
each of the four-note chords, excluding its root (the note after which it is named), a triad remains.
If you build a four-note chord on “5”, it uses numbers “5-7-2-4”. If you remove the “5”, 7-2-4” remains,
which is the same as a triad built on “7”. Notice below that any seventh chord with no root is the same
as a triad up a third (up two numbers). Ima7 no third is III minor.
Lettered examples below are for the key of C.
scale tone triad numbers seventh numbers seventh, no root

1 I major 1-3-5 Ima7 1-3-5-7 IIIm = 3-5-7
(C major) (Cma7) (E minor)
2 II minor 2-4-6 IIm7 2-4-6-1 IV major = 4-6-1
(D minor) (Dm7) (F major)
3 III minor 3-5-7 IIIm7 3-5-7-2 V major = 5-7-2
(E minor) (Em7) (G major)
4 IV major 4-6-1 IVma7 4-6-1-3 VI minor = 6-1-3
(F major) (Fma7) (A minor)
5 V major 5-7-2 V7 5-7-2-4 VII dim. = 7-2-4
(G major) (G7) (B diminished)
6 VI minor 6-1-3 VIm7 6-1-3-5 I major = 1-3-5
(A minor) (Am7) (C major)
7 VII diminished 7-2-4 VIIm7b5 7-2-4-6 II minor = 2-4-6
(B diminished) (Bm7b5) (D minor)
chords built on the sixth of the original
using minor instead of major
Visualizing Notes of Each Chord in the Scale

Visualize the scale. Be able to see much or all of it in your mind, graphically on the fretboard. You can
build this ability with multiple points of view. See Devices To Memorize Pentatonic Fingerings, Scale-
Tone Arpeggios and Pentatonics/Master Scale Pattern.

in your mind, overlay the chord on top of the scale

Not easy. Think in terms of three or four strings. Visualize the scale. Its very effective to visualize the
scale in a limited range on the fretboard while playing an arpeggio of the chord in the same range.
Key Chord Sounds

With key chord sounds, the chord sound you are using represents a chord with its root named after the
key, very often when the current chord root is a different note. For example, when playing in the key of
A during a D9 chord (D9 has the notes D, F#, A, C and E), emphasizing the notes of an A minor chord,
A, C and E works well, since those notes are in common A scales and in the D9 chord.
Think of the numbers of key scale tones that are also in the current chord. Find ways to relate to those
tones in terms of a chord built on the tone center, such as 1-3-5 sounding “major”, 1-b3-5 sounding
minor and “4” sounding suspended.
“1-3-5” - the major key chord sound
“3”. When combined in phrases with “b3”, the “n 3” (natural, or unaltered “3”) will predominate, making
The major chord has tones “1, 3 and 5” of a major scale on the chord root. The distinguishing note is
the chord sound more major and bright in mood than minor and dark or sad (bluesy).
“1-b3-5” - the minor key chord sound

The minor chord has tones “1, 3 and 5” of a major scale on the chord root. The distinguishing note is
“b3”. Emphasizing “1, b3 and 5” of a minor pentatonic scale suggests the sad minor chord. The most
important note in qualifying the minor chord is the “b3”. In blues, jazz and rock-related styles, the
minor chord sound is commonly played against a major chord with the same letter name (E minor
that have “n 3” (I major has 1, 3, 5 of the key scale and VI minor has 6, 1, 3 of the key scale), the“b3” can
against E major, for example) to produce a bluesy effect. Used on chords such a I major or VI minor
be bent slightly as a “blue note”.
“4” - the suspended fourth key chord sound

Suspended fourth chords have tones “1, 4 and 5”. The distinguishing note is “4”. Emphasizing “4” creates
a soft dissonance and need for resolution to a minor or major chord sound on the same root. The “4” -
suspended sound is often used when “4” is not in the current chord to add a soft tension and need for
resolution.

“b7” - the seventh key chord sound .

A few chords have “b7”, most commonly dominant seventh (such as C7) minor seventh (such as Cm7).
Emphasizing the “b7” can serve as an added harmony for a triad, can create a soft tension and need for
resolution. Used on chords such a V major that have “n 7” (V has 5, 7 and 2 of the key scale), the“b7” can
be bent slightly as a “blue note”.
“6” - the seventh key chord sound .

In western European folk music, American bluegrass, country and folk, “6” is commonly used as a
secondary chord tone, not actually played by the chordal instruments, but emphasized in the melody.
In those styles, the emphasis of the sixth is typically less than that of the triad tones.
In swing blues, country swing and swing jazz, the sixth is strongly emphasized in major and minor sixth
chords and as part of thirteenth chords. It can commonly be used as a chord tone in most of the chords
in a key, in those styles.
“2” - the ninth key chord sound .

Combined with the other notes in seventh chords, the ninth sounds colorful and jazzy. Used with a
triad, is makes an add nine chord, which is modern-sounding. Minor ninths can suggest Asian culture.
Too often, improvised solos are just a bunch of fast scales and cool licks, but no melody. It better when
you can remember something singable while listening to an improvisation.
MELODIC DEVICES TO ESTABLISH CHORD TONES

Anything that draws attention to a note can help establish it as a chord tone. Even an exaggerated tone,
such as wah-wah pedal down.
Appogiatura
An appogiatura (leaning tone) is an exception. Appogiaturas create tension with a scale tone next to a
chord tone, then resolve to the chord tone. In that case, the note the appogiatura resolved to is the chord
tone and the resolution is delayed until the chord tone occurs, when it then emphasizes the chord tone.
Metric Devices
Placing a tone on the beat suggests it is a chord tone. Placing a note immediately before the beat and not
playing on the beat that follows the note is called a push. Pushes also suggest a chord tone.

Frequency
Playing a note frequently helps establish it as a chord tone. In the case of a pivot tone, every other note
may be the same repeated note, which establishes it as a chord tone.
Tonal Devices
A series of notes like a scale or familiar melody can suggest leading to a particular note, even if it is
not actually played. A chord progression may suggest a particular tone center, even if the tone center
is not actually sounded in the chords, but suggested by the progression. For example, the jazz blues
progression below suggests the key of “C”, yet there is no “C” note. We just know the progression so well
that we can imagine it.
C9 VII F9 VII C9 VII C9 VII F9 VII F7b9 VII
C9 VII A7#9 VI Dm7 V G13 VII same as bars 7-8 same as bars 9-10
THE ORDER OF MELODIC IMPORTANCE

Default Structure in order of Importance
root and fifth
Especially for the bass player, the most important notes are the root and fifth. So important that they
are sometimes not played since they are so obvious that the listener can imagine them.

third and seventh (or other remaining tones of a quadrad)

The third and seventh are the most important coloring tones in music based on seventh chords like blues
and jazz. They are the basis of a principle of most preferred tones to be voiced in chords or suggested
in melody in blues and jazz: “the third and seventh (if involved) and any note mentioned in the chord
name”. So a C13 chord would suggest the preferred tones 3, b7 and 6 (6 = 13).
chord coloring tones

Next are those added tones that color a basic chord. In triad-based music, this might be a second or a
sixth. The coloring tones may be in the chord, like a sixth in C6 used in swing music. Or, it may be
a sixth as used melodically in country or folk music on a major chord where the sixth is not actually
played by the chording instruments, only played in the melody.
blue notes and exotic tones

Next in the default order are tones that further color the mood, more than standard colorations like an
second, sixth or suspended fourth.
Blue notes that darken the chord or scale like flat three, flat five and flat seven are used to contrast the
natural versions of the same numbered tones. Flat three is used to bluesify a major chord to contrast
its natural three.
The blue notes, exotic tones like a major seven on a minor chord (Cm[ma7], 1-b3-5-7) or a sharp eleven
in major nine sharp eleven also go further to define the subtle colors of a chord.
non-chordal scales tones

Next are the tones that are not implied to be in the chords, but are in the scale. They can be implied as
non-chordal tones by not being sustained nor strongly emphasized. They may also not be expected as
chord tones, such as not expecting a ninth in a triad-based style that typically doesn’t use ninths.
chromatic tones
Last come the chromatic tones that come between scale tones as passing chromatics or precede chord
tones from half step below. Passing chromatics fill with the note in between two scale tones a whole step
(two frets) apart. Passing chromatics can also fill in larger intervals, playing every chromatic note from
one chord tone to another, such as from flat three up to five.
Passing chromatics can also fill in every chromatic note in scale with minor thirds (tree fret intervals) or
larger intervals. The minor third from flat six to natural seven in harmonic minor, for example, be filled
in with both chromatic notes. The major third in a dominant seven eleven pentatonic scale (1-3-5-b7)
from one to three can be filled in chromatically.

Chord Sounds with Pentatonic Scales

Pentatonic scales are usually based on arpeggios, so I use chord names to identify pentatonic scales.
I call the common minor pentatonic scale with 21, b3, 4, 5 and b7 “minor seven eleven pentatonic”
(m7/11). Using a chord names to identify the common major pentatonic scale with 1-2-3-5-6, I call it
“major six nine pentatonic” (ma6/9).
seven eleven pentatonics

Minor 7/11, alias “blues minor”. The minor seven eleven pentatonic can be used for minor seventh
key chord sounds.
7/11 (dominant 7/11), alias “blues major”. By change the “b3” to a natural third (“n 3”), the common
pentatonic scale can be used for bluesy major sounds.
six nine pentatonics
Major 6/9, alias “swing major”. The major six nine pentatonic can be used for major sixth key chord
sounds. A fourth is very commonly added, making a six-tone scale of sorts, however the fourth is used
more as a neighboring tone than in linear scale passages.
Minor 6/9, alias “swing minor”. By flatting the third (“b3”) of a major pentatonic scale, making minor
six nine pentatonic (1-2-b3-5-6), you can get all the chord sounds of major six nine, but with minor
instead of major. This works particularly well for theme and variation on I7 and IV7 chords, using the
major 6/9 on the I7 chord and the minor 6/9 on the IV7.
For more information, see Pentatonic Fingering and Introduction to Improvisation.
Chord-Scale Agreement
common examples
chord keyscale tones in chord key scale key scale tones tones in common
Im7 1-b3-5-b7 minor 7/11 1-b3-4-5-b7 1-b3-5-b7
IIm7 2-4-6-1 minor 6/9 1-2-b3-5-6 1-2-6
IV7 4-6-1-b3
Schemes of Key Chord Sounds

Make up schemes of chord sounds in time line fashion by writing chord names on a single line and
labeling the key chord sounds you will use below them. Keep it simple. Here are some samples:

Hideaway (blues in E) - E minor seven eleven key scale

E7 E7 E7 E7 A7 A7 E7 E7 B7 A7 E7 E7 B7
major......................... b7.......minor............ major..............b7....... 4......... major........4
Five-Tone Chord Sounds with Ninth Arpeggios
Melodic Sense without a Specific Scale

the function of melodic tones
After detailed study of the emotive effect of each melodic tone by number in the context of tonal struc-
tures such as pentatonic scales and ninth arpeggios you will gain a sense of the melodic effect of each
tone by number. You won’t necessarily need to think in terms of a scale.
SCALE-CHORD MATCHING AND CONTRASTING

Recognizing the Scale that Matches a Chord
Keep increasing your knowledge of all the types of chords built on each step of a scale. See All Scale
Tone Chords. Learn the modal structure of chord progression, so you can recognize groups of chords
as having come from a particular scale. See Recognizing Scale-Tone Chords and Voice Leading.
Superimposing Chord Progression

A secondary chord progression can be suggested. If it is logical and doesn’t conflict with the primary
chord progression, it can be acceptable to the listener. This does tend to produce momentary disso-
nances and tends to weaken the sense of key. Don’t get so focused on the secondary chord progression
that you lose the perspective that the listener will have in hearing both the primary (original) chord
progression and the superimposed secondary chord progression.
See Melodically Superimposed Cadences.

MODES AND HARMONY CHOSEN BY FEEL

By Feel First
Determine the emotive quality and genre of a phrase or section first. You’ll learn which modes (scales),
chords (harmony) and rhythms have dark moods, bright moods, angry moods, etc. and play something
appropriate.
It’s actually more important to get the mood right that the chord quality, scale type or rhythm. If the
mood is right, the rest will be close enough. The more subtleties you can hear, the more you’ll be able
to choose the best scale and chord types in each situation.
The Emotive Qualities of Chords, Rhythm and Tone

Qualities of triads (major, minor, diminished, etc.) affect the feeling of a piece of music. Larger chords
are sometimes complex, combining two or more triads and therefore combining multiple moods.
The rhythm can affect the mood. A fast tempo usually suggests a brighter mood and a slow tempo a
darker mood.
Tone (timbre) affects the mood. Distortion sounds bold and brash. Soft chorused (the ambient effect)
sounds feel calm.
See Emotive Qualities of Chords.
The Emotive Qualities of Genre

Making reference to particular styles brings to mind whole sets of characteristic rhythm, chord quality
and tone used it the style and the emotive qualities that go with it. Genres can even suggest a lifestyle
or subculture.

Key Scales for Jazz Dominant Modes

We are using scales based on minor modes that occur on steps six and three of the major scale.
Aeolian key scale

This is the mode on the sixth step of a major scale. Playing the major scale from step six through six up
and down suggests the new scale Aeolian. Think of it as a VI type.
harmonic minor key scale

This is the same as an Aeolian scale, but has a natural seven. It has a tone altered at near the top of the
octave of A Aeolian.
Aeolian flat one key scale

This may seem odd, but it is very useful. The “flat one” tone functions as a “7” of the key and is part of
the V chord, constructed with 5, 7 and 2 of the key. Think of this as having a tone altered at the bottom
of the octave of Aeolian, the flat one.
Phrygian flat one key scale

This may seem odd, but it is very useful. The “flat one” tone functions as a “7” of the key and is part of
the V chord, constructed with 5, 7 and 2 of the key. This is the same as Aeolian flat one, but also has
flat two. Think of this as having two tones altered at the bottom of the octave of Aeolian, the flat one
and the flat two.

Representing V-Type Dominant Chords

The preferred tones in voicing a V-type chord are the third and the seventh and anything mentioned in
the chord name, like “13”, or any altered tone. The qualities are flexible. V type chords can be abbreviated
(a ninth could be represented as a seventh) or elaborated (a seventh could be a thirteenth). A very
common representation of a V-type chord is the harmonic minor type, where it is represented with a
diminished seventh arpeggio that is a synonym to 7b9 no root.
Ambiguity and Differences with V-Type Modes

For example, 5-b6-b7-7 is common to both “super” modes (super Phrygian and super Locrian).
Explore ambiguous melodic ideas that allow more freedom (in completing the scale) for the other
players and for the listeners.
The bII Chord

Melodic minor mode VII generates the “Swiss Army” V7#9b9#5b5 chord. Modes are synonyms, and
so are some chords they generate. Mode IV of melodic minor generates the chord 13#11. Most of the
chords that are subsets of melodic minor IV13#11 are synonyms that are subsets of melodic minor
VII#9b9#5b5. The basis of all the subsets is melodic minor IV7b5 = melodic minor VII7b5, which is
the core of flat five substitutes. See Flat Five Substitute Chord Progression.
Swiss Army II in a Minor II V Cadence

bVI7 to V7 is fairly common, as in bars 9 and 10 of John Coltrane’s “Mr. P.C.” bVI7 to V7 can be
thought of as a substitute cadence for the minor II V, where the bVI7 (melodic minor IV13#11 type)
is a flat five substitute for IIm7b5 (melodic minor VII7#9b9#5b5, Swiss Army type).
Minor Mode Ambiguity

Key scale tones b3-4-5-b6 (the middle range) are common to all four minor modes (Aeolian, harmonic
minor, Aeolian b1, Phrygian b1).
Aeolian and harmonic minor vary the upper range

Key scale tones 5-b6-b7-7 (the upper range) are common to both “super” modes on V of target.
Aeolian flat one and Phrygian flat one vary the lower range

Aeolian and harmonic minor have 1-2-b3-4-5-b6 in common (harmonic minor changes the 7).
Aeolian b1 and Phrygian b1 have b3-4-5-b6-b7-1 in common (they change the 2).
the Aeolian/harmonic minor hybrid

Use the Aeolian/harmonic minor to both provide all the notes of V7#9 and creates a half-whole-half
pattern at 5-b6-b7-7, like 7-1-2-b3.
Commonly-Associated Sources of all the Key Emotive Tones

1 the tone center
b2 Phrygian b1
2 Aeolian, harmonic minor, major, Mixolydian, Dorian
b3 Aeolian, harmonic minor, Dorian
3 major, Mixolydian
b5 Aeolian b5, Dorian b5 (major b6 mode II)
b6 Aeolian, harmonic minor
6 major, Mixolydian, Dorian
b7 Aeolian, Mixolydian, Dorian
7 major, harmonic minor, melodic minor


49
Commonality
Chords
• What Are Commonality Chords?
©2017 Jim Gleason. All Rights Reserved.

page 1470 Commonality Chords Part 5: Core Melody and Melodic Cells back to contents
WHAT ARE COMMONALITY CHORDS?

A commonality chord consists of three or more tones that are common to two or more chords. Being three or four note
chords, they are usually a triad or sometimes a seventh chord. The chords they are common to usually occur consecutively.
Commonality chords are the basis of abbreviated chord progression and one of the bases of elaborated chord progression
(see Abbreviating And Elaborating Chord Progression. Chord progression can be elaborated by conceiving a number of
chords that have a commonality chord in common or with the use of superimposed chord progression (see Melodically
Superimposed Cadences).
Commonality chord types include literal, added harmony and changed-quality. With the literal type, the tones of the
commonality chord are part of every chord to which they are applied, such as an A minor commonality chord (A-C-E)
being part of the While My Guitar Gently Weeps verse chord progression Am (A-C-E) Am/G (A-C-E-G), D9/F#
(D-F#-A-C-E) and Fma7 (F-A-C-E).
With the added harmony type, they are made to consist of common tones by adding one or more notes
to one or more of the chords to create commonality. Applying an A minor triad as a commonality chord
(A-C-E) to the first three bars of Sunny, Am7 (A-C-E-G), C7 (C-E-G-Bb), Fma7 (F-A-C-E) changes
to Am7, C13 (C-E-G-Bb-D-F-A), Fma7, so the C chord includes the notes of A minor (A-C-E) like
Am7 and Fma7 do. See Substitution/Shared Thirds: Secondary Roots.
The changed quality type can be used on a jazz blues in Bb, for example by making a Bb minor triad (Bb-Db-F) common
to the Bb9 (Bb-D-F-Ab-C) , Eb7 (Eb-G-Bb-Db) and G7 (G-B-D-F) chords as follows:
• Bb7#9 includes Bb minor by changing the ninth to a sharp nine (Bb-D-F-Ab-C#, C#=Db).
• Eb9 (Eb-G-Bb-Db-F) includes Bb minor by adding the ninth (F) to Eb7 (Eb-G-Bb-Db).
• G7b5#9 includes Bb minor (Bb-Db-F) by adding a shark nine (Bb) and a flat five (Db). G7
(G-B-D-F) already includes the needed “F” note.
For examples of Commonality Chords, see Voice Leading/7362514 Common Tone and Voice-Leading/II V I Top
Voice Leading: Common Tone. II V I

back to contents Part 5: Core Melody and Melodic Cells Commonality Chords page 1471

50
Melodic Cells
• Find More Information in Related Chapters

• Melodic Cells Defined
• Cells on Setup Chords or Target Chords
• Integrating Cells into Your Improv
• MELODIC CELL TYPES

• Linear Scales and Arpeggios as Cells
• Chromaticized Arpeggio Cells
• Harmonic Type Melodic Cells
• Decoration Cells
• Theme and Variation Cells
• Styles as Cells
• Blues Melodic Cell Examples

page 1474 Melodic Cells Melodic Cell Types Part 5: Core Melody and Melodic Cells back to contents
FIND MORE INFORMATION IN RELATED CHAPTERS

Blues Rock and Swing Blues Cells
Fragment Patterns
Triad Bass Harmonization
Thirds and Sixths
Double Stops
Chromaticized Arpeggios
Theme and Variation
Harmonic Scalar Pulse
Melodically Superimposed Cadences
The Emotive Curve and Sentiments
Open Position Basslines
Pedal Point Chord Progression
Voice Leading
Jazz Bass Harmonization

back to contents Part 5: Core Melody and Melodic Cells Melodic Cell Types Melodic Cells page 1475
MELODIC CELLS DEFINED

Cells are the smallest units of melodic design. They are made with structures like scales, arpeggios,
intervals and chromatics. Cells usually are used with various expressive design elements involving
technique, phrasing, rhythm, dynamics, etc. Melody is the designed repetition of cells.
Cells of Creative Origin

Cells may be created organically with the right brain, by recalling and modifying known melodic ideas.
In improvisational music, these cells are called licks. In classical music, cells are created compositionally
and are called motifs.
Cells of Logical / Mathematical Origin

A composer may imagine an idea, then process it logically to conceive variations. An improviser can
expand their capabilities by studying variations on a cell and integrating those variations into their
improvisational style.
Cells may be varied as to their chord type, scale type, rhythmic word, rhythmic displacement. They
usually may be played in reverse order.
CELLS ON SETUP CHORDS OR TARGET CHORDS

Target Chords
A tonic chord is the chord after which a key is named and is the chord you would expect the song to
end on. Many chords in a progression can be treated as temporary tonic chords to enjoy the melodic
and harmonic designs that support them. It is common that I, II, IV, V and VI chords are treated in
as temporary tone centers.
The actual tonic chord and any temporary tonic chords can be treated as target chords, as if they were
tonic chords. This is done by anticipating them with scales or chords.
Preview the Target Chord

Probably the simplest way to anticipate a target chord is to play its arpeggio or a scale containing its
arpeggio before the target chord, during another chord. This should be usually be done for about one
second, at most (see The One Second Rule, below).

Cadences
anticipate with cadences
Chords can anticipate a target chord by use of well-known short chord progressions called cadences
that, in the repertoire in which we have known them, have established the key. Over and over, in most
styles of music, we have heard a chord built on the fifth step of the tonic scale (scale named after the key)
anticipating the tonic chord, such as G7 (V7) to C (I) in the key of C. In classical and jazz, then pop
music, we have heard chords in sequences of fourths (7, 3, 6, 2, 5, 1, 4) that lead to the I chord, especially
IIm, V, I (Dm, G, C in the key of C) or IIm7b5, V, Im (Dm7b5, G, Cm in the key of C minor).
A common jazz variation that became popular with bop music is the flat five substitute, where an altered
V chord (such as G7b5b9) is substituted with a synonym chord (Db7b5#11) whose root is a flatted
fifth up or down. Since a flatted fifth interval is a half an octave, it produces the same note up or down.
represent cadences with arpeggio

Cadences can be represented with arpeggios and those arpeggios can be decorated with scales.
The One to Two Seconds Rule

It is common that melodies emulate a chord immediately before a target chord that have little or nothing
to do with the chord in the accompaniment at the time.
For example, you may be playing in bar two of a jazz blues in C where the current chord is F7, but you
are playing G7b9 at the end of the bar to anticipate the C7 chord that begins bar three with a cadence.
The notes of the G7b9 are largely different from those of the F7 in the accompaniment and would
sound pretty bad if you did not hear them resolve to the C7 chord. If the listener only hears this dis-
crepancy for about one to two seconds (two to four beats at 120 beats per minute), they won’t have time
to contemplate the discrepency and will hear the resolution to C7 soon enough. If, on the other hand,
you played the G7b9 sound for over two seconds, the listener may have time to recognize that it does
not harmonize with the F7 chord actually being played in the accompaniment.
This phenomenon is not restricted to jazz. It occurs in every popular style of improvisational music
(rock, blues, jazz, folk, reggae, funk, punk,etc.).

INTEGRATING CELLS INTO YOUR IMPROV

Get four-note cells into your memory, in a melodic context. Not only memorize the cell, but create
ideas that use them and incorporate those ideas into your improv. Sing your lines as you play them.
Practice Each Separate Cell

If possible, practice a series of related cells (each changing only a note or two, or the same structure
played on a different chord tone or different fingerings). Learn to phrase each cell against the chords,
starting in the appropriate part of the bar.
Free Improv at the Same Rhythmic Level as the Cell

Establish familiar, easy improv with continuous rhythm (i.e. continuous eighth notes) without these
new cells at the same rhythmic level as the cell.
Whimsically Combine Cells and Free Improv

Combine the cells with free improv by improvising right up to the cell, playing the cell on the intended
part of the bar, and coming out of the cell back into continuous free improv. Progress from playing on
a simple chord progression or even a single chord to more complex progression.
whimsical games
Globalize any element (see Globalizing). Practice a set of instancesl of an element (like a melodic cell).
Improvise on something conducive to using an instance of the element and whimsically incorporate one
instance on call, then two, then more. For example, play up and down the tones of a ninth arpeggio. As
you approach any one of the numbered tones (1-3-5-b7-9), think that number and play the melodic cell
that decorates it, such as two chromatic tones below it. Practice this until it is easy for you to think and
apply the melody cell to any chord tone.
Personalize Your Cells

Evolve the use cell with your personalized treatment such as slurring, decorating, phrasing and incorporate
it into your improvisational style so you’ll review it when you improvise. In improvising, you recall previ-
ously learned ideas and modify them to fit what you are playing on. We are working at adding cells to your
mental library, and will work on the modifications necessary to adapt a cell to what you are playing on.
Personalize each cell by deciding on variations of it with changes of slurs, dynamics, rhythm, scale and
chord quality to be appled to genres and songs in your repertoire.

MELODIC CELLS TYPES

LINEAR SCALES AND ARPEGGIOS AS CELLS
• Key Scale or Chord Scale
• Arpeggios of The Current Chord
• Pentatonic Scales With Chromatics
• Harmonic Scalar Pulse
• Fragment Pattern Cells
• Scalar Fragment Pattern Cells (in the chapter Fragment Patterns)
• Harmonic Fragment Pattern Cells (in the chapter Fragment Patterns)
• 1-2-3-5 and 1-3-4-5 Fragment Pattern Cells (in the chapter Fragment Patterns)
• Using Triads with Neighbor to Imply Cadences (in the chapter Fragment Patterns)
• Freeform Triad with Neighbor Fragment Pattern Cells (in the chapter Fragment Patterns)
• Two and Three String Cluster Playing
• Flipping Tertian Cadences
• Pivot Tone
• Scalar Encircling
• Stepwise Chromatic Scalar Encircling
CHROMATICIZED ARPEGGIO CELLS

• Chromaticized Thirds or Fifths
• Every-Other Chromatic Cells
• Four-Note Linear Chromatic Cells
• Triplet (Three-Note) Linear Chromatic Cells
• Encircling Chromatic Cells, Four Note
• Freeform Neighbor Chromatic Cells, Four-Note
• Encircling Chromatic Cells, Six Note
• Freeform Neighbor Chromatic Cells, Triplet
• Looping Chromatic Cells

HARMONIC TYPE MELODIC CELLS

• Harmonic Cadences
• Superimposed Chord Progression
* Secondary Roots
* Flat Five (Tritone) Substitute
* Chromatic Passing Chords
* Changed Chord Quality
• Harmonized Lines
• Chromatic Drift
• Thirds, Sixths and Octaves with Inner Thirds
• Cluster Playing with Triads and Thirds
• Quartal and Quintal Harmony
• Half-Whole-Half Cells and Diminished Scale
DECORATION CELLS
• Bebop And Baroque Ornamentation
• Adjacent String Legato Slurring
• Cadence Ornament Rhythms
• Indian Classical Ornamentation
THEME AND VARIATION CELLS

• Rhythmic Theme and Variation
• Core Melody And Elaboration
• Melodic Curve Theme and Variation
• Call and Response
STYLES AS CELLS
• Blues Licks
• Swing Blues Licks
• Rock-a Berry Licks
• Double Stops and Jazz Blues Double Stops
• Pedal Steel Bends
• Charlie Parker Design

LINEAR SCALES AND ARPEGGIOS AS CELLS

KEY SCALE OR CHORD SCALE
with emphasis of current chord tones (duality tones)
The most basic melodic cell is a linear ascent or descent on a scale. Joy To The World descends a major
scale one octave from the tone cetter. The guitar theme in My Girl ascends a major pentatonic for one
octave. The first theme in George Benson’s version of Breezin’ starts by ascending a major scale from
five to five.
Syncopated rhythm is very useful in bringing a scalar passage to life.
ARPEGGIOS OF THE CURRENT CHORD

Melodies sometimes arpeggiate chords. Bach’s Well-Tempered Clavier, Prelude 1 in C is all arpeggios.
The instrumental opening and recurring theme in Mr. Sandman is quadrad (four-mpte) arpeggios.
In The Mood is triad arpeggios. The first guitar solo to Comfortably Numb has passages of major
arpeggios. The Sultans of Swing solos have frequent major arpeggios. The two-guitar ending in Hotel
California has two guitars, each playing arpeggios in harmony with one another.
Like with scalar passages, arpeggio passages are much more interesting with syncopated rhythym.
PENTATONIC SCALES WITH CHROMATICS

see the chapter Chromaticized Pentatonic Scales
HARMONIC SCALAR PULSE

see the chapter Harmonic Scalar Pulse
FRAGMENT PATTERN CELLS

See the chapter Fragment Patterns.

TWO AND THREE STRING CLUSTER PLAYING

Two Strings Tuned in Fourths
Three Strings Tuned In Fourths

three strings tuned in fouths for fragment patterns
three strings tuned in fouths for theme and variation
Numbered Fingering for Two or Three Strings in Fourths

My major scale in-position numbering system uses the major scale-tone number of the lowest-pitched
note on the sixth string to number the fingering. If you were to fret a G major scale in the second
position, the lowest reachable tone is “F#”, scale tone seven. So that would be fingering 7. Here are the
seven fingerings in that system:
in-position major scale fingerings
fingering 1 fingering 2 fingering 3 fingering 4 fingering 5 fingering 6 fingering 7

reach with reach with no reach with reach with reach with no
index finger index finger reaches! index finger index finger little finger reaches!
1 4 5 1 2 5 1 4 6 2 3 6 2 5 7 3 4 1 4 5 1 4 2 5 6 2 5 1 3 6 7 3 6 2 7
7 3 4 1 4 7 3 6 7 4 1 4 5 1
2 5 1 4 6 2 3 6 2 5 7 3 7 3 6 5 1 4 2 5 6 2 5 1 3 6 7 3 6 2 7 7 3
4 1 4 5 1 4 2 5 7 4 1 4 5 1 2 5 1 4 6 2
3 6 2 (5) 7 3 7 3 (6) ( 7) 6 2 5 (1) 3 6 7 3 6 (2) 7 7 (3)
Fingering Triad with Neighbor
FLIPPING TERTIAN CADENCES

(using other full tertian containing non-chordal tones to full tertian containing the current chord)
Flipping tertian melodic cells are an important part of the improvising puzzle. They are very effective
in connecting other melodic cells across chord progression.
Imagine you are on the root of a chord and you want to improvise around the seventh and ninth adjacent
to the root, as part of a ninth arpeggio. In relation to the seventh and ninth, the root is an “8” (octave).
You’ll need to move up or down a scale tone to get on the tertian cycle. So, this is a matter of moving
from an even-numbered tone (2, 4, 6, 8, 10 or 12) to an odd-numbered tone (1, 3, 5, 7, 9, 11 or 13).
Large tertian chords are built with odd-numbered tones: 1, 3, 5, 7, 9, 11 or 13. If you are currently
on an even-numbered tone (2, 4, 6, 8, 10 or 12), you can use one of the four-note cell types below to
transistion.
In addition to using these as a solution to an inadvertent problem, you can also “create a drama” by
intentionally using an even-numbered chord tone like a sixth on the beat, then resolve it with a flipping
tertian melodic cell.
Learn to play these melodic cells in each of the five default major scale fingerings.
four-note versus three-note cells

We are studying four-note flipping tertian cells in this section. Three-note flipping tertian cells don’t
ree-Note
require much study since they easilyFlipping
move to theTertian
tone up orMelodic
down a scaleCells
tone. “123” leads to “2”
stepwise. “321” leads to “7” stepwise.
1-2-3 resolves to 2
° 12 œ œ œ œ ™ Ó™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ™
œ œ œ
1-2-3-2 transistions up a scale tone, as "C" to "B" below
œ œ œ 12
&8 8
7 7 8 7 8 10 8
8 8 10 8 10 10
¢⁄
7 9 7 7 9 7 9 10 9 10 10
10 10
3-2-1 resolves to 7
° 12 œ œ œ œ™ Ó™ œ œ œ œ œ œ œ œ œ œ œ
3-2-1-7 transistions down a scale tone, as "C" to "B" below
œ œ œ œ œ œ œ œ œ œ œ™
&8
8 7 7 8 7 7
10 10 10 8 10 8 8
¢⁄
10 10 9 10 9 7 9 7 7
10 10 9 10

mordent as a flipping tertian
Any of the four notes in these flipping tertian melodic can be an upper or lower mordent for bebop
ornamentation. Mordents on chromatic tones (#1-#2-#5-#6) should employ lower chromatic
embellishments. The Autumn Leaves flipping tertian examples use mordents in sixteenth triplets.
1-3-2-1 and 1-6-7-1

1-3-2-1 and 1-6-7-1 begin with a third, then return stepwise to the original note. They can end up or
down by a scale tone interval up to a minor third.
Flipping Tertian Fragment Patterns
1-3-2-1
œœœœ œœœœœœœœ œœœœœœœœ œœœœ œœ
° 4œ
1-3-2-1-7 transistions down a scale tone, as "C" to "B" below
Œ œ œ œœœœœ Œ
&4
8 12 10 8 7 8 12 10 8 7 10 8 7 8 7 7
10 10 8 10 8 10 8 8
¢⁄
10 10 9 10 9 7 10 9 7
10
° 1-3-2-1-2 transistions Œup a scale tone, as "C" to "B" below

& œœœœœ œ œ œ œ œ œ œ œ œœœœœœœ œœœœœ Œ
œ œœœœ œ œ œ œ
¢⁄
7
7 9 7 7 10 9 7 9 10 9 10
7 7 8 7 7 10 8 7 8 10 8 10 10
8 10 8 10 8 10 8 10 10
1-6-7-1
° œœœœœ Œ œœœœœœœœ œœœœœ œœ œ

œ œœœœœœœ œœœœœ Œ
&
8 7 8 7 8 7 8 7 7
10 10 8 10 10 8 10 8 8
¢⁄
10 9 10 10 7 9 10 9 7 9 7 7
10 9 10 10
°
1-6-7-1-2 transistions up a scale tone, as "C" to "D" below
& œ Œ œ œ œ œ œ œ œ œ œ œœœœ œœœœœ Œ

œœœ œ œ
œœœœ œœ œ œ œ œ
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4 4 5
5 5 7 5 7 5 7
5 5 5 7 5 7 8 5 7 8 7 8 8
8 5 7 8 8 5 7 8 7 8 8
1231
° œœœœœ Œ œ œ œ ©1998-2018
œ œ œ œ œ Jimœ Gleason.
œ œ œ œAllœ Rights
œ œ Reserved.
& œœœœœœœœ œœœœœ Œ
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° 1484
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Part 5: CoreœMelodyœand
œ œ œ œ Cells œ œto contents
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œ œ œ œ
Melodic Cells Melodic Cell Types
œ œœœœ œ
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1231 and 1761
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4 4 5
1231, begin5 with three scalar5 tones,5 then
7 skip
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7 8 to the
5
7 original
8
5 7
8 note. They can end up or
5 7 5 7
8 5 7 8 8 5 7 8 7 8 8
down by a scale tone interval up to a minor third.
1231
° œœœœœ Œ œœœœœœœœ œœœœœœœœ œœœœ œœ

& œ œ œœœœœ Œ
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7 9 7 9 7
10 10 9 10 10 9 10 9 7 9 10 7 7 9 7
10 10 8 10 8 7 8 10 7 7 8
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7 7 7 8 7 8 10 7 8 10 8 10 10
8 10 8 10 8 10 8 10 10
1-7-6-1
° œ œœœ Œ
1-7-6-1-7 transistions down a scale tone, as "C" to "D" below
& œ œœœœœœœœ œœœœœ œœ œ Œ

œ œœœœœœœ œœœœœ
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10 7 9 10 9 10 7 9 10 9 7 9 7 7
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10 8 10 10 7 8 10 8
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8 8 10 8 10 8 10
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7 7 7 9 7 9 10 7 9 10 9 10 10
10 7 9 10 10 7 9 10 9 10 10
1-2-1-6-7, 1-2-1-3-2, 1-7-1-6-7, 1-7-1-3-2

œ œœœœœœœœ œœœœœœœ œœœ
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œ œMelodic
œ œ œ and œ œ Cellsœ œ œ
Melodic Cell Types Melodic Cells pageŒ 1485
12167, 12132 , 17167, 17132

7 7 8
8 8 10 8 10 8 10
¢⁄
These begin like a mordent
10 7 9 10
7 (a neighbor
10 7 9 10
7
9 10
and a returning
7 9
10
7 9 10 note), then a third up or down, then a returning
7 9 10 9 10 10
note.
1-2-1-6-7, 1-2-1-3-2, 1-7-1-6-7, 1-7-1-3-2
œ œœœœœœœœ œœœœœœœ œœœ
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7 7 9 7 9 7 10 9 10 9 10
7 7 7 8 7 8 7 10 8 10 8 10 10
8 10 8 10 8 10 8 10 10
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10 10 9 10 9 10 7 9 7 9 7 7
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7 9 7 7 10 9 7 9 10
7 7 8 7 7 10 8 7 8 10 8 10 10
8 7 8 10 8 7 8 10 8 10 10

Autumn Leaves beginning improv
Autumn Leaves beginning improv
Swing Eighths qaa z=[qp ]e

C Dorian G minor blues
œ œ œ b œ nœ
C‹7 F7
œ #œ n œ
(G7b9nr=Bº7)
° b4 Ó
B¨Œ„Š7 E¨Œ„Š7
&b 4 ™™ œ œ ∑ ∑ ∑
7 10
™ 8 10
™
9 11 8
¢⁄
10 8
10
D Phrygian major (D7 with b2, b6) G minor blues
œ œ
° b œ œ #œ œ
(D7b9nr=F#º7) G‹7
™™
6 A‹7(b5) D7
&b Œ ∑ ∑ ∑
8 11
™
™
10
¢⁄
8 11
10

Flipping Tertian Study On Autumn Leaves
Autumn Leaves flipping tertian improv
Swing Eighths qaa z=[qp ]e 1-3-2-1, resolve down

over Cm7 F7, a IIm V progression, play it all as IIm
œ œ œ œ œ b œ nœ œ œ œ œ œ œ œbœ
C‹7 C‹7
n œ n œ
(G7b9nr=Bº7) mordent
° b4 œ #œ œœ Ó œ #œ nœ œ
œ
&b 4 Ó
tones in C 3
1 3 2 1 (b)7
7 10 8 11 10 8 7 10 8 11 10 11 10 8
9 11 8 9 11 8
¢⁄
10 8 10 8
10 10
play Gm7, which is VIm7 over Bb(I)ma7, Ebma7 and Gm7. VIm7 is part of Ima7 and IVma7 type chords.
° b #œ œ œ œ œ œ nœ œ œ œ œ œ œ œnœ œ
œ œ #œ
(D7b9nr=F#º7)G‹7 G‹7 mordent
œ
5
œ œœ
&b Ó œ Ó œœ
3
tones in G
1 3 2 1 (b)7
10 8 11 10 8 10 8 11 10 8 10 8
¢⁄
8 11 10 7 8 11 10 7
10 8 10 8
10 10
play D7, which is V7 of Gm7 over Am7b5 D7 (IIm7b5 V7 of Gm).
° bÓ œœ œœ
nœ #œ œ #œ bœ œ nœ nœ #œ œ #œ œ œbœ œ nœ
9 (A7b9nr=C#º7)D7 D7
&b œ #œ œ Ó œ #œ œ
3
tones in D
1 3 2 1 (b)7
11 8 7 11 8 7 8 7
¢⁄
9 7 8 7 9 7 8 7
11 10 7 7 11 10 7 7
9 9
nœ œ œ œœœ G‹7
bœb œ œ œ œ œ œ nœ œ bœb œ œ œ œ nœ œ n œ œ œ œ
(Ebm9<ma7>) (Ab13#11) G‹7 (Ebm9<ma7>) (Ab13#11)
° b
13
&b œ nœ Ó œ nœ 44
3
tones in Ab tones in Ab tones in G
1 3 2 1 down 1 3 2 1 1 3 2 1 (b)7
13 10 13 10
11 13 11 13 11 11 13 11 8 11 10 8
¢⁄
11 13 13 12 11 13 13 10 7
12 8
13 10 10
2 1
ese all use the 1-3-2-1 sequence, starting on 1 to "flip" from the even -numbered octave root (8) to "7",
which is in the 1-3-5-7-9-11 tertian series or to another chord with a tone adjacent to "1".
We will explore "flipping" in this manner from "6", from "8" ("1" up and octave), and from 10 ("3" up an octave).

page 1488 Melodic Cells Melodic Cell Types
Flipping Part 5: Core
Tertian On Autumn Melody and Melodic Cells
Leaves back to contents
2
1-3-2-1, resolve up
over Cm7 F7, a IIm V progression, play it all as IIm
œ b œ œ œ œ œb œ œ œ œ œ œbœ
C‹7 C‹7
nœ b œ nœ nœ
(G7b9nr=Bº7) mordent
° b4 nœ œ œ#œ bœ Œ ‰ nœ œ œ#œ nœbœ

17
b
& 4 Œ ‰ J J
tones in C 3
1 3 2 1 2
7 8 11 10 8 7 8 11 10 11 10 8
8 9 11 11 8 8 9 11 11 8
¢⁄
9 10 8 9 10 8
play Gm7, which is VIm7 over Bb(I)ma7, Ebma7 and Gm7. VIm7 is part of Ima7 and IVma7 type chords.
° b Œ ‰ œ œ œ#œ œ
œ
G‹7
œ œ œ
œ nœ œ
(D7b9nr=F#º7)
œ #œ œ œ
G‹7
œ œ œmordent
œ œ œ nœ œ
œ
21
œ
&b J œ Œ ‰ J œ
3
tones in G
1 3 2 1 2
10 8 11 10 8 10 10 8 11 10 8 10 8 10
¢⁄
7 8 10 11 10 7 7 8 10 11 10 7
8 8
play D7, which is V7 of Gm7 over Am7b5 D7 (IIm7b5 V7 of Gm).
° b b œ œ œ nœ œ#œbœ œbœ b œ œ nœ nœ œ#œ œ œbœ œbœ

25 (A7b9nr=C#º7) D7 D7
&b Œ ‰ J #œ nœ nœ#œ Œ ‰ J #œ nœ nœ
#œ
3
tones in D
1 3 2 1 b2 b2
9 8 7 9 8 7 8 7
¢⁄
10 9 7 8 7 8 10 9 7 8 7 8
11 10 7 11 10 7
9 9
nœ œ œœ G‹7
œ bœb œ œ œ œ œ œ n œ œ œ bœb œ œ œ œ n œ œ œ œ nœ
(Ebm9<ma7>) (Ab13#11) G‹9 (Ebm9<ma7>) (Ab13#11)
° b
29
&b œœÓ œ œ nœ 44
3
tones in Ab tones in Ab tones in G
1 3 2 1 up 1 3 2 1 1 3 2 1 (b)7
13 10 13 10
11 13 11 13 11 11 13 11 10 13 11 10
¢⁄
11 13 13 12 11 13 13 12
12 12
13 10 13 10
ese all use the 1-3-2-1 sequence, starting on 1 to "flip" from the even -numbered octave root (8) to "7",
which is in the 1-3-5-7-9-11 tertian series or to another chord with a tone adjacent to "1".
We will explore "flipping" in this manner from "6", from "8" ("1" up and octave), and from 10 ("3" up an octave).

PIVOT TONE
with scalar, arpeggio or chromatic movement, changing notes on or off the beat
Every other note is one particular tone, called the pivot tone. The alternate set of notes in the every-
other is a scalar or chromatic ascent or descent to another chord. These can bridge an octave or more.
They can incorporate all the previous melodic cells. Chromatic cells must be played quickly to work
when alternated with a pivot tone.
Ascend or descend with changing notes on the beat or changing notes off the beat. If scalar, skip to
chord tone on “1” as necessary.
SCALAR ENCIRCLING
Stepwise Chromatic Scalar Encircling

The two categories of stepwise encircling are 14cc2 and 15cc7, where each “c” is a chromatic tone. The
usual chromaticizing tactic is being used: two linear chromatics below the chord tone. Each of these is
actually five notes, where the first note is progressing up or down a scale tone to the last note.
When coming down from “4” in 14cc2, play the two linear chromatic tones immediately below four
(down a half step, then down another half step). End by continuing down to the next scale tone
In 15cc7, go from “1” down a fourth to its “5”. Then conceive the note that is two scale tones above “5”,
which is “7’. “7” may be a half or whole step below the original “1”. After playing “5” two linear chromatic
tones immediately below “7” (a whole step below “7”, then a half step below “7”).
Including the chromatic preference of using two chromatics below each target tone, stepwise encircling
has four versions: 1-4-3-b3-2, 1-4-3-b3-b2, 1-5-6-#6-7 and 1-5-#5(b6)-6-b7.

Stepwise Encircling
page 1490 Melodic Cells Melodic Cell Types Part 5: Core Melody and Melodic Cells
15cc7 and 14cc2 back to contents
œ œ œ # œ œ œ#œ œ
° 4
C major scale, fingering 7
œ œ œ#œ nœ œ#œ œ nœ œ nœ#œ œ œ œ#œ nœ œ œbœ

&4 œ#œ œ nœ
1-5-6-#6-7 1-5-b6-6-b7 1-5-#5-6-b7 1-5-#5-6-b7 1-5-6-#6-7 1-5-#5-6-b7 1-5-6-#6-7 1-4-3-b3-2
8 6 7
¢⁄
8 10 8 9 10 7 8
10 9 10 7 8 9 10 7 8 9 6 7 10 9 8
10 9 10 7 8 9 10
œ b œ œ n œ b œ œbœ œnœ œbœnœ œ

° œ œ b œ œ nœ n œ b œ nœ œ n œ œ œ
™™
5
& Œ Ó
1-4-3-b3-2 1-4-3-b3-b2 1-4-3-b3-2 1-4-3-b3-2 1-4-3-b3-2 1-4-3-b3-b2
™
™
7 8 7 10 9 8 7 12 11 10 8
¢⁄
8 7 10 9 8 11 10 8 11 10
7 10 9 10

CHROMATICIZED ARPEGGIO CELLS

Generally, chromaticizing fills in between chord tones with half steps. That needs to be more specific,
though. As I learned from Charlie Parker in particular, chromaticizing generally places two tones chro-
matically below a chord tone, before it or after it.
It is preferrable to get chord tones on the beat, but not imperitive. Try to get them on the beat, but don’t
try too harde. The music should be free and reasonably abstract.
Practice ninth and thirteenth arpeggios sequenced with encircling chromatics, linear chromatics and
with two chromatics below each chord tone.
Practice encircling and linear chromatics with Four-Note Rhythms. Temporarily set your default
browser to one like Safari that will play the Quicktime file instead of downloading it, although you
could play the downloaded file instead.
Practice the two chromatics below each chord tone with these Three-Note Rhythms: triplets, gallop, jingle bells and
Creedence; also with longer sequences of off-beats, making sure the chord tones are rhythmically accented.
CHROMATICIZED THIRDS OR FIFTHS

Chromaticized arpeggios (between targets in thirds) with two chromatics below the third or below the
fifth. With seventh or larger arpeggios, it helps to think in terms of the triads that make up the larger
chord, such as the G major, B diminished and D minor triads that make up G9.
Pickups may preceed the first arpeggio tone with a number of notes one fewer than the interval to the
arpeggio tone.
Preferences for Third and Fifth

In each case, precede the third or fifth with two consecutive chromatics (two frets in a row) below the
third or fifth of a triad.
major - below either third or fifth

minor - below either fifth (so as not to leave a conspicuous major third between the b3 and 5)
diminished - below the flatted third. Probably because if below the fifth, it would make the
tritone more apparent from the root to flatted fifth.

Chromaticized Arpeggio
Chromaticized Third Summary
or Fifth Examples
chromaticized third or fifth of a triad
two chromatics below the third or the fifth for major
œ œ œbœ nœ œ Œ Ó œ œ œ#œ œbœ nœ œ œ Œ Ó œ œ œ#œ œbœnœ#œ œ Œ Ó

C common variation in descending from the fifth
4
& 4 œ œ#œ
third third fifth fifth
8 7 8 7 7 8 7
7 8 9 9 8 7 9 10 10 9 9 10 10 8 9
⁄ 10 10 10 10 10
two chromatics below the fifth for minor two chromatics below the third for diminished
bœ œ #œ œ bœ nœ bœ œ #œ nœ bœ
bœ œ œ bœ
C‹ Cº
& œ œ Œ Ó œ Œ Ó
fifth third
7 8 7
8 10 10 8 7 8 11 8 7
⁄ 10 10 10 11 11 10
Melodic Cell Sampler: Chromaticized ird Or Fifth

four-note chromaticized third and seventh or fifth and ninth
C7
œ œ#œ œ b œtwo
œ b œ œ œb œ j
C9
œ œ# œ œb œ œ # œ œ b œ œ b œ œ#œnœ œ
œ#œ œœ ‰ Œ Ó
G9 triad subsets with chromatics below the third or fifth
& œ œG œ œ œ ‰Œ Ó
° # 4 thirdœ œ ‰ Œ œ œthird
b œ j ‰ Œ nœ œ#œ œ ‰ Œfifth œbœnœninth
œ j ‰ Œ nœbœ œ œ Œ J
& 4œ œ# œ J
flat
seventh nœ œ œ C9J œ
6 8 9 10 9 8 6
#œ œ
8 9 10 11 10 9 8 7 8 8 7
7 8 9 9 8 7 9 10 10 9
⁄ 10
10two chromatics below the third 10
10
two chromatics
10 below the fifth two chromatics
10 below the fifth
and flat 3 before natural 3
œ b œ œ b œ4œb3œ 2 5 j 5 4 b œ œ6# œ5 œ4 b5œ œ b œ œbœ œ

¢⁄& œ œ#œ œ
3 3 3 3 3
b œ œ#œ b œ œ#œ œ bœ œ ‰ Œ Ó
C‹7 2 6C‹9
œbœ œ œ ‰ Œ Ó
3 4 5 6 5 3 4
œ
5 5
° # œ œ6 #7œ8nœ8 n9œ10 ‰ 11Œ10 9nœ8 8œ7bœ6 nœ œ ‰ Œ nœ n8œ10 œ7 #8œ 6 œJ8 ‰9 Œ10 9 8œ b6œ8 nœ7 10nœ8 œ
flat flat flat fifth ninth
Bº third seventh third D‹
&⁄ 10 10 J 10
10J
10 J10 ‰ Œ
two chromatics below the third two chromatics below the fifth
triplet linear chromatics 3on4 thirds
5 5 4 3
¢⁄& œ œ #œ œ bœ nœ nœ
major 3 6 6 3 3 6 third 6 3
4 5third minor
œ bœ
6 6 5 4
Œ œ #œ œ bœ nœ Œ
3 3 3 3
Gm9 triad7 subsets with two 7chromatics below the third or fifth
° #
8 9 7 8 7
⁄
œ bœ nœ bœ j ‰ Œ bœ œ #œ nœ nœJ ‰ Œ nœ œ #œ nœ bœ ‰ Œ
10 11 10 10 11 11 10
G‹ B¨
œ
& œ bœ œ #œ J ‰ Œ œ J
two chromatics below the fifth two chromatics below the third
¢⁄
3 3 3 6 6 3
3 5 6 6 5 3 3 5 6 6 5 3
5 ©1998-2018 Jim
5 Gleason. All Rights Reserved.
B¨ D‹
¢⁄
3 6 6 3 3 6 6 3
4 5 6 6 5 4
Gm9 triad subsets with two chromatics below the third or fifth
° # bœ œ #œ œ ‰ Œ œ bœ nœ bœ œj ‰ Œ bœ œ #œ nœ nœJ ‰ Œ nœ œ #œ nœ bœ ‰ Œ
G‹ B¨
& œ J J
two chromatics below the fifth two chromatics below the third
¢⁄
3 3 3 6 6 3
3 5 6 6 5 3 3 5 6 6 5 3
5 5
° # œ#œ œnœ nœ œbœnœ nœnœbœ#œ œ nœ œ#œb œJ ‰ Œ n œ b œ nœnœ œ

B¨ D‹
& bœ J ‰Œ bœ ‰ Œ bœ Œ œ
J J ‰Œ
two chromatics below the fifth two chromatics below the fifth two chromatics below the fifth
and flat 3 before natural 3
3 4 4 5 4 3
¢⁄
3 4 5 6 6 5 4 3 6 5 4 3 3 6 6 3
3 3 6 3
EVERY-OTHER CHROMATIC CELLS

(start with two chromatics below the third and seventh or below the fifth and ninth)
Chromaticizing Every Other Tertian Tone

To make sure chord tones are on the beat, these four-note cells play two chord tones, then two chro-
matics. Ascending, the two chromatics ascend up to the chord tone on the next beat. Descending, the
two chromatics descend from the chord tone at the beginning of the beat (making them the second and
third of the four notes in the cell), followed by the next lower chord tone.
Ascending in thirds, chromaticizing every other tone (with two lower chromatic) creates the cycle
of chromaticized tones 4-1-5-2-6-3-7 (repeat), which is the cycle of fifths. Descending in thirds,
chromaticizing every other tone (with two lower chromatic) creates the cycle of chromaticized tones
7-3-6-2-5-1-4 (repeat), which is the cycle of fourths.
The question is, where do you start and stop to harmonize with the current chord? The answer is, you
want the highest chord tone to an acceptable chord tone and the lowest tone to be the root or major
sixth (if there is one) of the current chord. Acceptable thirteenths are IIm13, IVma13#11 and V13
(though the eleventh should not be emphasized strongly unless you want a suspended sound). The
highest acceptable tone of a VI type chord is the eleventh (VIm11). The highest acceptable tone of a
I type chord is the ninth (though the thirteenth can work if the eleventh is de-emphasized). Unless

third third fifth fifth
8 7 8 7 7 8 7
7 8 9 9 8 7 9 10 10 9 9 10 10 8 9
page⁄1494 10 Melodic Cells 10 Melodic Cell10Types Part105: Core Melody
10 and Melodic Cells back to contents
altered, III andbelow

two chromatics VII the
type chords
fifth are only acceptable astwo
for minor sevenths.
chromaticsIII cantheuse
below a flat
third nine if changed to a
for diminished
(with a majorœthird).
bœ VIIm11b5b9 is usable as an arpeggio ifbœthe b9 is de-emphasized.
œ bœ œ #œ nœ bœ œ Œ Ó
III7b9 C‹
œ #œ nœ bœ œ œ bœ œ Œ Ó
Cº
&
Descend from a note that can be an upper chord tone and descend only as far as the root or sixth (if
fifth third
there is a major sixth).
7 8 7
8 10 10 8 7 8 11 8 7
⁄ 10 10 10 11 11 10
Chromaticizing Every Other Chord Tone Examples

C7
œ œ#œ œ b œ œ b œ œ œbœ j
C9
œ œ#œ œb œ œ # œ œ b œ œ b œ œ#œnœ œ
& œ œ œ#œ œœ œ ‰ Œ Ó œ œ ‰Œ Ó
J
third flat third fifth ninth
seventh C9
6 8 9 10 9 8 6
8 9 10 11 10 9 8 7 8 8 7
7 8 9 9 8 7 9 10 10 9
⁄ 10
10 10
10
10 10
bœ œbœ œ b œ œ # œ œ b œ œ b œ œbœ œ
œbœ œ#œ œ bœ œbœ œ j ‰ Œ Ó b œ œ#œ œ bœ œ ‰ Œ Ó
C‹7 C‹9
& œ œ#œ œ œ
J
third seventh third
6 8 9 10 9 8 6
8 9 10 11 10 9 8 7 8 8 7
6 7 8 8 7 6 8 10 10 8
⁄ 10
10 10
10
10 10
triplet linear chromatics on thirds

major third minor third
œ #œ œ bœ nœ nœ œ bœ œ bœ nœ
& œ Œ œ #œ Œ
3 3 3 3
7 8 9 7 7 8 7
⁄ 10 11 10 10 11 11 10

Melodic
back to contents
Cell Sampler: Chromaticized
Part 5: Core Melody and Melodic Cells
3 & 7 orMelodic
Melodic Cell Types
5 & Cells
9 page 1495
Melodic Cell Sampler: Chromaticized 3 & 7 or 5 & 9
Cma9, C9, Cm9 triad subsets with two chromatics below 3 & 7, 5 & 9
œ œ b œwith 3 & 7, 5 &œ9 œ # œ œbœnœ œ œ
° # 4CŒ„Š7œ œ#œ œ œœ #subsets n œ two chromatics below
œ œbœnœ nœ#œ œ œnœ œ
Cma9,CŒ„Š7 CŒ„Š9
j ‰Œ Ó CŒ„Š9
œ
C9, Cm9 triad
œ b œ n œ œ œbœnœ œ œ œ œ # œ œ b œ n œ œ œ ‰Œ Ó
°& # 44 œ œ œ#œ œ œ œ # œ œ
œj
‰Œ Ó œ œnœ#œ œ œ œnœ œ œJ ‰Œ Ó
& 4œ œ 8 9 10 9 8 J
8 10 11 12 11 10 8 7 8 12 12 8 7
¢⁄ 10 10 7 8 9 8 10 11 12 11 10 8 9 8 7 10 10
7 8 9 9 8 7 9 10 8 9 10 9 8 10 9
10 10 10 7 8 12 12 8 7 10
¢⁄ C7 10
9 10 10 9
b œ œ # œ œ b œ n œ b œ œ œnœ
10 10
° # C7 œ œ#œ œ œ#œ œ b œ œ b œ nœ œ
10
nœ#œ
C9
œbœnœ œ j œ œ œb œ œ # œ œ b œ n œ b œ œ œ œ ‰Œ Ó
°& # œ œ œ#œœ œ#œ œ b œ œ b œ nœœbœnœœ œj ‰Œ Ó œ œnœ#œ œnœ œ œJ
C9
& œ œ ‰Œ Ó 6 8 9 10 9 8 6 J
‰Œ Ó
8 9 10 11 10 9 8 7 8 8 7
¢⁄ 10 10 7 8 9 8 9 10 11 10 9 8 9 8 7 10
7 8 9 9 8 7 9 10 6 8 9 10 9 8 6 10 9
10 10 10 7 8 8 7 10
¢⁄ C‹7
10 9 10 10 9
bœ œ#œ œbœnœbœ
10 10
° #C‹7 œ#œœbœœ#œ œ b œ œ b œ nœbœœbœnœ

10 10
j ‰ŒÓ C‹9œbœnœ#œœb œ œ # œ œ b œ n œ b œ œbœnœbœ

C‹9
œ ‰ŒÓ 44
°& # œ œ#œœbœœ#œ œ b œ œ b œ nœbœœbœnœ œj bœnœ#œœ œbœnœbœ Jœ ‰ŒÓ 4
& œ œ ‰ŒÓ œ 6 8 9 10 9 8 6 J 4
8 9 10 11 10 9 8 78 8 7
¢⁄
67 8 87 6 8 10 6 8 9 10 9 8 6 10 8
10 8 9 10 11 10 9 8 10 10 78 8 7 10
¢⁄
10 67 8 87 6 10 8 10 10 8
10 10 10 10
10 10
Fma9, F9, Fm9 triad subsets with two chromatics below 3 & 7, 5 & 9
° # 4FŒ„Š7 œ œnœ#œ œœbbœœnœ œ œ œbœ œ

Fma9,FŒ„Š7
F9, Fm9 triad subsets with two chromatics belowFŒ„Š9
œ œ#œ œbœnœ œ œbœnœnœ j ‰Œ Ó
3 & 7, 5 & 9
b œnœ j
° #4 œ
& 4 n œ œ #œ œ nœ œ œnœ#œ nœ œ œ nœj ‰Œ Ó
FŒ„Š9
œbœnœ œ
& 4 nœ œ#œ œ œ œ#œ œbœnœnœ œj ‰Œ Ó nœ œbœnœ œ œbœ œ nœ ‰Œ Ó
œ œ 8
¢⁄
7 8 9 8 7 9 10 11 11 10 9
7 10 10 7 8 9 10 8 10 9 8
¢⁄ F7 8 8 10 11
8 10 11 7 8 9 8 7 11 10 8 8 12 9 10 11 11 10 9 12 8
8 7 10 10 7 8 8 9 10 10 9 8
° # F7
11 10 8 8 12 12 8
bœnœ#œ œbœnœbœ œ œbœ œ j ‰Œ Ó

F9
b œ
8
œ#œ œ œbœnœ œ
°& # œ nœ œ#œ œ œ#œ œ bœ œbœnœ œbœnœnœ œj ‰Œ Ó nœ œb œnœ nœ#œ œbœnœbœ œ œbœ nœj ‰Œ Ó
F9
œb œ
& œ nœ œ#œ œ œbœnœnœ j ‰Œ Ó nœ œb œnœ œ nœ
œ
8
¢⁄ 8 8 10 11 7 10 11 7 8 12 11 10 7 11 10 8
7 8 8 10 11 11 10 8
7 10 11 12 11 10 7 8 9 10 8 10 9 8
¢⁄ F‹78 8 10 11
8 12 8 10 11 11 10 8 12 8
8 8 9 10 10 9 8
° #F‹7
11 10 8 8 12 12 8
bœnœ#œ œbœnœbœ œbœbœbœ

F‹9
œ#œ œ bœ œbœnœ
8
j ‰Œ Ó F‹9 b œnœ œ j
°& # œ nœ#œ œbœ œ#œ œ bœ œbœnœbœ œbœnœ b œ
œj ‰Œ Ó nœbœbœnœ œbœnœ#œ œbœnœbœ œbœbœbœ nœj ‰Œ Ó
& œ nœ#œ œbœ bœ œbœnœ
œ nœ nœ ‰Œ Ó
8
¢ ⁄
7 8 7 8 10 11 11 10 8
10 11 11 10 8 9 10 8 10 9 8
¢⁄ 8 8 9 10 11
8 9 10 11 7 8 7 11 10 9 8 8 11 8 10 11 11 10 8 11 8
8 10 11 11 10 8 8 9 10 10 9 8
11 10 9 8 8 11 11 8
8

FOUR-NOTE LINEAR CHROMATIC CELLS

Fill in all the tones of a major third, chromatically ascending or decending. With a minor third, play
four notes chromatically, starting on one chord tone and ending on another, but insert the ending chord
tone as the second note. Example 1: ascend 1-b3-#1-2-b3. Example 2: descend b3-1-2-b2-1.
When the cell begins on the beat, pickups may preceed the first chord tone with a number of notes one
fewer than the interval to the chord tone.
Four-Note Linear Chromatic Cell Examples

2
four-note linear chromatics on thirds

œ bœ nœ bœ nœ œ bœ #œ œ bœ nœ œ bœ
minor third
& œ #œ œ #œ
major third
Œ Ó œ Œ Ó
7 8 9 8 7 8 7 8 7
⁄ Melodic Cell Sampler: four-note linear chromatic
10 11 11 10 10 11 10 11 10
Melodic Cell Sampler: four-note linear chromatic

four-note freeform neighbor chromatics (any size arpeggio)
two chord linear
four-note tones, then two neighboring
chromatics on G9chromatics up or down to a chord tone on the next beat (eighths or sixteenths)
°four-note
# œ œnœon
œ G9 œ# œnœ#œ œ œ b œ œb œn œ bœ œ œ nœ
C13
œ œ
œ œ b œ œ b œ
G9
& G9 œ œœ#œ œ œ œ#œ œ #œ
b
linear œ
chromatics œ œ œ ŒÓ œ œ œ œ œbœ œ œbœn#œœbœnœ bœœ ŒÓ
b œ
&
° #
œœ#œ
nœ œ# œnœ#œ œœ œ
œ b œ œbœnœ œbœ
œ œ #œ œ #œ œ œ fifth œ œbœ œthird
& œ#œ œ#œ œ8 7 10 fifth10 10 7flat seven ninthŒÓ ninth flat seven
11 10 9
œbœnœbœ root
œ ŒÓ
⁄ 8
7 10
8 10 9 8
2 103 47
10 7
5
8
8
5 74 3
8
10 11
¢⁄
3 fifth
3 6 4 5flat
6 seven ninth ninth 7 flat
6 seven
3 5 4 fifth
3 third root
2 3 4 5 6 4 6 5 4 3 2
5 6 2 3 4 5 5 4 3 6 5
⁄
3 3 6 4 5 6 7 6 3 5 4 3
2 3 4 triplet
5 6 freeform neighbor chromatics (any size arpeggio)
¢ one chord tones, then two neighboring chromatics up or down to a chord tone on the next beat
4 6 5 4 3 2
5 6 6 5
four-note linear chromatics on Gm9

œ onœ Gm9
° &# œ œ œ#œ œnœ#œœœ#œ œ œnœ#œœ œ œ b œ œbbœœ3 nœœ œbœ bœ nœ œ œ #œ nœ j
C13 C13
œ
3 3
b œ
G‹9 3
œ œ œbœœbœbœ nœbœ ‰ŒÓ

3
œ bœ œbœnœ
four-note linear chromatics œ ŒÓœ
&
° # œ #œ nœ œ#œ nœ#œ œ œ b œ
œ œbœnœœœbœ œbœ nœ œ
œ j
G‹9
œ #œ
œœ#œ fifth 10 flat seven ninthŒÓ ninth
œbœ#œœbflatœnthird œbœbflatœnthird œ ‰ŒÓ
3
œnœbœ root
3
& root 7 10
flat seven fifth
10 7
⁄ 7
8
10 flat third
2 3 8 4 105 5 4 3 9
ninth 7 ninth 8 6 8seven
8
3 5 7 4 fifth
9 10
8 9 10
¢⁄
root
8 fifth
3 6 4 5flat
6 seven 7 flat 3 flat third root
3 2 3 4 5 6 6 5 4 3 2
5 6 2 3 4 5 5 4 3 5 6 5
encircling thirds
¢⁄
3 6 4 5 6 7 6 3 5 4 3
3 2 3 4 5 6 6 5 4 3 2
5 6 5 6 5
œ #œ œ œ bœ nœ œ œ #œ œ œ bœ œ bœ œ
7 8 10 9 8 7
©1998-2018 Jim Gleason. All Rights7 Reserved.
10 8 7
⁄ 10 9 10 10 11 11 9 10
œ#œ b œ œMelody
Part 5:œCore b œ œ œand œ # œ œ b œ œ b œ œMelodic Cells page 1497
b œ œTypes
œ#œ #œnœ œ œ ‰ Œ Ó
back to contents Melodic Cells C9Melodic Cell
œ b œ j œ
C7
& œœ œ #œ œ œ œ ‰Œ Ó œ
J
TRIPLET (THREE-NOTE) LINEAR CHROMATIC CELLS
third flat
seventh
third
C9
fifth ninth
6 8 9 10 9 8 6
8 9 10 11 10 9 8 7 8
To use a single
7 8 neighbor,
9 begin the9 triplet
8 7 with two chord 9tones.
10 End the triplet an8upper
7
10 9or lower scalar
⁄ 10 10 10
neighbor to a chord tone on the next beat, or with a lower chromatic neighbor.
10 10
10
œ#œ œ btones,
œ œ b œ begin
œbœ œbwith œb œ œ #with
œ twoœneighbors
b œ œbœ œ to a chord tone œbœ
b œ j œ#
chord tonebœandœ bœ œ ‰ Œ Ó
C‹7 C‹9
œ#œ œ
To use two neighboring œ
& œ the next beat. The next beat couldœ one
‰ Œ Ó œ follow
œ be another free neighbor cell or any cell beginning
beginning J with a
chord tone. third seventh third
6 8 9 10 9 8 6
8 9 10 11 10 9 8 7 8 8 7
6 7 8 8 7 6 8 10 10 8
⁄ 10linear chromatic cell examples
triplet
10
10
10 10 10
triplet linear chromatics on thirds

œ #œ œ bœ nœ nœ œ bœ œ bœ nœ
& œ Œ œ #œ Œ
3 3 3 3
Melodic
Melodic Cell
Cell Sampler:
Sampler: triplet
7
triplet linear
8
linear chromatic
chromatic cells
9
cells 7 7 8 7
⁄ 10 11 10 10 11 11 10
triplet linear chromatics on G9

° # 4 œœ bb œœ œœnœ œbœ œbœ œ œbœ3 ©2014 Jim Gleason. nœ œ#œ nn œœ
triplet linear chromatics on G9 3
°& # 4 œ#œ œ# œ œ
nœ œbœ œbœ œ nœ œ Œ Ó œ œœ##œœ œœ œ#œ œ#œ œnœ œ#œ ŒŒ ÓÓ
3
All Rights Reserved.
œb œ Œ Ó
3
& 4 3 3 3
nœ œ œ 3 3
3 3
ninth b73 fifth
3 third 3 3 3
ninth b7 fifth third
5 4 3 3 4 5
¢⁄⁄
5 4 3 6 5 4 4 5 6 3 4 5
6 5 4 7 6 5 2 3 4 5 6 7 4 5 6
¢
7 6 5 9 8 7 5 5 2 3 4 5 6 7
9 8 7 5 5
triplet linear chromatics on Gm9

° # œœ bb œœ œœnœ œbœ œbœ œbœ 3 nœnœ#œ œœ
triplet linear chromatics on Gm93
°& # œ#œ œ# œ œ
nœ œbœ œbœ œ nœbœ œ Œ Ó œ#œnnœœbbœœ œ#œ œ#œ œnœnœ#œ ŒŒ ÓÓ
3
bœnœbœ œ Œ Ó
3
& 3 3 3
œ#œ 3 3
3 3 3 3
3 3 3
5 4 3 3 4 5
¢⁄⁄
5 4 3 6 5 4 4 5 6 3 4 5
6 5 4 7 6 5 5 6 7 4 5 6
¢
7 6 5 8 7 6 5 5 6 7 8 5 6 7
8 7 6 5 5 6 7 8
three-note linear chromatics on G9 with linear heptatonic pickups

three-note linear chromatics on target
G9 with linear heptatonic pickups
° # œ
the number of pickup notes plus the (1 note) equals the interval from the starting note to the target
œ nœ œ œ bœ œ nœ œ nœ bœ
°& # ‰ ‰ œJJ
the number of pickup notes plus
3 the target (1 note) equals the interval from the3starting note to the target
œ nœ œ œ bœ œœ œ bœ3 œ œ œ nœ œ nœ bœ œœ nœ bœ3 œ œ Œ Ó
& 3
œ bœ œ œ ‰ 3‰ 3
nœ bœ œ œ Œ Ó
3 3
3 3 ©1998-2018 Jim 3Gleason. 3All Rights 3Reserved.
3 pickups +1 = fourth 4 pickups +1 = fifth
3 1 5 3 1
5 4 3 3 4 5
5 4 3 6 5 4 5 6 3 4 5
¢¢⁄⁄
4
6 5 4 7 6 5 5 6 7 4 5 6
7 6 5 8 7 6 5 5 6 7 8 5 6 7
8 7 6 5 5 6 7 8
three-note
three-note linear
linear chromatics
chromatics on
on G9
G9 with
with linear
linear heptatonic
heptatonic pickups
pickups
° œ œ nœ
the
the number
number of
of pickup
pickup notes
notes plus
plus the
the target
target (1
(1 note)
note) equals
equals the
the interval
interval from
from the
the3starting
starting note
note to
to the
the target
°& ## œœ nnœœ œœ œœ bbœœ œœ œ bœ3 œ œ ‰‰ ‰‰ œJJ œ nœ œœ nnœœ bbœœ œœ nnœœ bbœœ œœ œ ŒŒ
target
3
ÓÓ
3
& 3 œ bœ œ œ œ
3 3 3 3
3 3 3 3 3
3 1 5 3 1
3 1 5 3 2 1 5 3 1 5 3
¢¢⁄⁄
2 1
5 3 2 1 4 3 2 5 3 2 1 4 3 2
4 3 2 5 4 3 2 5
5 5
triplet
triplet linear
linear chromatics
chromatics on
on Gm9
Gm9 with
with linear
linear heptatonic
heptatonic pickups
pickups
° nn œœ œœ nœ œ nœ bœ
the
the number
number of
of pickup
pickup notes
notes plus the
the target
target (1
(1 note)
note) equals
equals the
the interval
interval from
from the
the3starting
starting note
note to
to the
the target
°& ## œœ nnœœ œœ œœ bbœœ œœ bœ œ3bœ œ
plus target
‰‰ ‰‰ JJ nœ œ nœ bœ œœ bbœœ nnœœ bbœœ œ ŒŒ
3
bœ œ bœ œ ÓÓ
3
& 3 3 3
œ
3 3 3 3 3
3 3
3 1 0 5 3 1
3 1 0 5 3 1
¢¢⁄⁄
3 2 1 5 3 2 1
3 2 1 3 2 1 5 3 2 1 3 2 1
3 2 1 5 3 2 1 5
5 5

œ œ œ œ
C13 C13
œ bœ œ œ bœ nœ œ œ #œ nœ
3 3
œ bœ œ œ œ
3 3 3
&
œ œ Part 5: Core
back to contents 3
Melody and
3 Melodic Cells œ Cell Types
Melodic Melodic Cells page 1499
⁄
ENCIRCLING CHROMATIC CELLS, FOUR NOTE
7 10
8
7 10
10
10 7
8
10 7 9 8 7
8 9 10
8 9 10
8 8
encircling thirds
œ #œ œ œ bœ nœ œ œ #œ œ œ bœ œ bœ œ
7 8 10 9 8 7 7 10 8 7
⁄ 10 9 10
Chromaticized 10 11
Thirds And Triads 11 9 10
3
encircling thirds within a triad

four versions for each chord type
œ bœ œ œ
œ œ œ #œ œ
œ œ bœ œ œ œ œ œ #œ œ
C
& œ J ‰ Œ Œ J ‰ Œ Œ
8 7 8 8 7 8
10 9 7 ©2014
8 Jim
9 Gleason. All Rights Reserved.
10 9 7 8 9
⁄ 10 10 10 10
œ bœ œ bœ œ œ bœ œ bœ œ
#œ œ bœJ ‰ Œ œ #œ œ bœJ ‰ Œ
C‹
& œ J ‰ Œ œ œ J ‰ Œ
8 7 8 8 7 8
10 8 6 7 8 10 8 6 7 8
⁄ 10 10 10 10
bœ œ bœ bœ bœ bœ bœ
#œ œ bœJ ‰ Œ œ œ bœ bœJ ‰ Œ œ #œ œ bœJ ‰ Œ
Cº
& œ J ‰ Œ œ
7 7 7 7
10 9 8 6 7 8 10 9 8 6 7 8
⁄ 10 10 10 10
encircling thirds
These are four-note cells, intended to resolve on the fifth note. Encircled major thirds ascend 1-2-#2-4
to target 3 and descend 3-b3-2-7 to target 1. “4” is an upper neighbor to 3. “7” is a lower chromatic
embellishment.
Encircled minor thirds ascend 1-#1-2-4 to target b3 and descend b3-2-b2-7 to target 1. “4” is an upper
neighbor to b3. “7” is a lower chromatic embellishment.

Pickups may preceed the first arpeggio tone with a number of notes one fewer than the interval to the
arpeggio tone.
encircled
2 third within a triad Chromaticized Thirds And Triads
These are easiest to conceive in numbers or music notation. These four-note cells can be any of the
following: encircling thirds within a triad
four versions for each triad type
œ bœ œ œ œ œ #œ œ œ bœ œ œ œ
œ œ #œ œ
C
& œ J ‰ Œ œ Œ œ J ‰ Œ Œ
1 5 b5 4 3 1 5 2 #2 3 5 1 b5 4 3 5 1 2 #2 3
œ bœ œ bœ œ œ #œ œ bœJ ‰ Œ œ œ bœ œ bœ œ œ #œ œ bœ
C‹
& œ J ‰ Œ J ‰ Œ J ‰ Œ
1 5 b5 4 b3 1 5 #1 2 b3 5 1 b5 4 b3 5 1 #1 2 b3
bœ œ bœ bœ œ bœ #œ œ bœJ ‰ Œ bœ œ œ bœ bœJ ‰ Œ bœ œ #œ œ bœ
Cº
& œ J ‰ Œ J ‰ Œ
Encircled ird In Triad
Encircled ird In Triad
1 b5 4 b4 b3 1 b5 #1 2 b3 b5 1 4 b4 3 b5 1 #1 2 b3
encircling thirds within ninth chords
1-5-2-#2 to 3 type on G9
° nœ œ œbœ
1-5-2-#2 to 3 type on G9
°& ## 44 Ó™™ nœ#œ œ œœ œ#œ œœnnœœ œœ##œœ œœn œ ##œœ œœnnœœnnœœ Œ œ œœ œbœnnœœ œœ œœbbœœ
G9
G9
œœnœbbœœ œ œ œbœ œ Œ Ó
& 4 Ó nœ#œ œ œ#œ Œ nœ œ œnnœœ œbœ œ Œ Ó
5 5 3 2
¢¢⁄⁄
3 6 3 5 4 5 6 3 5 3 3 2 6 5 4 3
3 2 3 4 6 5 6 3 4 5 6 3 3 6 4 5 4 3 6 5 4 2
3 4 5 2 3 4 5 6 4 5 6 5 4 3 2 6 5
3 4 5 5 3 6 5
1-5-2-#2 to 3 type on Gm9

° œ œ œbœ
1-5-2-#2 to 3 typeG‹9
on Gm9
°& ## Ó™™ nœ#œ œ œœ#œ œbœnnœœ œœ##œœ œœ œ ##œœ œœnnœœnnœœ Œ œ œœ œbœnnœœbœ œœbbœœ œœ œbœbœ œbœ Œ Ó
G‹9
& Ó nœ#œ œ #œ œbœ Œ bœ nnœœ œbœbœnœ œbœ œœ Œ Ó

nœ
G‹9
G‹9 5 5 3 2
¢¢⁄⁄
3 6 3 5 4 5 6 3 5 3 3 2 6 5 4 3
3 2 3 6 5 6 3 4 5 6 3 3 6 3 5 4 3 5 4 3 2
3 4 5 6 2 3 5 6 3 5 5 4 3 3 2 6 5
3 4 5 6 5 3 6 5
1-5-2-#2 to 3 type on Gma9

°
°& ## #œ nœ œ œ bœ œ œ
ÓÓ™™ nœ#œ œ œœ œ#œ œœ#œ œœ##œœ œœn œ œœ##œœ œ œœ ŒŒ œ œœb œ œ œœœœœnnœœbbœœ œœ œbbœœ œœ œœ œnœbœ œ ŒŒ ÓÓ
GŒ„Š9
GŒ„Š9
& nœ#œ œ œ#œ ©1998-2018 Jim Gleason. All Rights Reserved. œ œnœbœ œ
2 5 2 5 4 3 2
3 2 3 5 5 6 2 3 5 3 4 3 2 5 4 3
G‹9
5 5 3 2
⁄ to contents
3 6 3 4 5 6 3 3 6 5 4 3
b¢ack
2 3 5 6 3 5 4 3 2
3 4 5 6 5 3 6 5
Part 5: Core Melody and Melodic Cells Melodic Cell Types Melodic Cells page 1501
° # Ó™ œ œ#œ œ#œ œ#œ œn œ œ#œ œ œ Œ œ œb œ œ œœœnœbœ œ bœ œ œ nœbœ Œ Ó

GŒ„Š9
& nœ#œ œ œ œ œ
2 5 2 5 4 3 2
¢⁄
3 3 5 6 3 3 5 4 3
3 Melodic
45 Cell Sampler: encircling chromatic
2 3 4
5
6 5 4 5
4
2 6 4
6 5
Melodic Cell Sampler: encircling chromatic

encircling
encircling chromatics
chromatics on
on thirds
thirds within
within G9
G9
° encircling
# 4 G9 chromatics œ œ œœ#œ œG9œ œ b œ œœnœœbœ#œ œbœnœ
œnwithin
G9
& 4 G9œœ#œ œœ œ #œ 4onœ#thirds

œ ŒÓ œbœnœ#œ œ ŒÓ
4 œ #œ
° # 4 root œthird œ#œœœnflat
œœ#œœ 44 fifth
œ œ b œ
œœ#œ ninth ninth œœnflatœœseven bœ#œ fifth
œbœnœ#œthird
œœ#œ third
& 4 root fifth flat seven
seven ŒÓ ninth
ninth flat seven fifth œbœnœ#œ root
third œ ŒÓ
root
33 33 44 77 55 55 44 33
¢⁄
5 33 44 55 flat
66 seven 55 flat
66 seven
55 44 33 6 5
root2 33 55third
44 55 66 5 fifth ninth ninth 66 fifth 33third
44 33 22 root
55 2 6 5 44 55
3 3 4 7 5 5 4 3
⁄
5 3 4 5 6 5 6 5 4 3
¢ encircling
2 3 5 4 5 6 6 6 5 3 4 3 2
5 4 5
chromatics onon thirds
thirds within
within Gm9 Gm9
° encircling
#
G‹9
nœnœwithin b
œ#œ Gm9 œ œ œ b œ œ nœ
œ œ#œ œ œ # œ œ œ œbœ#œ œbœnœnœbœœbœ œŒÓ 4
G‹9
& G‹9 œ#œœ b œ

chromatics on thirds
ŒÓ #œ 4
° # root œbflatœœthird nœ nœ œ #œ b œ œ œ b œ œ nœ
œ
#œ fifthœ # œ œ ŒÓ ninth œ œ b œ œ b
seven #œ fifth
œ
fifth nœnœbflat
œœthird rootŒÓ
4
& rootœ#œœ flat third fifth flat seven
flat seven ninth
ninth ninth flat seven
flat
flat bœ#œ root
third
œ 4
3 33 44 66 55 55 44 33
33 44 55 3 flat
¢⁄
root 2 5 flat third 55 fifth 66 seven ninth ninth 55 flat
66 seven
55 44 33
fifth
3 5 6 66 66 55 22 flat third
33 7 6
root
55 66 2 5 3 5 6 7 6 44 55
3 3 4 6 5 5 4 3
¢⁄
5 3 4 5 6 5 6 5 4 3
2 5 3 5 6 6 6 5 2 3
5 6 7 6 4 5
four-note
four-note linear
linear or
or encircling
chromatics on
on G9
G9 with
with four-note
four-note linear
linear heptatonic
heptatonic pickups
pickups
the
the number
number of
of pickup
pickup notes
notes plus
plus the
the target
target (1
(1 note)
note) equals
equals the
the interval
interval from
from the
the starting
starting note
note to
to the
the target
target
° the# 4number nœ nœ œ œ
four-note
G9 linear or encircling chromatics on G9 with four-note linear heptatonic pickups
œ œ œ œ #œ œ
G9
of pickup notes plus the target (1nœ œ œnoteœ toœthe target
& 4 œ Ó nœ œ œ #œ
note) equals the interval from the starting
œ Ó
° #4
G9
nœ #œ œ nœ œ nœœ œ œ œ
& 4 44œpickupsœ œ œ œ Ó œ œ #œ œ œ œ œ œ Ó
+1 = fifth
pickups +1 = fifth 55 4œ
4 pickups
pickups œ
+1 n
=œ
œ +1 = fifth
fifth
¢⁄
33 66 44 55 66 66 33 33
22 +1
4 5pickups 44 =55fifth 55 4 pickups +1
2 =3fifth5 22 33 55 44 44
5 5 33 55 2 3 5
⁄
6 4 5 3
6 6 3 3
¢ four-note
2 4 5 2 3 5 4 4
5 2 3 5 5
3 5
linear or encircling chromatics on Gm9 with four-note linear heptatonic pickups
four-note linear or encircling chromatics on Gm9 with four-note linear heptatonic pickups
the
the number
number of
of pickup
pickup notes
notes plus
plus the
the target
target (1
(1 note)
note) equals
equals the
the interval
interval from
from the
the starting
starting note
note to
to the
the target
target
° the# G‹9 nœnotes nthe œ œ n(1œnote) equals the interval from the starting note
œ target
œ
G‹9
œ b œ œ
number of pickup œ # œ plus
Ó œ œ bœ œ toœ the target
Ó
& œ œ œ nœ œ #œ nœ
° # nœ #œ œ nœ œ nœ œ œ
G‹9
œ
& 44œpickups b œ œ œ Ó œ #œ œ œ bœ œ œ nœ Ó
+1 = fifth
pickups +1 = fifth 55 4œ
4 pickups
pickups œ
+1 n
=œ
œ +1 = fifth
fifth
¢⁄
33 66 44 55 66 66 33 33
22 +1
4 5pickups 33 = 55fifth 1 2 5
22 = 33fifth55 1 2 5
4 pickups +1 33 33 55
5 5
4 ©1998-2018
6 Jim
3 Gleason. All
3 5Rights Reserved.
3 5
¢⁄
3 6 5 6 3
2 3 5 1 2 5 3 3
5 2 3 5 5
3 5
4 pickups +1 = fifth 4 pickups +1 = fifth
5
¢⁄ Melodic Cells
3 6 4 5 6 6 3 3
2 4 5 2 3 5 4 4
5 2 3 5 5
page 1502 Melodic Cell Types Part
3 5 5: Core Melody and Melodic Cells back to contents
the number of pickup notes plus the target (1 note) equals the interval from the starting note to the target
° # nœ #œ œ nœ œ œ nœ
G‹9
b œ œ œ Ó œ œ bœ œ œ nœ Ó
& œœ œœ œ nœ œ #œ
4 pickups +1 = fifth 4 pickups +1 = fifth
5
¢⁄
3 6 4 5 6 6 3 3
2 3 5 1 2 5 3 3
5 2 3 5 5
3 5
FREEFORM NEIGHBOR CHROMATIC CELLS, FOUR-NOTE

Four-note free-neighbor cells are a more intentional version of chromaticized arpeggios, where the first
two notes (of four) are always chord tones. The four-note group starts on the beat and is made up of
half-beat notes (eighth notes in 4/4, 3/4 or X/4) or quarter-beat notes (sixteenth notes in 4/4, 3/4 or
X/4).
Begin on a beat. Play four notes where the first two notes are chord tones within the range of a sixth and
the last two tones are linear chromatic scalar upper or lower neighbors to a chord tone on the next beat.
The next beat could be another free neighbor cell or any cell beginning with a chord tone. To avoid odd-
sounding chromatics, use two upper scalar neighbors (instead of chromatic) when the upper neighbor
to the next target tone is a half step.
The third and fourth notes can be a combination of upper and lower neighbors to the target chord
tone on the following beat, making it a type of encircling. In this case, the third note could be a lower
chromatic and the fourth note an upper scale neighbor to the target. Or, vice-versa, the third note could
be an upper scale tone and the fourth note a lower chromatic to the target. See encircling chromatics
below.

œ #œ 3 œ 6bœ 3 nœ4 bœ5 3nœ Œ œ bœ #œ œ bœ 5nœ œ 6bœ 4œ
& œ 433#œ Ó2 Œ4 Ó
¢⁄
3 6 3
5 5 3 5 6 3 4
¢⁄
3 5 2 6 3 5
4 6 4 2 6 4 4
3 5 5 6 3 4
back to contents Part 5: Core Melody and Melodic Cells 5 Melodic
2 Cell Types Melodic Cells5 page 1503
7 8 9 8 7 8 7 8 7
⁄triplet
10 11
four-note
free-neighbor
free-neighbor
cell examples
11 10
chromatic
on Gm9
cell
10
examples
11 10 11 10
° # G‹9 j œ #œ œ œ œ œ nœ œ
G‹9 free-neighbor cell examples
triplet 3 on Gm9
b œ
œ ‰ œ Ó
œ nœ chromatics (any œsize #œ œ œ bœ œ Œ
°& # n œœj œfour-note œ œ freeform œ œ #œ n œ
œ Ó tone on the next œ
œ œchromatics
#twoœ neighboring #œ œ 3 œorbsixteenths)
neighbor arpeggio)
œ #œ upœornœdownœtobaœchord
3
nbC13œœ tones,
&two chord ‰ œthen
bœ
3 beat (eighths œ œ Œ
œ œ 5 #5 6 2 b7
3 3
3 bœ
& œ bœ œ œ 1 31 #4 5 3b3 6 œ œ œ 5 b3
œ bœ bœ 2œ b7 #4 œ 5 œ31 nœ2 #œb3 nœ` bœ
œ3 œ 1 31 #4 35 b3 6 5 #5 6 œ2 œb7 5 œb3 œ 52 b7 #4 5 1 2 b3 `
¢⁄ ⁄
5 3 6 3
3 3 6 3 2 5 6 3 3
33 5 3 10 5 5 6 3 7 5
¢⁄
3 5 1 6 3
3 7 6 10 3 10 7 2 11 6 10 93 3
3 7 8 58 610 10 9 8 107 75 8
10 5 7 3 7 10 11
8 8 5 81
triplet freeform neighbor chromatics (any size arpeggio)

four-note free-neighbor cell examples on G9
° # G9 3 ™ œb œ œ
one G9 tones,
chord
four-note then two neighboring
free-neighbor chromatics on
cell examples up or
G9down to a chord tone on the next beat
œ 3 œ#œ nœ œ Œ Ó Ó œ 3œ nœ#œœ 3œ œ Œ Ó
° &# œ œ œ bœ œ#œ œ œ
& œ œ nœ œ œ
C13 C13
œ œ œ œ ™ œ œ # œbœ œ œ œœbœbœœ nœnœ#œ œœ #œ nœ
3
& œ œ œ#œ nœ œ#3œ œ nœ 3Œ Ó Ó œ

œ
œ œŒ Ó
œ œ#œ
3
¢⁄⁄ 83 5 7 2 103 4 5 6 2 3 2
3 10 5 4 3 3
2 3 48 7 10 10 7 4
5 2 3 8 8 39 5 106 5
10 7 9 8 7 83 9 10
¢⁄ G‹9
38 4 5 4 5 4 3 5 6
5
5 6 2 3 4 5
° # G‹9 minor third œbœ œ œ

encircling thirds
œ thirdœbœ ™ nœ#œ œ 4
°&&# œœ œœ#œ#œ œ œœ#œbœœnœnœbœœ œ Œ Ó ™ œœ# œ#œ œœbœœœbbœœ œœ œbœnœ#œœ œœ œ ŒŒ ÓÓ
Œ Ó Ó 44
major
& œ#œ œbœ œ#œ œ nœ Œ Ó Ó

œ#œ œ
bœ œ Œ Ó 4
bœ 3
¢⁄ ⁄
3 5 4 3 3
7 8 2 103 9 8 7 7 3 10 8 7 3 5 6
3 5
10 6 2 39 10 10 11 11 9 3 5
10
¢⁄
5 4 3
2 3 5 6
6
3 4 5 3 5 6
5 6 2 3 5
5 6 3 4 5
6
ENCIRCLING CHROMATICS, SIX NOTE ©2014 Jim Gleason. All Rights Reserved.
four-note freeform neighbor cells with two chord tones added before a chord tone
These work well for pairs of triplets. ©2014 Jim Gleason. All Rights Reserved.

FREEFORM NEIGHBOR CHROMATIC CELLS, TRIPLET

Triplet free-neighbor cells start with a chord tone on the beat and divide the beat into three equal parts
rhythmically, or on the half beat and divide the half beat into three equal parts.
They can be very mentally intensive, so use fingerings that are mechanically and graphically easy for you.
They are typically intensive to listen to as well, and should be used sparingly. Avoid playing more than
two consecutive tripet free-neighbor cells. This is due to the likelyhood that over half the time, you may
be playing tones not in the chord and chromatic tones not in the scale a third of the time.
To use a single neighbor, play triplets where the first two notes are chord tones within the range of an
octave or less. The third tone is a scalar upper or lower neighbor or a lower chromatic neighbor to a
chord tone beginning the next beat (also within an octave of the first two of the four notes). The next
beat could be another triplet free neighbor cell or any cell beginning with a chord tone.
Triplet free-neighor cells ending with two neighbors should be used less frequently, usually not con-
secutively. Play a chord tone first. The last two tones are linear scalar or chromatic upper or lower
neighbors to a chord tone on the next beat. The next beat could be another triplet free neighbor cell
or any cell beginning with a chord tone. Like with four-note free-neighbor cells, avoid odd-sounding
chromatics by using two upper scalar neighbors (instead of chromatic) when the upper neigbor to the
next target tone is a half step.

œ œ œ œ œ bœ œ œ
C13
& œ b œ œ œ œ œ bœ bœ œ nœ #œ nœ bœ
œ œ œ œ œ
10
triplet
⁄ free-neighbor chromatic cell examples
7 10 10 7 11 10 9
8 8 10 9 8 10 7 8
7 10 10 7 7 10 11
8 8 8
triplet freeform neighbor chromatics (any size arpeggio)

one chord tones, then two neighboring chromatics up or down to a chord tone on the next beat
œ œ œ œ
C13 C13
œ bœ œ œ bœ nœ œ œ #œ nœ
3 3
œ bœ œ œ œ
3 3 3
&
œ œ 3 3
œ
10
⁄ 8
Melodic
Melodic Cell
7
Cell Sampler
10
Sampler -- Triplet
8
Triplet Free-Neighbor
7 10
Free-Neighbor
10 7
8
10 7
8
9 8 7
8 9 10
8 9 10
encircling thirds
triplet free-neighbor cell examples on G9
œ œ bœ cell examples on G9 œ #œ œ œ bœ œ bœ œ
&# 4œ G9œ œ#œ nœ œ
triplet free-neighbor
°
°& # 4 œ œ ##œœ œœ bbœœ œ
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Œ Ó œ
G9
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3
nnœœ ##œœ œœ nnœœ œ œœ œœ œ œœ ##œœ œœ nnœœ nœ œ ŒŒ ÓÓ

3
& 4œ œ nœ œ œ
3
73 8 10 9 8 7
3
3
3 7 10 8 7
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⁄ 10 9 3 10 10 11 11 9 10
3
¢¢⁄⁄
3 3 5 4 3
6 3 5 4 3 2 3 4 2
6 3 4 5 3 3 5 2 3 4 2 3
3 4 5 3 5 3 5 3 5 2
5 5 2
triplet free-neighbor cell examples on Gm9

triplet free-neighbor cell examples on Gm9
° œ œ
°& ## œ œ
œœ nnœœ œ œ 33
G‹9
‰‰ JJ ‰‰ œ©2014 œJim Gleason. œ b œ œ ŒŒ

G‹9
##œœ AllœRightsbReserved.
œ œ nnœœ œ # œ œ nnœœ
3
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3
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3 3 3
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3 3 3 6 5 3
6 5 3 2 3 2
6 2 3 2 3 5
6 3 3 4 5 5
3 4 5

LOOPING CHROMATIC CELLS

HARMONIC TYPE MELODIC CELLS

HARMONIC CADENCES
(turnarounds, see Voice Leading and Modal II V I Cadences)
SUPERIMPOSED CHORD PROGRESSION

(see, Substitution, Melodically Superimposed Cadences and Voice Leading/Four-Beat Cadences)
Secondary Roots
on the third and sixth with various melodic cells
the tertian cycle

Tertian implies made of thirds. The interval of a third is counted inclusively, so the interval from scale
tone one to scale tone three or from scale tone two to scale tone four are called thirds. Chords are con-
structed in thirds by default, using the tertian cycle 1-3-5-7-2-4-6-1-3, etc. The tertian cycle harmony
Three-note chords built in thirds are called tertian triads. Any four-note tertian chord contains two
subset triads. Any five-note tertian chord contains two tertian quadrad subsets and three tertian triad
subsets.
triad subsets of each original chord

For each original chord, consider all of its potential versions of ninth and sixth chords. In the major
scale, usable ninth chords occur on all scale tones except not seven and three. Sixth chords occur on
steps I, IV, V and II. IIm6 is not very usable in cadences like II V I, but more as a tonic chord in a minor
key.
Most of the original chords in a progression have potential substitutes based on secondary roots.
Secondary roots are on the root, third, fifth or sixth (if the chord has a sixth) of each original chord.
Secondary roots on the sixth are primarily used with major chords (C6 used for Cma7 or for C7, not
so much for Cm7).
These substitute progressions work best with major scale-tone chords, where there are many options.
As necessary, study the chapters Chord-Naming Conventions, Major Scale Tone Triads, Scale Tone
Seventh Progression, Recognizing Scale Tone Chords and All Scale Tone Chords.

use in comping or single-note soloing

First, play substitute progressions in chords. Once you can play these in chordal form, use the same
thought to get chord names for neighboring chords that you express with melodic cells and phrases.
Think the substitute chords, express them in single notes, all the while listening to its effect against the
original chords. So, it helps to play with another musician, a recording or software playing the chords.
Triad cells may be used as secondary roots on the third, fifth, sixth and sometimes the seventh. They
are based on thirds, subsets and synonyms. See Substitution and Shared Thirds: Secondary Roots.
secondary root on the third

A secondary root on the third of a chord can be used when a four-note chord is built in thirds (tertian
quadrad), such as Ima7 (1-3-5-7), IIm7 (2-4-6-1), or IIIm7 (3-5-7-2). In each case, the chord without
a root becomes a triad its third. Cma7 (1-3-5-7) without a root is 3-5-7, which is a III minor triad.
Dm7 (2-4-6-1) without a root is 4-6-1, which is a IV major chord.
The same logic works with five-note chords built in thirds (tertian pentads), such as Ima9 (1-3-5-7-2),
IIm9 (2-4-6-1-3), or IVma9 (4-6-1-3-5). Each chord without a root becomes a seventh chord (tertian
quadrad). Cma9 (1-3-5-7-2) without a root is 3-5-7-2, which is a IIIm7 chord. Dm7 (2-4-6-1-3)
without a root is 4-6-1-3, which is a IVma7 chord.
Chords built on III and VII of the major scale imply ninth chord types that are not currently accepted:
Im7b9 and VIIm7b5b9.
Secondary roots on the third of chords in the key of C:
seventh name in C parent tones seven no root tones synonym

Cma7 1-3-5-7 3-5-7 Em
Dm7 2-4-6-1 4-6-1 F
Fma7 4-6-1-3 6-1-3 Am
G7 5-7-2-4 7-2-4 B dim.
secondary root on the sixth

To use a secondary root on the sixth of a chord, it must be chord whose chordscale incluedes a sixth. In
the major scale, this is chords built on I, II, IV or V.
A secondary root on the sixth of a chord can be used when a four-note chord is a triad built in thirds
(tertian), with an added sixth, such as I6 (1356 or 6135), IIm6 (2467 or 7246), or IIIm7 (3572). In each
case, the sxith chord is a synonym of a seventh chord (tertian quadrad) built on its sixth.

Secondary roots on the sixth of chords in the key of C:
sixth & synonym sixth name in C parent tones synonym parent tones triad of synonym
I6 = VIm7 C6 1-3-5-6 Am7 6-1-3-5 Am
IIm6 = VIIm7b5 Dm6 2-4-6-7 Bm7b5 7-2-4-6 Bdim
IV6 = IIm7 F6 4-6-1-2 Dm7 2-4-6-1 Dm
V6 = IIIm7 G6 5-7-2-3 Em7 3-5-7-2 Em
major scale-tone secondary root triads in fourths

VIIm7b5 IIIm7 VIm9 IIm9/6 V9/6 Ima9/6 IVma9/6 I9/6 IV9/6
in C Bm7b5 Em7 Am9 Dm9/6 G9/6 Cma9/6 Fma9/6 C9/6 F9/6
on sixth VII dim IIIm VIm IIm VIm IIm
on root VII dim IIIm VIm IIm V I IV I IV
on third IIm V I IV VIIdim IIIm VIm III dim VI dim
Any sequence of chords with roots ascending in perfect fourths can be substituted with a parallel
sequence on the third of each chord. For the series IIm-V-I-IV, a parallel sequence can occur on the
sixth of each chord.
Notably, IIm V I can be substituted with VIIdim-IIIm-VIm or VIIdim-III-VIm. Conversely, VII dim-
IIIm-VIm (B dim-Em-Am) can be substituted with IIm-V-I (Dm-G-C). This gives tangible meaning
to the concept of relative major and relative minor, using entire relative cadences. These cadences could
be called relative major cadence and relative minor cadence.
For any three triads in fourths, upward stepwise voice leading can occur beginning on the fifth of the first
chord of the three. For example, IIm-V-I (Dm-G-C) can voice-lead major scale tones 6-7-1 (A-B-C),
since “6” is the fifth of the IIm chord, “7” the third of the V chord and “1” the root of the I chord.
Flat Five (Tritone) Substitute
Chromatic Passing Chords

IIm and IIIm can be connected with a chromatic chord in-between, ascending IIm-#IIm-IIIm (Dm-
D#m-Em) or descending IIIm-bIIIm-IIm (Em-Ebm-Dm). Likewise, IV and V can be connected,
ascending IV-#IV-V (F-F#-G) or descending V-bV-IV (G-Gb-F).
Diminished chords can be used to descend roots a whole step. Follow a major or minor triad with a dimin-
ished triad on the same root, then the scale tone chord down a whole step. V-V dim-IV or IIm-IIdim-I,

for example. In ascending a whole step, a major seventh, dominant seventh or minor seventh works better
than a triad, such as V7-#Vdim7-VIm (G7-G#dim7-Am). The triad part works, too, but not as strongly:
V-#Vdim-VIm (G-G#dim-Am).
Another way to chromatically connect roots descending a whole step is with a dominant seventh in-
between. This is categorized as a flat five substitute. IIm7-bII7-I7 is a substitute for IIm-V7-I7, where
bII7 is on a root a flatted fifth up or down from the V7 it replaces.
A flat five substitute is a dominant seventh type chord on a note a half step above the root of the chord it
precedes. It doesn’t have chromatically connect chord roots a whole step apart (like Dm7-Db7-C7). It
can be a single chord preceeding another with its root a half step above, like Db7 to C7. For the original
chords V7-I7 (G7-C7), the flat five substitute would be bII7 (Db7) and would make the progression
bII7-I7 (Db7-C7). It replaces a dominant chord like G7 with one whose root is a flat fifth above or
below (which is the same note whether above or below).
ways to chromatically fill in-between:
• scale tone triads, up or down. In lieu of drifting scale tone sevenths, use chromatic progressions
like the four seventh chord parts of IIm13 to bII13#11 to I13. Connect two minors, major
between two majors and otherwise usually fill in chromatically with major.
• one pentatonic fingering to another, up or down.
• up or or down with stepwise 1-2-3-5 and chromatic passing chords 1-2-3-5 is harmonically
stronger that 1-3-4-5.

harmonic minor cadence examples
melodic minor cadence examples
four-beat/four chord cadence examples
Changed Chord Quality
HARMONIZED LINES
See Triad Bass Harmonization, Jazz Bass Harmonization,
Building Cadences with Linear Harmonized Bass and Dominants in Fourths with Flat Five Substitutes.
The line can be in any voice.
up a fourth (down a fifth)

all chord tones 1-3-5-3, 1-3-5-1, 1-5-3-1, 1-5-3-5, 1-7-5-3, 1-7-5-1
non-chordal second note 1-2-3-5, 1-2-3-1, 1-4-5-3, 1-6-5-1
chromatic 1-3-5-b5, 1-2-#2-3 (or 1-b2-2-b3 or 1-b2-b3-3), 1-6-5-b5, 1-b7-5- b5
up a fifth (down a fourth)

classic 1-2-3-4, 1-7-6-4, 1-7-b7-6
fourth note scalar setup 1-3-5-6, 1-3-5-4, 1-5-3-4, 1-5-3-6
chromatic setup 1-3-4-#4, 1-7-6-b6
1-2-3-5, 1-3-4-5, 1-5-4-3, 5-1-2-3, 5-1-4-3, 5-6-7-1, 1-2-#2-3 or 1-#1-2-b3-3-4-#4-5 or b3-4-#4-5

CHROMATIC DRIFT
Chromatically pentatonic scales, modes or arpeggios drift a half step up or down and return. Use voice
leading to setup the return, looking for tones common to both keys involved, or where the last note in
the chromatically changed figure is a setup tone for a target tone returned to in the original key.
People like John Scofield setup the darker mood, then drift an scalarized arpeggio up a half step, then
back down. Not everybody likes this. They tend to love it or hate it. I look at it as an intense spice, use
it sparingly and set it up to make sense with the rest of the “dish”.
THIRDS, SIXTHS AND OCTAVES WITH INNER THIRDS

in major, harmonic minor and melodic minor. See the chapter: Thirds and Sixths
CLUSTER PLAYING WITH THIRDS AND TRIADS

See the chapters: Cluster Playing with Triads and Thirds and Pedal Point Chord
Progression.
pedal point with thirds
pedal point with triads
cluster playing
QUARTAL AND QUINTAL HARMONY

see the chapter Quartal and Quintal Harmony/Stacked Fourths and Fifths
also see Half-Whole-Half Cells/ Pairs of Perfect Fourths Moving in Minor Thirds

HALF-WHOLE-HALF CELLS AND DIMINISHED SCALE

Commonly-Used Half-Whole-Half Cells
Phrygian Dominant Diminished Scale Harmonic Application of Half-Whole-Half
Pairs of Perfect Fourths Moving in Minor Thirds cell library examples
half-whole-half melodic cells

The term “half-whole-half ” implies a common melodic cell, very prevalent in jazz, especially Bebop.
It adds color to the melody and should be used freely to express diminished seventh sounds, without
necessarily associating it with any particular scale. Each instance has options of scales to associate it
with. So, it can stand alone, or be elaborated with a scale.
When it is repeated twice or more in ascending or descending it alternates half and whole steps and
ends with a half step. If the half-whole interval sequence is continued in ascending or descending an
octave, it creates the diminished scale. The half-whole-half interval sequence can occur linearly through
one, two, three or four consecutive minor thirds. If it continues through four consecutive minor thirds,
it constitutes the diminished scale.
decorate minor thirds

Half-whole-half sequences decorates the minor third part of chords. They can decorate a single minor third,
two consecutive minor thirds, or three minor thirds. A single minor third occurs within most chords. Two
conscecultive minor thirds occur in a diminished triad and from the third to flatted seventh of a dominant
seventh chord, among many other chords. Three consecutive minor thirds constitute a diminished seventh
arpeggio which, including the octave forms aan infinitely repeating series of minor thirds.
phrase with the chord tones on the beat

Phrase the half-whole-half sequences so the tones of the chord you are decorating are on the beat, or
push the beat by playing the tone you are decorating immediately before the beat, then don’t play on the
beat. The lower chromatic and upper chromatic embellishments you read about below should generally
be on the metrically de-emphasized part of the beat, like the last half or third of the beat or the second
quarter of the beat.
three things to work on with half-whole-half

• which chords to use the half whole half on
• simple numeric memory devices to apply them
• memorize diminished seventh arpeggios and diminished scale

In regard to the chords to use half-whole-half, it can be applied to harmonic minor-type V chords,
melodic minor -type V chords (super Locrian) and diminished seventh chords.
For numeric memory devices, think “b6” of target for harmonic minor type V of target, “5” of target for
melodic minor-type V chords. For diminished seventh chords, use the half-whole-half sequence has
the higher pitched of each half step on diminished seventh chord tones.
fingering half-whole-half
It is essential that you memorize all these fingerings to use half-whole-half cells in your improv. The first
fingering can be used on any string, including the third. Those shown on strings six and five could be used
on any adjacent pair of strings except 3-2 (on 6-5, 5-4, 4-3 or 2-1). Due to the change of tuning between
the third and second strings (a major third instead of a perfect fourth), fingerings on 3-2 are unique.
any string any string not on 32 not on 32 not on 32 not on 32 not on 32
1 1 1 1 1
1 2 1 2 1 1
2 2 2 2
3 4 3 3 3 3
4 4 4 4 4 4
4
only on 32 only on 32 only on 32 only on 32 only on 32 only on 32

11 1 1 1 1
2 22 12 2
3 2 33 3 2
4 4 44 33
key scale versus chord scale half-whole-half cell numbering

Key scale numbers relate to a major scale named after the tone center for the key. Chord scale numbers
relate to a major scale named after the root of the chord.
Thinking the numbers for half-whole-half cells in terms of key scale numbers promotes the continuity
of the overall key of the melody, rather that fragmenting the melody into a key for each chord. At the
same time, it helps to build melody graphically and numerically on a chord by thinking in chord scale
numbers. If a chord has a duration long enough to warrant a temporary key, then it makes sense to
think numbers in relation to it, where it then becomes a “I” chord of the temporary key.

Commonly-Used Half-Whole-Half Cells

Unless noted otherwise, half-whole-half cells are numbered here in terms of the key (I chord). 7-b7-b6-5
is descending (“down”), since it has descending numbers. It’s ascending (“up”) version is in reverse
order: 5-b6-b7-7. The fourth tone of each half-whole-half sequence should be a current chord tone or
a tone of the chord you are superimposing (such as a V of the current chord).
Note that the key b3-2-1-7 and 7-b7-b6-5 half-whole-half cells can be used on I, V or bII. There are
special considerations for using them on Ima7 and Im, as you can see in the “use on I” column of the
table. The commonality of the b3-2-1-7 and 7-b7-b6-5 half-whole-half cells can make them ambiguous
in regard to which chord they apply to and there for contributes to them being somewhat “stand-alone”
melodic cells that we can relate to without necessarily assigning them aurally to a particular chord.
key tones use on I use on V use on bII

b5-4-b3-2 n/a down: 7-b7-b6-5 n/a
b3-2-1-7 Ima7, bluesy #5-5-4-3 2-b2-7-b7
7-b7-b6-5 Ima7: 7-b7-b6-5 3-b3-b2-1 b7-6-5-#4
Im: down 7-b7-b6-5
b6-5-4-3 Ima: down b6-5-4-3
Temporary Keys
relative minor
Think of VIm as a key (I) in the key of VIm (VIm becomes Im).
secondary dominants
Think of III7 as V of VIm in the key of VIm (VIm becomes Im and III7 becomes its V7).
Think of VI7 as V of IIm in the key of IIm (IIm becomes Im and VI7 becomes its V7).
Think of II7 as V of V in the key of V (V becomes I and II7 becomes its V7).

Using Phrygian Dominant to Sound Diminished Seventh Chords
Half-whole-half occurs with tones 7-1-2-b3 in the harmonic minor scale (also in melodic minor). In
terms of the same scale named after the root of the V chord, Phrygian major, it is tones 3-4-5-b6. This
sequence of four notes is very important in jazz and in the north African and middle-eastern music
from which it came.
diminished seventh as part of the V chord in minor keys

V7b9 is a typical chord in minor keys. V7b9 without a root is VII diminished seventh. The VII dimin-
ished seventh can be elaborated with I harmonic minor. Naming the I harmonic minor scale tones in
terms of the temporary key of the V chord is the Phrygian major (also called Phrygian dominant) mode
(scale or mode are interchangable here: it could be called Phrygian major mode, Phrygian major scale,
Phrygian dominant mode or Phrygian dominant scale).
The most common application of half-whole-half is in minor keys, during the V chord. See Harmonic
Application of Half-Whole-Half. In terms of key scale, the half-whole-half interval sequence can ascend
from #1-3,5-b7 (the tones of #Iº7) or from 2-4-b6-7 (the tones of IIº7). Half-whole-half melodic
cells are most effective when related to the V chord of I, II, IV or VI harmonic minor (or major flat
six). The respective key scale names for each of those are V Phrygian major (V of I harmonic minor),
VI Phrygian major (V of II harmonic minor), I Phrygian major (V of IV harmonic minor) and III
Phrygian major (V of VI harmonic minor).
Using Diminished Scale To Sound Diminished Seventh Chords
diminished scale
The diminished scale is usually used in part, rather than in its entirety. Practicing the scale prepares
you for playing half-whole intervals sequences you may draw from it. Though half-whole-half melodic
cells are exactly related to diminished scale, use of the diminished scale in its entirety has not been used
much historically, and should be avoided. Generally limit the decoration of diminished seventh chord
tones with the diminished scale to two or three consecutive diminished seventh chord tones.
The diminished scale is commonly refered to with two names: half/whole diminished scale and “whole/
half diminished scale, each refering to the two repeating intervals that ascend from its tone center.
Rather than unnecessarily complicating the issue by using both the terms “half-whole” diminished scale
and “whole-half ” diminished scale to imply the intervals from each tone of a diminished seventh to the
next, I’m just going to refer to the scale as “half-whole” diminished scale and specify whether the upper
or lower tones in each half step pair are the diminished seventh chord we are emulating.

ascending the diminished scale, making lower chromatic embellishments

Preceeding a note with another note a half step (one fret) below it is called a lower chromatic
embellishment. The diminished scale can be characterized as a diminished seventh arpeggio with a
lower chromatic embellishment before each of its tones. The group of notes that are the lower chromatic
embellishment for one diminished seventh arpeggio makeup another diminished seventh arpeggio
down a half step.
descending the diminished scale, making “upper chromatic embellishments”

Conversely following the name of a lower chromatic embelllishment, I call preceeding a note with
another note a half step above it an upper chromatic embellishment. The diminished scale can also be
characterized as a diminished seventh arpeggio with an upper chromatic embellishment before each of
its tones. The group of notes that are the upper chromatic embellishment for one diminished seventh
arpeggio makeup another diminished seventh arpeggio down a half step.
In descending with half-whole-half sequences, the chord tones in the descending half-whole-half are
those immediately below the half steps. Eb-D-C-B-A-G# represents descending half-whole-half-
whole-half and decorates a “G#” diminished triad (G#-B-D).
The most questionable descending half-whole-half sequence is one that decorates a chord tone that is
flat six of the key. This decoration works better when key scale seven (a minor third above flat six) or
key scale four (a minor third below flat six) are also used. Or where both seven is decorated above flat
six and four is decorated below flat six, such as 1-7-6-b6-b5-4, which is C-B-A-Ab-Gb-F in the key of
C decorating an F diminished triad (F-Ab-B = F-Ab-Cb).
the lower and upper chromatic embellishments are less important...
When using lower and upper chromatic embellishments to decorate diminished seventh arpeggio tones,
the focus is put on the diminished seventh tones usually by putting them on the beat (or pushing the
beat with the diminished seventh tones). By putting the chromatic embellishments on the offbeat or
otherwise de-emphasized part of the beat, they are made less important harmonically. This seems to
justify the use of the chromatic embellishments when they would otherwise clash with the current
chord if emphasized.
ascending and descending uses all twelve chromatic tones

Since diminished seventh arepggios divide the twelve chromatic tones of the octave into four equal
kinor third intervals (three frets), the diminished seventh arpeggio has the same relative intervals from
each of its tones and therefore can be named after any one of its tones. Usually, you would pick the one
of the four names that is most relevant in the situation, such as the lowest pitch or the tone that is voice-
leading up a half step to the root of the next chord, like VII diminished seventh preceeding I minor.
For the A-C-Eb-F# diminished seventh arpeggio “A” diminished seventh, the group of tones used for
upper chromatic embellishments make up the E-G-Bb-C# diminished seventh arpeggio (Bb diminshed
seventh). For the “A” diminished seventh, the group of tones used for lower chromatic embellishments
make up the B-D-F-G# diminished seventh arpeggio, G# diminshed seventh.
fingering diminished arpeggios and the diminished scale

the numbers on the diagrams below are finger numbers
for diminished scale, the target diminished seventh is black when ascending, grey when descending
diminished seventh arpeggio diminished scale

fingering 1 fingering 2 fingering 3 fingerings 1 & 3 fingerings 1 & 2 fingerings 2 & 3
1 1 (1) 1 1 1 1 1 1 1 1 1 1 1 1
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
Before getting too excited about the convenience of memorizing half-whole-half diminished scale to
consolidate combinations of half-whole-half melodic cells, be aware of the shortcomings. Using too
many consecutive half-whole-half cells can sound more like an exercise or part of a dramatic film score
than jazz. 3-4-5-b6, 5-b6-b7-7, b7-7-#1-2 and #1-2-3-4 can be combined as an entire diminished scale
(#1-2-3-4-5-b6-b7-7), but that is usually too long a sequence and its better to use one of the six-note
sequences: #1-2-3-4-5-b6, 3-4-5-b6-b7-7, 5-b6-b7-7-#1-2 or b7-7-#1-2-3-4.
Use diminished half-whole-half as a resource for fingerings, not so much as a scale you would play over
a large range. Similarly, we use minor penatonic add two as a resource to have “two” available as a neigh-
boring tone to use melodically around the root and third, but wouldn’t include it in playing the scale.
Likewise, we use major pentatonic with “four” as a neighbor to the third and fifth, but don’t include it
in playing the scale.
Harmonic Application Of Half-Whole-Half
emphasis
Emphasize notes most commonly by putting them on the beat, by accenting, pivot tone, etc. Most
commonly, you’ll use half-whole-half interval parts of a diminshed scale to emphasize a particular
diminished seventh chord. The diminished seventh may be used as V7b9 no root, I dim 7 in the
case of a “Goodman/Christian Im6b5” or #IVdim7 as in bar six of a jazz blues. In any case, treat the
diminished seventh as follows:
Ascend half-whole diminished scale with the upper tone of each half step on tones of
the diminished seventh target chord. Descend another half-whole diminished scale with
the lower tone of each half step on tones of the dim7 target chord. Play perfect fourths

ascending or descending in minor thirds with the upper tone of each perfect fourth on
tones of the diminished seventh target chord.
using V diminished half/whole scale as V7b9

To sound the V7b9 no root (II dim7) linearly with the V half/whole diminished scale, emphasize
the upper note of each chromatic pair. In a minor key, de-emphasize the 13 of the V chord, since it is
the unwanted natural three in the minor key. See also Pairs Of Fourths Moving In Minor Thirds. /
Emulating V7b9 no root (VII dim7).
applying half-whole-half to harmonic minor type V chords

Harmonic minor V type chords can be effectively applied to I type (C), II type (Dm), IV type (“F”) and
VI type (Am) chords (examples were given in the key of “C”). In the key of each of these target chords,
a V7b9 no root chord is a diminished seventh on 7, 2, 4 or b6 of the target chord (detail below).
Avoid playing more than seven consecutive notes linearly in the diminished scale. Apply diminished
scale ascending half-whole from “#1” of the target root for 7b9 no root. Learn to make any of the four
half-whole-half cells that make it up work melodically, by blending with common scales. These create
harmonic minor V-I cadences (though the “I” chord may be minor or major).
the significance of flat six

Flat six of a target chord is the tone on which to build a diminished seventh to represent V7b9 no root
of the target. It is also the tone center of melodic minor that will build both b13#11 and V7#9b9#5b5
(super Locrian) of the target. Good to know.
locating diminished seventh for harmonic minor type V chords

Ascend half-whole diminished scale with the upper tone of each half step on VII dim7.
Descend another half-whole diminshed scale with the lower tone of each half step on VII
dim7. Play perfect fourths diminished or descending in minor thirds with the upper tone
of each perfect fourth on a VII dim7 tone.
The circled notes below are target roots. The V7b9 no root (diminished seventh) includes a
note a half step below each potential target. The second table below shows each octave shape
separately. After becoming familiar with that table, the top table below can serve as a summary.

fingering 1 fingering 2 fingering 3

1 1 1 1 1
1 1 1 1 1 1
2 2 2 2 2 2
3 3 3 3 3 3
4 4 4 4 4
the circled notes below are target roots

octave shape fingering 1 fingering 2 C form A form G form
fingering 1 1 1 1
1 1 1 1 1 1 1 1 1
2 2 2
3 3 3 3 3 3
4 4 4 4 4 4
fingering 2 1 1 1 1
1 1 1 1 1 1 1 1
2 2 2 2 2 2 2 2 2 2 2 2
3 3 3 3
4 4 4 4 4 4 4 4
fingering 3 1 1 1 1 1 1 1 1 1 1 1 1
1 1 1 1
2 2 2 2 2 2 2 2
3 3 3 3 3 3 3 3 3 3 3 3
4 4 4 4
For each of the effective target chords, I, II, IV or VI type in each octave shape (E, D, C A or G
form), you need to be able to locate the diminished seventh chord to represent its V7b9 no root. Since
diminished sevenths are all minor thirds and can be named after either of their notes. Since the interval
between I and VI is a minor third . Diminished sevenths are all minor thirds, so the diminished seventh
(V7b9 no root for the respective target chord) for I and VI is the same. Likewise, the interval between
IV and II is a minor third, so the diminished seventh (V7b9 no root for the respective target chord) for
IV and II is the same.
I and VI chords share the same diminished seventh as part of their respective V7b9 no root chords. In
the key of C, “C” is the I chord and “Am” is the VIm chord. The V7b9 chord in C is G7b9. Without a
root, G7b9 is B diminished seventh, with the synonyms Bº7, Dº7, Fº7 and G#º7. In A, the key of the
VI chord, V7b9 is E7b9. E7b9 no root is G# diminished seventh, which is a synonym of B diminished
seventh.
IV and II chords share the same diminished seventh as part of their respective V7b9 no root chords. In
the key of C, “F” is the IV chord and “Dm” is the IIm chord. The V7b9 chord in F is C7b9. Without
a root, C7b9 is E diminished seventh, with the synonyms Eº7, Gº7, Bbº7 and Dbº7. In D, the key of

the II chord, V7b9 is A7b9. A7b9 no root is C# (‘Db) diminished seventh, which is a synonym of E
diminished seventh.
applying half-whole-half to melodic minor type V chords
A single half-whole-half cell from the root of a V type chord, making 5-b6-b7-7 (in the key of “I”,
G-Ab-Bb-B in C) and elaborating it with the rest of V super Locrian (B super Locrian for the key of C)
the mode on the seventh of bVI melodic minor (Ab melodic minor for the key of C). Continuing from
“7” up to “6” in this mode would be all whole steps. (B-Db-Eb-F-G in the key of “C”).
using I diminished half/whole scale as a “Goodman/Christian Im6b5” (#IV dim7)

Ascend half-whole diminished scale with the upper tone of each half step on I dim7.
Descend another half-whole diminished scale with the lower tone of each half step on I
dim7. Play perfect fourths ascending or descending in minor thirds with the upper tone
of each perfect fourth on a I dim7 tone.
This is a more vocal-oriented melodic approach. Think of a I diminished seventh chord as Im6b5.
Im6b5 is the same as I dim7, but by thinking Im6b5, you are more likely to think of the individual
character of each note.
The m6b5 chord has a flat third for bluesy sounds, which can be played with a microtonal bend. The
flat third uses the #9 in the I13b9#9#11 chord. It functions as an upper neighbor to the root, in terms of
a pentatonic upper neighbor. If you’ve heard the blues song “Spoonful” (written by Willie Dixon and
recorded by Howlin’ Wolf and Cream), that’s the main theme, repeating flat three to one.
The m6b5 chord also has a flat five. The flat five should usually be used sparingly for a very dark, bluesy
effect.
Arguably, the most significant swing era tone is six. The m6b5 chord has a six to get that swing color. It
is the thirteenth in the I13b9#9#11 chord. Especially use the six as a lower neighbor to the root, which I
call a “low six”.
I diminished seventh has the same notes as #IVdim7, which is commonly bar six of a jazz blues. Use
this Goodman/Christian approach for that chord.
To sound Im6b5 no root (I dim7) linearly with the I half/whole diminished scale, emphasize the lower
note of each chromatic pair. The group of lower notes of the lower notes of each chromatic pair makes
I dim7.
See also Pairs of Fourths Moving in Minor Thirds / Emulating the Goodman/Christian Im6b5.
applying diminished scale to 13b9 chords (optional b9 and #9)

If all the tones of the diminished scale are played at once (spread voicing with largely intervals of a third
or more), it sounds the chord 13#11b9#9. So, the diminished scale can be used as chord sound, naming
it G diminished scale (half-whole ascending from “G”) and equating the scale with G13#11b9#9.
This presents an exception to upper and lower chromatic embellishments. To sound the G7b9 part
of G13b9#9#11 (harmonized diminished scale), use lower chromatic embellishments of the B dim7
ascending and descending. This means you would put the higher-pitched tone of each chromatic pair
on the beat regardless of whether you’re ascending or descending. Also think of it as the “13b9#9#11”
way to elaborate a 7b9 chord. This worka particularly well on 13b9 chords with the flat nine in the bass.
Here are some occurrences:
bar 9 of Alone Together
bar 3 of Corcovado (Quiet Nights Of Quiet Stars)
bar 3 of How Insensitive (play C#dim7 as C13b9/Db)
bar 6 of the B section of Meditation (play Ebdim7 as D13b9/Eb)
Stormy Weather in the repeating progression Gma7 G#dim7 Am7 D7,
treat the G#dim7 as G13b9/Ab
bars 3 and 4 of Witchcraft
See also using perfect fourth pairs with the 13#11b9#9 exception.
elaborating half-whole-half with scales and chords

Elaborate half-whole-half cells by playing modes of major scale, harmonic minor or melodic minor
immediately before or after them. Melodically blend Aeolian, harmonic minor, and melodic minor
by alternating the versions of the notes that differ: 7-1-2. Tones b3-4-5-b6 are common to all three.
Key scale Phrygian flat one (bVI melodic minor) has b7-7(b1)-b2 . Key scale Aeolian flat one (bIII
major flat six) has b7-7(b1)-2, differing only with its natural two.
combine cells for practice

Refer to the table above. For V7b9 and III7b9, practice the diminished scale b7-7-#1-2-3-4-5-b6 and
elaborating on each of the four cells that make it up. Also for V7b9 and III7b9, practice 7-1-2-b3-4-b5
and elaborate on each of the two cells that make it up (7-1-2-b3 and 2-b3-4-b5). For VI7b9, practice
#1-2-3-4-5-b6 and elaborate on each of the two cells that make it up (#1-2-3-4 and 3-4-5-b6).

half-whole-half cells don’t have to be complete subsets

Each half-whole-half cell is typically used to emphasize two of its notes that are subsets of the chord it
is being used on. The remaining two notes don’t have to be in the scale that elaborates the half-whole-
half cell. The notes that differ substantially, such as a major third during a minor chord, should be de-
emphasized.
diminished commonality with half-whole-half and V7b9

harmonic minor scale fingering 2 fingering 6 fingering 2/3 fingering 7 fingering 4/5
V7b9 no root in grey E har.m. IV A har.m. IV D har.m. III G har.m. III C har.m. IV
2 5 7 7 2 7 4 7 b6
4 b3 b6 1 4 1 4 b3 5 1 7 2 5 1 4 2 2 5 1
7 7 b6 5 1 4 2 5 b3 b6 b3 b3 b6 4
5 1 4 2 5 2 5 1 4 2 b6 7 b3 b6 2 5 7 7 2 7
b6 b3 b6 b3 b6 b3 2 5 1 4 b3 b6 1 4 1 4 b3 5 1
b3 b6 4 7 b6
7 2
diminished scale fingering 2 fingering 6 fingering 2/3 fingering 7 fingering 4/5

V7b9 no root in grey E #1 half/ A #1 half/ D #1 half/ G #1 half/ C #1 half/
whole dim. IV whole dim. IV whole dim. III whole dim. III whole dim. IV
3 2 5 3 7 3 2 7 7 3 #1 7 3 #1 2 5
4 b7 b6 4 4 b7 5 5 4 b7 2 5 2 5 4 2 b7 b6 #1 4 b7
7 3 #1 #1 7 3 b6 #1 b6 #1 7 b6 b6 #1 b7 7 3 2 7
5 4 b7 2 5 2 5 4 2 5 3 3 2 5 7 3 4 b7 5
b6 #1 7 b6 b6 #1 b7 b7 b6 #1 4 b7 4 b7 b6 4 #1 7 3 b6 #1
7 2
7-1-2-b3-4-b5 7-1-2-b3-4-b5 7-1-2-b3-4-b5 7-1-2-b3-4-b5 fingering 7 fingering 4/5

with grey 7-2-4 C form IV E form IV A form IV G har.m. III C har.m. IV
b5 on 3 or 2 b5 on 1 or 1
2 7 7 2 b5 7 7 b5 7 2 1
b3 1 4 1 4 b3 1 1 4 2 2 5 1 4 2 b3 4
7 b5 b5 7 b5 7 b3 b3 b6 b3 7 2 b5 7
1 4 2 2 1 4 2 2 1 5
2 7 1 4 b3 1
b5 b3 b3 b5 b3 b3 4 4 b3 b6 1 4 b5 7
b5 2
b3

Pairs Of Perfect Fourths Moving In Minor Thirds
fingering diminished scale in perfect fourths

In the fingerings below, play the notes in perfect four pairs, as shown in the tablature below. Be sure to
use the finger numbers as on the diagrams and as shown in the white space above the tablature.
fingering 1 fingering 2 fingering 3 fingering 2 wide range

1 1 1 1 1 1 1
1 1 1 1 1 1 2 1 1
2 2 2 2 2 2 2 1 1 1 1
3 3 3 3 3 3 3 3 2
Perfect Fourth Pairs Moving In Minor Airds4 4 4 4 4 4 4 3 3 3
4 4 4 4
q = 125
fingering 1 ( the "boxed" finger numbers the fingering, since it is the lowest pitch)
b œ 2 œAº7œ œ œ œ64 n œ
° b4 J nœ#œ#œbœ 3nœ 3 b œ #œnœ J ‰Œ Ó 4
Aº7
œ œnœ œ 4 #œ
4 5
&b 4 Ó Œ ‰ œ œ œ #œ
nœ # œ bœ œ #œnœ 4 4
œ #œ
4 3 3 1 1 2 1 3 3 1 1 2 2 4 4 1 1 1 4 4 2 2 1 1 3 3 1 2 1 1 3 3
9 8 5 5 8
8 5 7 7 5 8
¢⁄
6 8 5 5 8 6
8 5 7 4 7 5 8
7 9 6 6 4 7
9 6
b œ 8 œAº7œ œ œ œ124 n œJAº7 4
° b4 J nœ#œ#œbœœ nœ 3 b œ #œnœ
œ œnœ#œ# œ bœ œ# œ #œnœ œ œnœ œ 4 #œ
7 9 10 11
& b 4 ÓŒ‰ 4 ‰ŒÓ 4

œ
4 4 4 1 1 3 2 44 1 1 3 3 1 1 2 2 2 1 1 3 3 1 1 4 4 2 3 1 1 4 4
9 8 5 5 8
8 5 7 7 5 8
¢⁄
6 8 5 5 8 6
8 5 7 4 4 7 5 8
7 4 6 6 4 7
6
œœœ 18 n œ
° b4 nœ#œ#œbœ œ nœ #œ œ œ
3 bœ nœ 4 J ‰ Œ Ó
13 14 Aº7 15 16 Aº7 17
&b 4 ∑ œ œnœ#œ# œ bœ œ# œ #œnœ œ œnœ œ 4 #œ 4

sidestep sidestep
œ sidestep sidestep
out of out of out of out of
position position position position
4 4 2 2 4 3 2 1 2 2 4 4 1 1 3 3 3 1 1 4 4 2 2 1 2 3 4 2 2 4 4
8 5 5 8
8 5 7 4 4 7 5 8
¢⁄
6 3 5 5 3 6
5 7 4 4 7 5
7 4 6 6 4 7
6

pairs of fourths using the eight notes of one diminished scale

When you use lower chromatic embellishments to each of the four tones of a target diminished seventh
in ascending and upper chromatic embellishments to each of the four tones of the same target diminished
seventh in descending, you will use all twelve chromatic tones: four uniqute tones in the target diiminished
seventh arpeggio, four lower chromatics for them and four upper chromatics for them.
With perfect four pairs of notes moving in minor thirds, you will use only the eight notes of the diminished
scale. The lower tone of each perfect fourth and the upper tone of each chromatic pair are in the same
diminished seventh arpeggio part of the diminished scale. Conversely, the upper tone of each perfect
fourth and the lower tone of each chromatic pair are in the same diminished seventh arpeggio part of
the diminished scale.
Usually, the upper tones of the perfect fourth parts are the emphasized diminished seventh chord tones.
With the 13#11b9#9 exception, the lower tones are the emphasized diminished seventh chord tones. By
not using all twelve chromatic tones as you would do with upper and lower chromatic embellishments
to a dimininshed seventh chord (see ascemding and descending uses all twelve chromatic tones), the
target diminished seventh chord sound is preserved.
The target diminished seventh chord sound is would be muddled if pairs of fourths (moving in minor
thirds) were used with the target tones as the upper tones of each perfect fourth pair and as the lower tones
in descending, using all twelve chromatic tones. The chromatic embellishments make it more clear what
the target diminished seventh chord is, since the chromatic embellishment tones are de-emphasized
and create a stong tension and release with their half step resolution to each diiminished seventh chord
tone.
prefer to place target diminished seventh tones as the upper tones of pairs of fourths
There is a historical preference to emphasize the upper tone of each perfect fourth as established in
using scale tone five to precede scale tone one above it. For this reason, I generally put the tones of the
diminished seventh chord I want to emphasize as the collection of upper tones of the perfect fourth
pairs.
Emphasize the chord tones by phrasing so the upper-pitched tone of each perfect four pair is on the
beat. In descending, this means the first tone of each pair (the upper tone) is on the beat. In ascending,
the lower-pitched tone of each perfect fourth would be on the beat. So, ascend with the first (upper)
tone of each pair on the beat and descend with the second (upper) tone of each pair on the beat.
The diminished seventh chord you are emphasizing could be either the V7b9 no root (VII dim7) or teh
Goodman/Christian Im6b5 (Idim7).

using perfect fourth pairs with the 13#11b9#9 exception

An exception to the historical preference to emphasize the upper tone of each perfect fourth can come
into play in where you are using the diminished scale to esntablish a 13b9 chord sound. This works
especally well on 13b9 with b2 in the bass (C13b9/Db bass). See applying diminished scale to 13b9
chords.
With the treatment described here for the !3#11b9#9, you are only using the eight notes of the
diminished scale, since you play the same notes in ascending and descending.
Thinking in the key of the chord, sound the C7b9 no root part of C13b9#9#11, which is Db diminished
seventh, use pairs of perfect fourths tones moving in minor thirds, with the lower tones of the perfect
fourths would as the Dbdim7 part of the C13b9#9#11.
This is an opposite manner to how you would use fourths with a VIIdim7 (Bdim7) part of a V7b9
(G7b9) chord, you would put the second note on the beat in descending and the first note on the beat
in ascending.

Swing Eighths Half-Whole-Half
Half-Whole-Half CellCell Library
Library
qaa z=[qp ]e
One Minor ird With Chromatic Embellishments
shown with Adim7 (ACEbF#) setup chord and Gm7 or Bb target chord
j œ ‰ j œnœ œ œ œ ‰ j œnœ œbœ œ ‰ j œnœ œ œ bœ Œ Ó

Aº7 Aº7 Aº7
4
Gm7 or Bb Gm7 or Bb Gm7 or Bb
& b 4 Œ ‰#œ œnœ œ #œ #œ #œ
œ#œ œbœ Gm7 œ#œ œ#œ œ#œ

œ ‰ J nœbœ œ œ ‰ J nœbœ œ œ ‰ J nœbœ œ œ Œ Ó
6 Aº7
or Bb Gm7 or Bb Aº7
Gm7 or Bb Gm7 or Bb Aº7 Aº7
&b Œ ‰ J
j œnœ œbœ#œ nœ ‰ j œnœ œbœ œ œ ‰ j œnœ œbœ œ œ ‰ j œnœ œbœ œ bœ Œ Ó

11 Aº7 Aº7 Aº7 Aº7
& b Œ ‰#œ #œ #œ #œ
3 3 3 3
œ #œ œ bœ œ #œ nœ bœ œ Gm7
16 Aº7 Aº7
œ Œ
Gm7 or Bb or Bb
&b Œ ‰ J œ œ œ ‰ J œ Ó
3 3
ree Notes In Minor irds With Chromatic Embellishments

When ascending, upper neighbors to diminished seventh tones should be a whole step
in the beginning or middle of a figure. e setup chord is Adim7 and the target is Gm7 or Bb
j œ bœ ‰ #œj œ nœ œ œ bœ œ œ Œ Ó
19 Aº7 Aº7
œ Œ Ó
Gm7 or Bb Gm7 or Bb
& b ‰ #œ œ nœ œ
j œ nœ œ œ bœ nœ œ Œ Ó ‰ #œj œ nœ œ œ bœ œ œ Œ Ó
23 Aº7
Gm7 or Bb Aº7 Gm7 or Bb
b ‰
& #œ
j œ bœ œ œ œ Œ Ó œ #œ œ bœ bœ œ Gm7
27 V pos. Aº7 Aº7
œ œ nœ Œ Ó
Gm7 or Bb or Bb
& b ‰ #œ œ nœ œ ‰ J
j œ bœ œ œ œ Œ Ó œ #œ œ bœ bœ œ œ
31 VII pos. Aº7 Gm7 or Bb Aº7 Gm7 or Bb
& b ‰ #œ œ nœ œ ‰ J œ œ œ Œ Ó
3

2 1528 Melodic Cells
page Melodic Cell Types
Half-Whole-Half Part Library
Cell 5: Core Melody and Melodic Cells back to contents
immediately before the target, use the scale of the target,

as on the fourth beat in each of these two examples
35 Aº7 Aº7
‰ œj #œ #œ œ œ bœ œ œ œ œ nœ Œ Ó
Gm7 or Bb Gm7 or Bb
& b ‰ œj bœ œ #œ œ œ œ œ#œ œ Œ Ó
3
in the beginning or middle of the figure, resource diminished

scale, as on the third beat in each of these two examples
‰ œj #œ#œ œnœ œ œ œ bœ œ bœ Œ Ó
39 Aº7 Gm7 or Bb Aº7 Gm7 or Bb
& b ‰ œj bœ œ #œ#œ œ œ œ œ œ nœ Œ Ó
3
Half-Whole-Half Minor ird In Triple Time

e setup chord is Adim7 and the target is Gm7 or Bb. e intervals are half step, whole step, step, minor third on
the setup chorde (Adim7), ascending or descending. e second tone begins a triplet on a setup chord tone and the
next beat begins with a setup chord tone. Follow all of that with the target chord.
œ
j bœ Œ ‰ ‰ œ œ œ bœ#œ
43 Aº7 Aº7 G‹
œ Œ Ó
Gm7 or Bb
& b Œ ‰ ‰ #œ œ œ œ Œ Ó
3 3
J 3
3
œ Aº7
œ bœ œ bœ
Œ ‰ ‰ nœJ bœ œ œ œ
47 Aº7
J œ Œ Ó
Gm7 or Bb Gm7 or Bb
&b Œ ‰ ‰ œ Œ Ó
3
3 3 3

half-whole-half examples Half - Whole - Half Phrases

Harmonic MinorV7b9 no root Of Target (7-2-4-b6)
#1 - 2 - 3 - 4
° b4 Œ ™
D7(b9) G‹ D7(b9) G‹ D7(b9) G‹ D7(b9) G‹
j œ œ ‰ #œj œ nœ œ œ œ ‰ #œj œ nœ œ ‰ #œj œ nœ œ bœ
&b 4 #œ œ nœ bœ
¢⁄
4 5 7 4 5 7 4 5 4 5
6 7 6 7 6 7 8 6 7 8
° b
D7(b9) G‹ D7(b9) G‹
j œ j
5
&b œ ‰ #œ œ nœ œ œ ‰ #œ œ nœ œ œ bœ nœ Œ Ó
¢⁄
4 5 8 7 4 5
6 7 6 7 7 8 5
° bb5 ™- 4 - b3 - 2bœ
8 G‹ D7(b9) G‹ G‹ D7(b9) G‹
œ bœ ‰ bœJ œ bœ nœ ‰ bœJ œ bœ ‰ bœJ œ bœ nœ
D7(b9) D7(b9)
&b Œ J œ œ œ œ œ œ œ
¢⁄
6 5 6 5 6 5 6 5
8 7 5 8 7 5 8 7 8 8 7 8
° b
12 D7(b9) G‹ D7(b9) G‹
bœ œ bœ œ œ
&b œ ‰ J bœ nœ œ œ ‰ J bœ nœ œ Œ Ó
¢⁄
6 5 6 5 5
8 7 5 8 7 8
8
° b Œ™ œ
3 - 4 - 5 - b6
œ
G‹ D7(b9) G‹ G‹ G‹ G‹ G‹
nœ œ œ œ ‰ nœ œ œ œ œ œ ‰ nœ œ œ œ ‰ nœ œ œ œ œ
15
œ œ
&b J J J J
Œ Ó
resolove down only resolove down only
5
8
¢⁄
4 5 7 8 7 4 5 7 8 7 4 5 7 8 4 5 7 8 5 7
b7 - b6 - b5 - 4 (exception: "b7" instead of "6")
° b Œ™ œ œ œ œ
D7(b9) G‹ D7(b9) G‹ D7(b9) G‹ D7(b9) G‹
œ bœ œ bœ œ bœ œ bœ
20
œ œ œ nœ œ nœ
&b J œ ‰ J œ œ ‰ J ‰ J
6 6 6 6
¢⁄
8 6 5 8 6 5 8 6 5 7 8 6 5 7
8 8
° bb œ œ œ
D7(b9) G‹ D7(b9) G‹
œ œ œ
24
& ‰ J bœ œ nœ ‰ J bœ œ œ œ Œ Ó
6 6
¢⁄
8 6 5 8 7 8 6 5
7 8

page
2 1530 Melodic Cells Melodic Cell TypesHalf-Whole-Half Phrases
° bb ™ œ
5 - b6 - b7 - 7
œ œ œ #œ œ œ œ œ
‰ œJ œ œ #œ ‰ J œ œ #œ ‰ œJ œ œ #œ œ
27 G‹ D7(b9) G‹ G‹ G‹ G‹ G‹
& Œ nœ œ Œ Ó
J
avoid because of avoid because of
chromatic crowding chromatic crowding
5
6 7 8 6 7 8 6 7 8 6 7
¢⁄
7 8 7 8 7 8 7 8 8 7
° b ™
1 - 7 - 6 - b6
œ #œ nœ bœ œ #œ nœ bœ œ œ #œ nœ bœ œ œ #œ nœ bœ nœ
32 G‹ D7(b9) G‹ D7(b9) G‹ D7(b9) G‹
&b Œ J œ ‰ J œ ‰ J œ ‰ J œ Œ Ó
8 7 5 8 7 5 8 7 5 8 7 5 6
¢⁄
8 7 8 7 8 5 7 8 7
° bb ™ œ #œ #œ œ œ nœ #œ #œ œ œ œ nœ #œ #œ œ nœ ‰ nœ #œ #œ œ nœ œ ‰ nœ #œ #œ œ œ œ nœ #œ #œ œ #œ nœ Œ Ó
37 b7 - 7 - #1 - 2 G‹ D7(b9) G‹ G‹ D7(b9) G‹ G‹ G‹ G‹ G‹
& Œ J ‰ J ‰ J J J ‰ J
4 5 6 4 5 6 4 5 4 5 4 5 8 6 4 5
6 7 6 7 6 7 8 6 7 8 6 7 6 7 7 8
¢⁄
b3 - 2 - 1œ- 7 œ D7(b9)
° bb Œ ™ J œ œ #œ œ œ œ œJ œ œ #œ
œ œ #œ G‹ œ D7(b9) G‹ œ D7(b9) œ D7(b9)
œ ‰ J œ œ #œ œ œ ‰ J œ œ #œ œ œ ‰ J œ œ #œ œ œ Œ Ó
44 G‹ G‹ G‹ G‹
& ‰ J ‰ b
avoid resolving with an interval over a
minor third (except five up to root)
6 5 6 5 6 5 6 5 6 5 5 6 5
8 7 8 8 7 8 8 7 8 7 8 8 7 8 8 7 8
¢⁄
7 7

back to contents Part 5: Core Melody and Melodic Half-Whole-Half
Cells Melodic Cell Types
Phrases
Melodic Cells page 1531
3
Harmonic MinorV7b9 no root Of Target - entire diminished seventh with lower or upper chromatics
WARNING: these should be abstracted for acutal use so they don't sound like an exercise
7-2-4-b6(#5)
œ # œ n œ n œF œ œ # œ œ n œF œ
° bÓ œ #œ œ œ b œ œ #œ œ œ b œ
51 whatever chord whatever chord
& Œ ‰ #œJ Œ Œ ‰ #œJ Œ Œ ‰ #œJ

avoid chromatic crowding
8 9 10 8 8 9 8
8 10 11 10 8 10 11 11 10
¢⁄
8 9 11 8 9 11 8
° b œ #œ œ œ b œ œ # œ œ œF n œ œ #œ œ œ b œ
œ #œ œ œF nœ
& Œ Œ ‰ #œJ Œ Ó b
F
8 9 8 8 9
8 10 11 11 10 8 10 11 8 10
¢⁄
9 11 8 9 11 10
b6(#5)-4-2-7
œ whatever
# œ nchord œ whatever œ
° bÓ œ b œ b œ nœ œ
œ œ œ nœ nœ œ Œ # œ nchord
œ b œ b œ nœ œ œ nœ Œ
F F
œ œ
60
Œ ‰ J ‰ J Œ ‰ J
&
10 9 7 8 10 9 7 10
11 9 8 8 10 8 11 9 8
¢⁄
10 9 10 10 9 7 10
10
œ
° # œ n œ b œ b œ nœ œ œ œ n œF n œ œ # œ n œ b œ b œ nœ œ
œ œ n œF n œ œ
whatever chord whatever chord
65
&b J ‰ Œ ‰ J J ‰ Ó b
9 7 8 10 9 7 8
11 9 8 11 10 11 9 8 11 10
¢⁄
10 9 10 10 9 10
abstract
œ #œ nœ œ œ bœ nœ n œ
° #œ œ nœ Œ™
j œ #œ bœ nœ #œ œ bœ bœ
69
&b ‰ J Œ œ œ nœ
3
10 9 7 9 7 8
11 8 10
¢⁄
11 10 8 9 11 9 8
7 8 10 11 11 10
b6(#5)-7-2-4
° bÓ #œ nœ œ b œ n œ n œ œ nœ œ b œ œ œF n œ nœ nœ
‰ J #œ #œ œ #œ
F
nœ
& Œ œ
‰ J #œ # œ Ó nœ J ‰ Œ ‰ J
10 8 8 7
8 10 11 10 8 10 11 8 10
¢⁄
8 9 11 8 9 11 10
10 11 10 11
° b b œ b œ nœ œ œ nœ b œ b œ nœ œ œ
F F
œ œ
77
& œ #œ bœ nœ Œ Œ ‰ J œ #œ œ nœ Œ Ó
7
11 9 8 11 9 8
¢⁄
10 9 7 10 10 9 7 7 10
11 8 10 11 10

4 Half-Whole-Half Phrases
° b n œ b œ b œ nœ œ œ n œ b œ b œ nœ œ œ nœ
œ œ #œ œ œ nœ Œ
F F
œ #œ œ Œ™
81
& Ó Œ ‰ J J ‰ Œ Œ ‰ J J
7 7 7
11 9 8 11 9 8
¢⁄
10 9 7 9 10 10 9 7 9 10
11 11 10
° b b œ b œ nœ œ œ œ #œ œ nœ œ Œ
nœ b œ b œ nœ œ œ
whatever chord
F F
Œ™ œ œ #œ bœ
86
& J nœ Œ Ó b
7
11 9 8 11 9 8
¢⁄
10 9 7 7 10 10 9 7 10
11 10 11 8 10
4-2-7-b6(#5)
° b n œ b œ b œ nœ œ œ n œ b œ b œ nœ œ œ n œ b œ b œ nœ œ œ
œ #œ œ œ nœ Œ Œ ‰ J œ #œ œ œ nœ Œ Ó œ #œ bœ nœ nœj ‰ Ó
90 F F F
& Ó Œ ‰ J
10 10 10
11 9 8 11 9 8 8 11 9 8
¢⁄
10 9 7 9 10 10 9 7 10 10 9 7
11 10 11 10 11 8 10 7
melodic minor: 1-b2-b3-3 of bII13#11 = V7#9b9#5b5
° b n œ b œ b œ nœ œ œ œ #œ bœ nœ j ‰ Ó œ bœ bœ nœ œ œ œ ‰ œ bœ bœ nœ bœ œ Œ Ó
F G¨13(#11) F G¨13(#11) F G¨13(#11) F
Œ™ Œ œ bœ bœ œ bœ bœ œj ‰ Œ Ó
97
& nœ J J
10
11 9 8 5 8 6 5
¢⁄
10 9 7 5 6 8 5 5 6 8 6 5 9 8 6 5
11 8 10 7 8
9 8
° b œ bœ bœ nœ bœ b œ œ œ œ bœ bœ nœ bœ
bœ œ œ œ
104 G¨13(#11) F G¨13(#11) F
& Œ Ó Œ Ó
7 9 7 6 7 7 6
¢⁄
5 6 8 9 5 6 8 9 13
œ œ
° bÓ nœ b œ bœ
G¨13(#11) F
Œ™ bœ
108
& œ
J
bœ œ œ œ
J ‰ Œ Ó n 44
3
8 6
5 9 7
¢⁄
5 6 8 6 5

DECORATION CELLS
BEBOP AND BAROQUE ORNAMENTATION
with turn and mordent
Upper Mordent
With an upper mordent, you play a note followed by it’s upper neighbor, then return to the original
note.
Lower Mordent
With a lower mordent, you play a note followed by it’s lower neighbor, then return to the original note.
Turn (Upper Turn)

In playing a turn (an upper turn), you play, in order:
• the initial note

• the upper neighbor of the initial note
• return to the initial note
• the lower neighbor of the initial note
• end with the initial note
Inverted Turn (Lower Turn)

In playing an inverted turn (a lower turn), you play, in order:
• the initial note

• the lower neighbor of the initial note
• return to the initial note
• the upper neighbor of the initial note
• end with the initial note

Turn Examples
Melodic Cell Sampler: Turns
slurred turns ascendingMelodic
or descendingCell
Melodic Sampler:
Sampler: Turns
in thirds
Cell Turns
Swing Eighths
œœœœ œ œ œœœœ
slurred turns ascending or descending in thirds
° #4 n œ
slurredG9 turns3ascending or descending in thirds
œ œ œ œ œ œ œ œ
& 4œ œ œnœ œ œ œ œ œ œ Ó
Swing Eighths
° œ œ œ œ
Swing Eighths
°& ## 44 root œ 3œ œ œ œ
nnœœ œœ 3œœ œœ œœ œœ œ œ 3œ œœ œ Ó
G9
G9 3
& 4 œœ œœ œœnœ œœ œœ œ œ œ œœ œ œ œ œ œ œ Ó
3
nœ
third 3
1 3 1 1 3 5 7 35 3 5
3
¢⁄
3 5 33 1 3 5 5 3
root 4 5 34 2 4
2 third 5 3 3
root
5 7 5 3 5 third 3
1 3 1 1 3 5 7 5 3 5
¢¢°⁄⁄ # G‹9 3
3 5 3 1 3 5 1 3 1 5 1 3 5 7 5 3 5
2 4 5 4 2 4 5 3 5 3 1 3 5 5
œbœ œ œ œ
5 7 5 3 5 2 4 5 4 2 4 5
œ œ œ œ œ nœ œ œ œ œ œ 4
5 7 5 3 5
b œ œ œ œ œ œ Ó
& G‹9œ œ œ3nœ œ œ œ b œ 4
°
°& ## œ œ œ3 œ œ bœ œœ 3œ œ œ œœ œœ œœ 3œœ œœ œœ œœ nnœœ œœ 3œœ œœ œœ œœ
G‹9 œœ b œ 3œœ œœ œœ
ÓÓ 44
& œ œ œnnœœ œ œ bœ œ œ œ 1 3 1
3 5 1 3 5 6 5 3 53
4
¢⁄
3 5 33 1 3 5 3
2 3 5 34 2 3 5 3 3
5 7 5 3 5 3
1 3 1 1 3 5 6 5 3 5
¢¢⁄⁄
3 5 3 1 3 5 1 3 1 5 1 3 5 6 5 3 5
2 3 5 4 2 3 5 3 5 3 1 3 5 5
5 7 5 3 5 2 3 5 4 2 3 5
5 7 5 3 5
171217
œ œ œ n œ œ œ nœ œ œ œ œ œ œ œ œ œ
° # 4 171217
G9
œ œ œ
œ œ œ œ œ œ nœ œ œ œ Ó
3
& 4 G9 n œ
° œ œ œ
°& ## 44 œ œœ œ3 n œ œ œœ nnœœ œœ 3œœ œœ œœ œœ œœ œœ 3œœ œœ œœ œœ œ œ 3œ œœ œ œ œ œ3 œ œ Ó
171217
G9 3
& 4 5 3 35 7 5 3 œ œ œ œ œ œ nnœœ œ œ œ Ó
3
¢⁄
3 6 5 6 8 6 5 3 3 7 5 37 9 7 5 3
9 7 39 10 9 7
5 3 5 7 5 3 10 8 10 12 10
¢¢⁄⁄ G‹9
5 3 5 7 5 3 6 5 6 8 6 5
6 5 6 8 6 5 7 5 7 9 7 5
7 5 7 9 7 5 9 7 9 10 9 7
b œ
9 7 9 10 9 7 10 8 10 12 10
° # œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ
10 8 10 12 10
œ œ œ
bœ œ œ nœ œ œ nœ œ œ œ Ó
3
& G‹9 b œ
° œ œ œ
°& ## œ œœ œ3 b œ œ œœ nnœœ œœ 3œœ œœ œœ œœ œœ œœ 3œœ œœ œœ œœ bœ œ 3œ œœnœ œ œ œ3 œ œ Ó
G‹9 3
& 5 3 53 6 5 3 bœ œ œ nœ œ œ nnœœ œ œ œ Ó
3
¢⁄
3 6 5 6 8 6 5 3
3 7 5 37 9 7 5 3
8 7 38 10 9 7
5 3 5 6 5 3 10 8 10 12 10
¢¢⁄⁄
5 3 5 6 5 3 6 5 6 8 6 5
6 5 6 8 6 5 7 5 7 9 7 5
7 5 7 9 7 5 8 7 8 10 9 7
8 7 8 10 9 7 10 8 10 12 10
10 8 10 12 10

Melodic Cell Sampler - Turns
b ack
2 to contents Part 5: Core Melody andMelodic
Melodic Cells Melodic
Cell Sampler Cell Types
- Turns Melodic Cells page 1535
2
1-7-1-2 1-2-1-7
° #G9 œnœ œ œ œ œ œ œœœ œ œ œ œ œnœ œ œ œ œ

G9
1-7-1-2 1-2-1-7
° &# œnœ œ œ œ œ œœœœ œœœ œnœ œ œ œ œ œ œ œ ÓÓ œ œ œ œnœ œ œ œ œœœ œœœœ œœœ œ œ œ œ œnœ œÓÓ
œ œ
& œnœ œ œ œ œ œ œ œ œ œ œ œnœ œ
5 3 5 7 5 5 7 5 3
¢⁄⁄
6 5 6 8 6 8 6 5
7 5 7 9 5 3 5 7 5 5 7 5 3 7 9 7 5
9 7 9 10 6 5 6 8 6 8 6 5 9 10 9 7
¢
10 8 10 12 7 5 7 9 7 9 7 5 10 12 10 8 10
9 7 9 10 9 10 9 7
10 8 10 12 10 12 10 8 10
1-7-1-2 1-2-1-7
° #G‹9
G‹9
1-7-1-2
œ œœnœœœœ œ œ œ b œ œ œ b œ œ œnœœœœœœœ 1-2-1-7
° &# œnœœ œbœœnœœœœœœœœnœœœœ œ œ œ b œ œ Ó œ b œ œ œnœœœœœœœœœbœœœbœœ œ œ œnœœ Ó

& œnœœ œbœœnœ Ó bœ bœœ œ œ œnœœ Ó
5 3 5 6 5 5 6 5 3
¢⁄⁄
6 5 6 8 6 8 6 5
7 5 7 9 5 3 5 6 5 5 6 5 3 7 9 7 5
8 7 8 10 6 5 6 8 6 8 6 5 8 10 8 7
¢
10 8 10 12 7 5 7 9 7 9 7 5 10 12 10 8 10
8 7 8 10 8 10 8 7
10 8 10 12 10 12 10 8 10
slurred turns ascending or descending in thirds

1-2-1-7-1-2 or 1-7-1-2 ascend thirds: slurring the first there notes (bend, hammer, pull-off )
1-7-1-2-1-7 or 1-2-1-7 descend thirds: slurring the first there notes (bend, hammer, pull-off )
ADJACENT STRING LEGATO SLURRING
CADENCE ORNAMENT RHYTHMS

(see also Charlie Parker Design)
INDIAN CLASSICAL ORNAMENTATION

as on the sitar: mind (meend), andolan, kana, murki, khartka, gamma

THEME AND VARIATION CELLS

By definition, these employing these cells requires two or more cells, in some form of statement
and response.
RHYTHMIC THEME AND VARIATION
CORE MELODY AND ELABORATION
MELODIC CURVE THEME AND VARIATION

(examples here)
This can incorporate all the previous melodic cells. See Theme And Variation/Harmonic Theme And
Variation/The Melodic Curve. Build each theme with a cluster of chord tones (on a single chord),
up to a ninth chord. Particularly use upper and lower neighbors. Pairs of linear chromatic upper
neighbors are great. Melodic theme and variation is typically played on three adjacent strings. The best
string set is five, four three, since they are not too bassy and don’t involve the tuning change between
the third and second string.
Play the same melodic curve on another part of the same larger chord, or on the next chord in the
progression. For example, build a theme on the G7 part of G9, then use the same melodic curve and
play it on the Bm7b5 part of G9. Usually use the same fingering orientation. If the G7 meloidic curse
started with the index finger on the root, also start the Bm7b5 with the index finger on its root.
CALL AND RESPONSE

STYLES AS CELLS
Styles may employ a number of cells. Once you become familiar with a style, you can play as briefly as
a few beats in the style, making the style a cell of sorts.
BLUES LICKS
(based on minor pentatonic)
SWING BLUES LICKS

(based on major pentatonic)
ROCK-A-BERRY LICKS
DOUBLE STOPS AND JAZZ BLUES DOUBLE STOPS

See the chapter: Double Stops
PEDAL STEEL BENDS

CHARLIE PARKER DESIGN

Charlie Parker’s main designs
• scalar encircling
• “V” design up/down or down/up with a short notable melodic figure at the peak or valley.
Sseparately, practice the upward or downward approach to the third beat and the “tail” out to the
end of the second bar with continuous swing sixteenths, really tightly in the groove
• cadence ornament rhythm Short melodic phrases (5-10 notes) involving a mordent or turn
that suggest a two-chord cadence. Use more syncopated sixteenths for a more modern sound
(Bitches Brew era and later).
Practice getting your melodic performance chord cadences really tight rhythmically. Sometimes
you’ll want to play phrase loosely placed metrically (not matching the comping chord with the
chord you are suggesting), sometimes tight (matching comping and improv chords), exactly on
the beat to show the song structure to the listener.
• changed chord quality Usually displayed with two consecutive arpeggios, the second one with
a flatted tone. Sometimes superimposed where drastically contradicting the original chord.
• staggered core tones and elaboration Use a core melody with elabaloration such as a core
melody of three ascending scs;e tones with notes between them that lead to each.
Consider this interpretation of the first bar of Charlie’s head melody to Anthropology
in Bb: he used a core melody with the notes D, Eb and F. Each of those is
preceded by a note a third below, making three pairs of notes in thirds. Finally, he
inserted a passing scale tone between the first and second pair of thirds (the note
“C”) and a lower chromatic before the next to last note in the bar.
three scalar encircling fingering categories:
• the target is fretted with the index finger, so the lower neighbor is on the next larger string with
the ring or little finger and the upper neighbor is on the same string with another finger.
• the target note is fretted with the middle or ring finger where the target, the upper neighbor and
the lower neighbor are all on the same string.
• the target is fretted with the little finger, so the lower neighbor is on the same string with another
finger and the upper neighbor is on the next smaller string fretted with another finger.
fingerings for “V” design:
• Five default major scale fingerings and their three-note-per-string versions for speed. Include
their harmonic minor and melodic minor variants.
• Full-tertian arpeggios, especially minor eleventh and dominant thirteenth
build cadences with cadence ornament rhythms

Using resources like Charlie Parker;s solos in Confirmation, Moose The Mooche, Ornirthology,
Yardbird Suite, Anthropology and Scrapple From The Apple and apply them to cadences. Put these
cadences at the top or bottom of Parker’s “V” design to build a four-bar, “V” design phrase. Learn
a cadence. Typical two-chord cadences most commonly start on beat three and end on beat one or
sometimes start on beat one and end on beat three. Typical three-chord cadences place the first chord
on beat one of the setup bar before the target “I” chord, the second chord on beat three of the setup bar
and end on beat one of the target chord.
At the beginning of a four bar phrase, play a scale, arpeggio or combination to ascend or descend to
the cadence The target I chord would typically be on beat one of bar three, on the target chord. Then
finish bars three and four with a scale or arpeggio (or combination) to in the opposite direction from
the beginning to complete the four-bar “V” design.
The cadence ornament rhythm replaces one of four swing eighth notes with a sixteenth pair or with a
sixteenth triplet.
Use the full-tertian concept to locate chord tones of a setup chord. A II chord can be thought of as a
setup for a V chord. Then the V chord can in turn be thought of as a setup for the target I chord. bII
as a setup to I works similarly to the full tertian concept but, being a more chromatic chord, it changes
scale too much to be thought of in terms of full tertian. However, a bVIm9(ma7)-bII-I cadence can use
bVIm9 as an “other full-tertian of bII”. When you are playing an arpeggio in thirds, the notes you are
skipping (every-other scale tone) make up the “other full tertian” arpeggio.
Two-Chord Cadences
One setup chord, one target chord. Examples below are for a Bb target I chord. Use the same strategies
of practice as in practicing three-chord cadences, but omit the first chord and continue the “lead-in” in
place of the first chord.
major V I (F9 to Bbma7 or Bb7)

F9 with its root (F) on the fifth of Bb below the Bb root uses the “other full tertian” in relation to the
target Bb major triad. V9 (F9) is to I7 (Bb7) is more harsh than the softer Vm9 (Fm9) to I7 (Bb7).
Mixolydian Vm I (Fm9 to Bb7)

Fm9 with its root on the fifth of Bb (F) below the Bb root uses the “other full tertian” in relation to the
target Bb major (Bb Mixolydian) triad.
bII Lydian dominant to I (B13#11 to Bb)

Any four-note part of B13#11 can resolve to a Bb or Bbm triad part of a larger Bb (or Bbm) chord.
minor V Im (D7 or Dm7 to Gm)

D7b9 with its root (D) on the fifth of Gm below the Gm root uses the “other full tertian” of G har-
monic minor in relation to the target G minor triad. For a softer, cadence, Dm9 with its root (D) on
the fifth of Gm below the Gm root uses the “other full tertian” of G Aeolian in relation to the target G
minor triad.
Three-Chord Cadences
practicing three-chord cadences

At slower tempos (around 75-130 BPM), use sixteenth notes. Beats three and four of the pickup bar
each represent a chord with four-sixteenth notes. Beat one of the next bar is the target chord (the third
chord in the three-chord cadence). Replace one or two of those sixteenths with a pair of thirty-second
notes or a thirty-second note triplet, making a little flurry.
At faster tempos (130-250 BPM), use eighth notes, beats one and two of the pickup bar has four eighth
notes to represent the first chord. Beats three and four of the pickup bar represent the second chord of
the cadence. Beat one of the next bar is the target chord (the third chord in the three-chord cadence).
Replace one or two of those eighths with a pair of sixteenth notes or a sixteenth note triplet, making a
little flurry.
Develop the ability to play continuous fast notes to be prepared when you need it Practice the whole
thing in continuous eighths or sixteenths: the lead-in, the “cap” (cadenced target phrase) and the tail
out. Separately, practice the upward or downward lead in to the target on the first beat and the “tail” out
immediately after the target tone with continuous sixteenths or eighths (depending on the temp), really
tightly in the groove. Many uptempo Pat Martino improvisations use continuous straight sixteenths at
130 BPM. Rude Mood by Stevie Ray Vaughan uses swing eighths at 262 BPM. Crossroads live with
Bonamassa and Johnson uses continuous straight sixteenths at 140 BPM.
Placing the phrase against the meter Get your performance of the chord cadence really tight rhythmi-
cally. Sometimes you’ll want to place the phrase loosely metrically (not matching the comping chord
with the chord you are suggesting). Periodically place the phrase with the target chord on “one” to show
the song structure to the listener, especially at the end of a section.
Two setup chords, one target chord make a three chord cadence. The examples below are for a Bb
target I chord.

“I” can be a temporary key, so “Bb” could be temporarily “I” where it is a target during a piece in a key
other that Bb. In the key of F for example, Bb is a IV chord in relation to F, but Bb could be thought of
as “I” of a temporary key of Bb.
major II V I
Cm9 F9 Bbma7 or Bb7. Cm9 with its root (C) on the fifth of F, below the F root uses the “other full
tertian” in relation to the F major target triad. In turn, F9 with its root (F) on the fifth of Bb, below the
C root uses the “other full tertian” in relation to the Bb major target triad.
II Dorian to bII Lydian dominant to I (Cm9 B13#11 Bbma7, Bb7 or less commonly, Bbm)
Cm9 (IIm9) with its root (C) on the second of the ultimate target Bb, below the F root uses the “other
full tertian” in relation to the eventual F major target triad. B13#11 can be used in-between the Cm9
and Bb target to make a three chord cadence. Any four-note part of B13#11 can resolve to a Bb or Bbm
triad part of a larger Bb (or Bbm) chord.
bVI melodic minor to bII Lydian dominant to I (F#m9(ma7) B13#11 Bbma7 or Bb7)
F#m9(ma7) (bVIm9<ma7> of Bb) with its root (F#) on the second of the target B13#11, below the B
root uses the “other full tertian” in relation B13#11. B13#11 should in turn resolve to a Bb triad tone.
minor IIm7b5 V I (Am7b5 to <D7 or Dm7> to Gm)

IIm7b5 (Am7b5) is nearly the same as V7b9 (D7b9) no root ( = F#dim7). Decending the flatted
seventh of IIm7b5 (Am7b5) a half step to six makes it IIm6b5 (Adim7), which is the same notes as
IIdim7 (Adim7) and the same notes as V7b9 (D7b9) no root. V7b9 (D7b9) no root has four dimin-
ished seventh names in relation to the I minor key (G minor): VIIdim7, IIdim7, IVdim7 and bVIdim7
(F#dim7, Adim7, Cdim7 and Ebdim7). So, IIm7b5 to V7b9 is a more passive chord change, since it
only changes one note.
D7b9 no root is D7b9 no root (F#dim7), with its third (F#) on the seventh of G harmonic minor below
the Gm root uses the “other full tertian” of G harmonic minor in relation to the target G minor triad.
For a softer, cadence, Dm9 no root with its b3 (F) on the flatted seventh of G Aeolian uses the “other
full tertian” of G Aeolian in relation to the target G minor triad.
minor bVI13#11 V Im (Eb13#11 to D7 to Gm
bVI13#11(Eb13#11) is a bII of V7 (D7). Any four-note part of bVI13#11 (Eb13#11) can resolve to a
V (D) triad part of a V7b9 or chord except the #11 (A) of bVI13#11 which is a common tone of V (D).
The remainder of the cadence, V Im is described above in the Two-Chord Cadences section (MINOR
V Im).

BLUES MELODIC CELL EXAMPLES

G Blues Sampler 1
featuring 1235 and chromaticizedG
arpeggios
Blues Cell Sampler 1
° #4 œ œ œ œ œn œ b œ œ nœ œ
œ ‰ J nœ œ œ œ œ œ œ #œ œnœ œnœ œ œbœ nœnœ œ
G9
#Æœ
J
& 4 nœbœbœ nœbœ œ
3 3
œœ 3
2 upper chrom. 2 upper chrom.
Dm 1-2-3-5 B dim 1-2-3-5 Am 5-3-2-1 Db 5-3-2-1
3 6 7 3 5 4 3 5 3
3 5 3 6 5 6 5 3 3 6 5 3 5
¢⁄
4 5 6 5 4 2 1
3
6 4 5 4 3 2
° # b œ œ œ œ œ œ œ œ œ œ bœ bœ bœ n œ œ b œ œnœ œbœ
C9 G9
œ J œb œ œ
3
& bœ œ nœ bœ œ nœ nœ œ œ ‰ œbœnœ
3 3 3 3
E dim 1-3-4-5 C 5-3-2-1 Ab 5-3-2-1 Gm 1-2-3-5 Dm 1-2-3-5 2 lower chromatics below each chord tone
6 5 3 5 3 3 5 4 3
5 5 3 4 3 6 5 4 3
¢⁄
5 4 3 2 3 2 6 5 4 3 2
6 5 3 2
5
n œ œ n œ C9œ b œ œ
° # œ n œ œ
D9 G7 C7 G7 D7 G7
nœ nœ œbœ œ
& nœnœ œ œ bœ œnœ œ#œnœnœ œ œ œ œ œ œbœ
bœnœbœ œnœ Œ Ó
3
3
nœ
3 3
Dm13, 3 to 13 G minor pentatonic Dm G triad with C69 G6 Ebm 5-3-2-1

with lower chromatic with passing b5 chromatic #2 chromatic on fifth of Ab9
to b3
7 8 10 8 6 3 5 3
8 6 3 3 3 5 5 3
¢⁄
9 6 5 3 2 3 4 5 4 3
7 10 3 5 4 3 5
7 8 5 6 5

G Blues Sampler 2
featuring 1345 and chromaticized arpeggios
G Blues Cell Sampler 2
œ
° # 4 œ œ≈œr≈œ œ œ‰ ™ r œœœnœ œnœœœ œ œœœœœœœ œ œbœ nœ nœbœ œnœnœ
G9
& 4 nœœ œœ œœ œœ œœ œœ œ œ bœ nœœ≈œr≈ œ≈ R ≈œr œ#œœœ #œœ≈nœr≈ œ≈ œnœbœœ

œœ œ œœœ
Bdim 1-3-4-5 F 5-4-3-1 G Mixo 2 upper 2 upper chrom. 2 to 5 2 upper G Mixo
Gm 5-4-3-1
Dm 1-3-4-5 chrom. chrom. chrom.
5 8 7 5 3 3
3 3 3 3 3 3 35 6 68 653 3 5 43 3 5 43 6 53
¢⁄
2 2 2 2 2 2 4 7 54 4 2 345 6 5 3
3 3 3 3 3 3 5 5 4 3 3 3 5
2 2 2 2 2 2 5
° # œ
C9
nœœ œ œb œ œœœ G9
œbœœ≈nœR ≈ r œ#œœœ #œœnœnœ œœ#œn œ œnœb œœœœœ≈#œ
& œœ nœnœ œœ ≈œœœ ≈ œœb œ œœ n
œbœ nœ œœ≈ r≈
bœ œ R
Dm 1-3-4-5 F 5-4-3-1 G Dorian 2 upper 2 upper chrom. 2 to 5 Dm pent. add #4
Bb 5-4-3-1 Ddim 5-4-3-1
chrom. chrom.
5 8 6 5 3 3 4 5 3 43
333 68 653 3 5 43 3 5 6 633 4
¢⁄
5 5 3 4 2 345 6
3 2 5 4 3 3
5 1 5
° # œnœnœ œbœœ≈œR ≈ r #œœœ#œ œ ≈ ≈nœbœœ≈œR ≈ r Œ

D9 C9 G9
& nœ œ#œœœ œœnœ œ≈ r ≈œb œ ≈

œRœ ≈ r ≈ œ ≈œ ≈ r ≈ œ œ r œ
#œ œ œ œ œ nœ#œ R nœ œ
Am 5-4-3-1 2 lower F#dim 5-4-3-1 2 upper 2 lower 2 upper chrom. #2 to 5 2 upper
chrom. chrom. chrom. chrom. chrom.
3 3
5 3 3 5 43 3 5 43
¢⁄
5 2 345 4 2 4 2 5 345 6
4 2 65 3 45 3 5 5 5
3 3 2


































51
Fragment
Patterns
• Numbered, Repeating Groups of Notes
• Beat Obscuring
• Rhythmic Displacement
• Anti-Metric Grouping
• Scalar Fragment Pattern Cells

• rhythmic displacement: 1-2-3, 1-2-3-4, 1-2-3-4-5, 1-2-3-4-5-6
• anti-metric grouping: 1-2-3, 1-2-3-4, 1-2-3-4-5, 1-2-3-4-5-6
• displacement and anti-metric: 1-2-3, 1-2-3-4
• Harmonic Fragment Pattern Cells

1-3, 1-3-5, 1-3-5-7
• 1-2-3-5 and 1-3-4-5 Fragment Pattern Cells
• Using Triads with Neighbor to Imply Cadences
• Freeform Triads with Neighbor
• Don’t Overuse Fragment Patterns

page 1578 Fragment Patterns Part 5: Core Melody and Melodic Cells back to contents
NUMBERED, REPEATING GROUPS OF NOTES

Fragment patterns are expressed in numbers, in a generic manner. The numbers express the order of
notes played in scale or arpeggio. The number sequence can begin on any note in the scale or arpeggio.
Flats or sharps are not used to prefix the numbers (b3, #5, etc.), since the distances between once scale
tone and another are not considered.
Whole steps are two frets, meaning from a particular starting note, the note up a whole step would be
on a fret numbered two higher that the original note. “C” is on the fifth string, third fret. “D” is a whole
step higher and is on the fifth fret, which adds the number “two” to the third fret. A half step is one fret:
if “B”is on the second fret, “C” would add one and be on the third fret.
For the fragment pattern “1-2-3”, for example, it would ascend half step-whole step if applied to a C
major scale starting on “E”, making the letter sequence E-F-G (E to F is a half step and F to G is a whole
step). If the same fragment pattern were applied to a C major scale starting on “C”, the letter sequence
would ascend whole step-whole step.
Fragment patterns can be applied to each note of a scale ascending or descending. Fragment patterns
using the notes of a scale can be played on each tone of a scale or on each tone of an arpeggio. Fragment
patterns using the notes of an arpeggio can be played on each tone of a scale or on each tone of an
arpeggio.
Fragment Pattern Rules

the numbering system
Fragment patterns can be expressed in numbers. They can be applied to pentatonic (five tone) scales,
heptatonic (seven tone) scales or to arpeggios. They are most commonly three or four consecutive notes
(1-2-3 or 1-2-3-4), but using five or six consecutive notes (1-2-3-4-5, 1-2-3-4-5-6) is particularly useful
in beat obscuring. Expressing fragment patterns in numbers as 1-2-3, 1-2-3-4, 1-2-3-4-5 or 1-2-3-4-5-6
represents those choices from a consecutive series of notes on whatever scale or arpeggio you are playing.
For illustration, consider the A Aeolian scale, with the ascending A-B-C-D-E-F-G-A-B, etc. 123 would
be A-B-C, B-C-D, C-D-E, etc., depending on which note it starts. A 123 fragment pattern cell applied
to each tone in ascending the A Aeolian scale would be A-B-C, B-C-D, C-D-E, D-E-F, E-F-G, F-G-A,
G-A-B, A-B-C, etc.
retrograde inversion (reverse order)

A fragment pattern can be played in reverse order, called “retrograde inversion”. “1-2-3” can be played
in reverse order as “3-2-1”. Either “1-2-3” or “3-2-1” can be played on each note of the scale or arpeggio,
ascending or descending. If you wrote the original melodic line in music notation or tab, playing it in

back to contents Part 5: Core Melody and Melodic Cells Fragment Patterns page 1579
retrograde inversion would constitute starting with the last note and reading right to left as you read
and play.
Whimsical Application
You could also apply a fragment pattern whimsically to any arpeggio tone, not ascending order the
arpeggio tones in order to which you apply the fragment pattern. Good results are less likely if you
whimsically apply fragment patterns to scale tones, since you may deviate too far from the current chord
in doing so.

BEAT OBSCURING
Beat obscuring is intentionally misaligning the melody with the accompaniment chord by not placing
the current chord tone on the beat.
When the note on the beginning of a beat following a fragment pattern is a current chord tone, it strongly
references the chord sound and make the melody sound “in harmony” with the chord. Too much of this,
however, can make the music too predictable and boring. To make the music more interesting and free
sounding, improvers often intentionally do not resolve on the beat, and then they periodically do resolve
to a chord tone on the beat. This shows the listener that the music has good form and periodically
aligns the chord sound in the improvisation to the accompaniment, but no so often as to weaken the
free nature of the improvisation.
Eric Johnson and Joe Bonamassa in blues rock, Pat Martino and George Benson in jazz and others have
become expert at using fragment patterns to obscure the beat, making the music more abstract.
Beat obscuring is most effectively done by starting fragment patterns on random parts of the beat and
by mixing different fragment patterns. The trick is to keep part of your consciousness focused on when
the next beat “one” will be coming up, so you can resolve to a chord tone on it.
Beat obscuring is best applied to scalar and harmonic fragment pattern cells. It gets harder to conceive
in applying it to triad with neighbor cells. Though it can work with triad with neighbor cells, it is less
fruitful, so apply beat obscuring to scalar and harmonic fragment pattern cells first.
Rhythmic Displacement
Rhythmic displacement is beat-obscuring misalignment of a melodic cell or theme to the beat. Usually,
this is intentional. Fragment patterns can be rhythmically displaced so they start on different parts of
the bar.
One device for beat obscuring is rhythmic displacement which moves a musical part forward or backward
in time. We will be doing this in the context of moving a series of fragment pattern cells played with
notes of equal time value (all eight notes, all eighth triplet notes, all sixteenth notes, etc.) back in time,
by a number of notes. Each of these beat divisions could be called a “pulse”. In 4/4 time (or 3/4, or any
number in a time signature over 4), eighth notes are two pulses per beat, eighth note triplets are three
pulses per beat, sixteenth notes are four pulses per beat and sixteenth note sextuplets are six pulses per
beat.
Consider a part where a fragment pattern series starts on the first beat and has all notes of equal time
value. By moving the fragment pattern series one pulse (one note) back in time, the second note of the
series will start on the first beat. That would have the same effect as starting the series on the last pulse

before the first beat, as a pickup. Moving the part two pulses back in time would put the third note of
the series on the first beat and would be like playing a two-note pickup.
When we hear such rhythmic displacement, we aurally reevaluate the part in the context of what
happens on each beat. In a sense, this makes a new melody.
Anti-Metric Grouping
Another device for beat obscuring is anti-metric grouping puts the notes in groups with a different
number of notes in each group compared to the number of notes on each beat. When the number of
notes in the fragment pattern is different from the number of notes per beat, a new melodic pattern is
born. When the number of notes in a fragment pattern differs from the number of notes per beat, it is
called anti-metric grouping.
The number of notes in a fragment pattern such as three notes in “1-2-3” fragment don’t necessarily
have to be played with the same number of notes per beat. For example, the 1-2-3 fragment pattern
cell groups notes in threes. If the 1-2-3 fragment is played in a repeating series in sixteenth notes, there
would be three notes in each group by pitch, yet four notes per beat. When we aurally reevaluate the
part in the context of what happens on each beat, we conceive a new melodic theme which repeats every
twelve notes (three notes per group times four notes per beat).
A 1-2-3-4 fragment pattern cell groups notes in fours. If the 1-2-3-4 fragment is played in a repeating
series in eight note triplets (three notes per beat), there would be four notes in each group by pitch, yet
three notes per beat. When we aurally reevaluate the part in the context of what happens on each beat,
we conceive a new melodic theme which repeats every twelve notes (four notes per group times three
notes per beat). The twelve note series of 1-2-3 played in sixteenths makes a different melodic design
than the twelve notes series of 1-2-3-4 played in triplets.

SCALAR FRAGMENT PATTERN CELLS

rhythmic displacement: 1-2-3, 1-2-3-4, 1-2-3-4-5, 1-2-3-4-5-6-
anti-metric grouping: 1-2-3, 1-2-3-4, 1-2-3-4-5, 1-2-3-4-5-6
displacement and anti-metric: 1-2-3, 1-2-3-4
1-2-3 with Rhythmic Displacement

1-2-3 Pentatonic Fragment Pattern With Rhythmic Displacement
q. =120 Rhythmic Displacement
1-2-3 Pentatonic Fragment Pattern With Rhythmic Displacement
°
q. =120
1-2-3 pentatonic withPentatonic
rhythmicFragment
displacement
ŒŒ ™™
1-2-3 Pattern With Rhythmic Displacement
° 12
q. =120
°
¢ & 12 ŒŒ ŒŒ
88 videotab ÓÓ ‰‰ ∑∑ ∑∑ ∑∑
link& 12
¢¢& 8 Œ
to Œ Ó ‰ Œ™ ∑ ∑ ∑
° œœ œ œœ œœ œœ œœ œœ Œ ™
1-2-3 ascending
ŒŒ ™™ ŒŒ ™™
1
°
1-2-3 ascending
œ œ œ œ œ ∑
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œ œ œ
1
°& œ ∑∑
1-2-3 ascending
œ œ œ œ Œ™ Œ™
1
&
& œœ œœ œœ œœ œœ œœ
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5
5
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¢⁄⁄ 55 88 555 88 555

5 5 7 5 7 7 5
5 5 7 5 7 5 7 5 8 5 8 5
5 5 7 5 7 7
¢¢⁄ 5 8 5 8 5
5 5 7 5 7 5 7 5 7 5 7 5 7 5 8 5 8
7
7 5
5 7
7 5 7
7 5 7 5 7 7
5 5 7 5 7 7
7 5 7 5 7 5 7 5 7 7
7 5 7 7
°55 3-2-1
œ
5 8 8
œœ œœdescending
œœ œœ œœ
3-2-1 descending
° œ œœ œ œ œ œ œ œ œ œ œ œ Œ ™™ Œ ™™ Œ ™™
5
∑
descending
&
°& œ œ œ œ
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œœ œ œœ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ŒŒ ™ ŒŒ ™ ŒŒ ™ ∑∑
& œ œ œ œ œ œ œ œ œ œœ œœ œ œœ œ œ œ œ œ
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8 5 8 5 5
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5 8 5 8 5 5
8 5 8 5 7
7 5 7
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7 5
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5 7 7 5 5 77 5 5 5
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8 5 8 5 7 7 5 7 5 7
5 5 7 7
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7 7 5 7 5 7 5 7 5 7 5 7 5 7 5 7 5 8 8
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7 7 5 7 5 7 5 7 5 7 5 5 8
7 7 5 7 5 8 5 8 5
œœ œœ ™ ™ ™
8 8 5
° œœ œ œœ œœ œœ œœ œœ œœ
1-2-3 ascending, rhythmically displaced to put the second note on the beat
° Ó™™ ascending, ™™ rhythmically

9
displaced to put the second note on the beat œ œ
Œ ‰ ‰ œ œ ‰‰ ŒŒ ™™ ŒŒ ™™ ŒŒ ™™
1-2-3 ascending, rhythmically displaced to put the second note on the beat
œ œ œ
9
°& ÓÓ™
& j œ œ œ
ŒŒ ™ ‰‰ ‰‰ j œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œœ œ œœ œ œ œ œ œ œ
9 1-2-3
& œœj œ œ œ œ œœ œ œœ œ œœ œ œ œ œ œ ‰Œ Œ Œ
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5 5 8 5
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5 77 5
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5 7 5 5 7 5 7
7 7 5 7 5 7 5 7 5 8 5 8 5
5 5 8 5 8
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5 7 55 7 7 7
7
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8 8 5 7 5 7 5 7 5 7 5 7 5 7 5 7 5 7 7
5 5 7 5 7 7
5 8 5 8 5 7 5 7 7
5 8 8
° ™ ™
œœ œdisplaced
œ œœ œtotoœput
putœthe ŒŒ ™™ ŒŒ ™™ ŒŒ ™™
13 3-2-1 descending, rhythmically displaced to put the second note on the beat
° Ó Œ Œ œJ œ œœ œ œœ œœ œœ œœœ œœ œœœ œœ œœ œœ œœ œ œœ œ œ œ œ œ œ œ œ
J œ ‰
13 3-2-1 descending, rhythmically the second note on the beat
°& Ó ™ Œ ™ Œ œœ œ ‰‰
13 3-2-1 descending, rhythmically displaced second note on the beat
& Ó™
& Œ™ Œ J œ œ œ œ œ œœ œ œœ œ œœ œ œ œ œ œœ œ
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5
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5 7 7 5 7 5 5
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7 7 5 7 5 7
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7 7 5 7 5 7 5 7 5 7 5 5
7 7 5 7 5 8 5 8 5
8 8 5
° œœ œ œœ œœ œœ œœ œœJ ‰ ‰
1-2-3 ascending, rhythmically displaced to put the third note on the beat
ŒŒ ™™ ŒŒ ™™ ŒŒ ™™ ‰‰ ŒŒ ™™ ŒŒ ™™ ŒŒ ™™
17
°
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17
°& œ
Œ ™ Œ ™ Œ ™ ‰ œ œœ œœ œœ œœ œœ œœ Œ™ Œ™ Œ™
17
&
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œœ œ œ œ œ œ 5
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5 5
5 8
8 5
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¢⁄⁄
5 5 7 5 7 7 5
5 5 7 5 7 5 7 5 8 5 8 5
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5 5 7 5 7 5 7 5 7 5 7 5 7 5 8 5 8
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5 7
7 5
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8 5 5 7 5 7 7
5 5 7 5 7 5 7 5 7 5 7 7
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°21 œœ œ
5 8 8
3-2-1 descending, rhythmically displaced to put the third note on the beat
° Ó™™ Œ ™™ ‰ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœœœ œœœ œ Œ ™™ Œ ™™ Œ ™™

21
‰ ‰
°& ÓÓ™ ŒŒ ™ ‰‰ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œjj ‰ ‰‰ ŒŒ ™ ŒŒ ™ ŒŒ ™

©2017-2018
3-2-1 descending, rhythmically displaced Jimnote
to put the third Gleason. All Rights Reserved.
on the beat
œ œœœœœ
21
&
& œœœœ œœœœœœœ œœ œ œ œ œ j ‰
5
5
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& Ó™ Œ™ Œ J œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ Œ™ Œ™ Œ™
œ œœœœœœ œœ
5
8 5 8 5 5
œ
¢⁄to contents
5 7 7 5 7 5 5
back Part 5: Core Melody and7Melodic
8 5 5
7 5 Cells
8 5 7 7 5 7 5 5
Fragment Patterns page 1583
¢⁄
7 5 5 7 7 5 7 5 5
7 7 5 7 5 5 8 8 5
7 7 5 7 5 5
8 8 5
° Œ™ Œ™ Œ™ ‰ œ
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17 1-2-3 ascending, rhythmically displaced to put the third note on the beat
°& Œ ™ Œ ™ Œ ™ ‰ œ œ œ œ œ
J ‰ ‰ Œ™ Œ™ Œ™
17
œ œ œ
& œ œœ œœ œœ œœ œœ œœ œœ œ œœ œ œ œ œ œ œ œ œ
œ 5 5 8 5 8
5
¢⁄
5 5 7 5 7 7 5
5 5 7 5 7 7 5 5 8 5 8
¢⁄
5 5 7 5 7 7 5 5 7 5 7 7
5 8 8 5 5 7 5 7 7
5 5 7 5 7 7
5 8 8
°21 3-2-1 œ œ œdisplaced

œ to put the third note on the beat
™ ™ œ œ œ œ œœ œœ œœ œœ œ œœ œ œ œ œ œ œ œ œ j ‰‰ ‰‰ ŒŒ ™™ ŒŒ ™™ ŒŒ ™™
21
°& ™Ó Œ ‰
descending, rhythmically
& Ó Œ ™ ‰ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œjœ œ œ
5
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8 5 8 5 5
¢⁄
5 7 7 5 7 5 5
8 5 8 5 5 7 7 5 7 5 5
¢⁄
7 7 5 7 5 5 7 7 5 7 5 5
7 7 5 7 5 5 8 8 5
7 7 5 7 5 5
©2017 Jim Gleason. All Rights Reserved. 8 8 5
123 Heptatonic, Grouped in rees ©2017 Jim Gleason. All Rights Reserved.
°q. = 107
q. = 107
1-2-3 heptatonic with rhythmic
123 displacement
Heptatonic, Grouped in rees
12 ∑ 123 ∑
Heptatonic, Grouped ∑
in rees ∑ 12
¢ to
°
link & 8 8
°
q. =
12 videotab
107
∑ ∑ ∑ ∑ 12
¢q.& 8
12 ∑ ∑ ∑ ∑ 8
12
¢& 8
= 107 8
°q.1 = 107 œ œœœœœœœœœœœœ œ œ œ œ œ œ œ œ œ Œ™
1q. = 107 starting on the beat
12 starting on the beat œ œ
& 8
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°& 12 œ œ œ œ œ œ œ
starting on the beat
8 œ œ œ œ œ œ œ œ œ Œ™
& 8 œ œ œœ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
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5
8
5 7 5 7 8
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5 5 7 5 7 7
5 5 7 5 7 9 7 9 9 5 5 7 5 7 8
5 5 6 5 6 8 6 8 5 8 5 7 5 7 8
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5 5 7 5 7 8 7 8 8
5 7 8 7 8 8 5 5 7 5 7 7
9 5 7 5 7 5 7 5 6 5 6 8 6 8 8
¢°
5 5 7 5 7 9 7 9 5
5 œ7 8 œ 7 œ8 œ 8 œœœœœ œœœœœ œ
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& œ
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5
°& œ œœ œœœœœœœœœœœœ œœœœœœœœœœœ œ œ œ œ œ œ œ œ œ ŒŒ ™

& 8 7 5 7 5 5 œ œ œ œ œ œ œ œ œ œ œ œœ œœœœœœœœœ
8 8 6 8 6 5 6 5 5
¢⁄
7
7 5 7 5 5
8 7 5 7 5 5 9 9 7 9 7 5 7 5 5
8 7 5 7 5 8 5 8 6 8 6 5 6 5 5
¢9⁄⁄
8 7 8 7 5 8 7 5 5
8 8 6 8 6 5 6 5 7 5 7 5 7 5 5 8
8 7 8 7 5
¢°
7 7 5 7 5 9 5 9 7 9 7 5 7 5 5
9 7 5 7 5 8 5 8 7 8 7 5 7 5 5
œ
displaced to start on the second note9 9 7
Ó™ Œ™ Œ œœ œœœœœœœœœœ œ
8 8 7 8 7 5 7 5 8 5 8 7 8 7 5
œ œ œ œ œ
8 8 7 8 7 5
°9& jdisplaced œ œ œ œ œ œ œ
œj œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œœ
to start on the second note
Ó™™ Œ ™™ Œ
9
°&
displaced to start on the second note
& Ó Œ Œ œj œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œœ œ œ œ œ œ œ œ œ œ œ œ
œ 5 5 6 5 6 8 6
¢⁄
5 5 7 5 7 7
5 5 7 5 7 9 7 9
9
5 5 6 5 6 8 6
¢13⁄⁄
5 5 7 5 7 8 7 8 8
5 7 8 7 8 8 5 5 7 5 7 5 7 5 6 5 6 8 6
¢° œ œ œ œ œ œ œ œ œ55
5 5 7 5 7 9 7 9 9
œ œœœœœœœœœœ œ
5 5 7 5 7 8 7 8 5 8 5 7 5 7 9 7 9 5 9 5 7 5 7 7
œ œœœœœœœœœœœœ œ œ
7 8 7 8 5 8 5 7 5 7 8 7
Jœ œ œ
8 8
‰ ‰
°13& œœ œœ œœ œœ œœ œœ œœ œœ œœ ‰
7 8 7 8 8
œJ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
13
°& ‰ J œ œœœ œœœœœœœœœœœœ œœœœœœœœœœ œ

& 5 575787‰ ‰
8 7 5 7 5 5
œ œœœœœœœœœœœœ
œ
8 8 8 8 6 8 6 5 6 5 5
¢⁄
7 7 5 7 5 5
5 5 7 5 7 8 7 8 7 5 7 5 5 9 9 7 9 7 5 7 5 5
8 5 8 5 7 5 7 8 7 7 5 7 5 8 5 8 6 8 6 5 6 5 5
¢17⁄⁄
8 8 7 8 7 5 7 8
8 8 8 8 6 8 6 5 6 5 7 5 7 5 7 5 5
¢°
7 7 5 7 5 9 5 9 7 9 7 5 7 5 5
9 9 7 9 7 5 7 5 8 5 8 7 8 7 5 7
Ó™ Œ ™ ‰ displaced to start on the thirdœnote œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

displaced to start on the third note 8 8 7 8 7 5 7
°17& œ œ œ œ œ œ œ œ œ œ ™ ™ Œ ™™ ‰ Jim œ theœRights

œto œstartœAll œ note
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17
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& œœ œœ œœ œœ œ œœ œ œ œ œ ™
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5 5 6 5 6 8 6
¢⁄⁄ 1584 Fragment Patterns

5 5 7 5 7 7
page 5 Part 5: Core Melody and Melodic
5 7 5 7 9 7 9 9 5 7 5 7Cells
5 7 5 back
5 5 6 5 to
6 5 6 contents
6 8 6
¢¢⁄
8 6
5 5 7 5 7 8 7 8 5 8 5 7 5 7 9 7 9 5
5 9 5 7 5 7 7
5 7 8 7 8 5 8 5 7 5 7 8 7 8 5 8 5 7 5 7 9 7 9 9
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7 8 7 8 5 8 5 7 5 7 8 7 8 8
°13 œ œ œ
5
œ œ
5 7 8 7 8 8
œ ‰ œœJJ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
13
°
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13
&
& œ œ œ œ œ œ œ œ œœ œ œœ œœ œœ
5 5 7 5 7 8 7 8 7 5 7 5 5
8 5 8 5 7 5 7 8 7 7 5 7 5 8 5 8 6 8 6 5 6 5 5
¢⁄⁄
8
8 5 8 5 7 5 7 8 7 8 7 5 7 5 8 5 8 6 8 6 5 6 5 7 5 7 5 7 5 9 5 9 7 9 7 5 7 5 5
¢¢⁄
8 8 8 8 6 8 6 5 6 5 7 5 7 5 7 5 5
7 7 5 7 5 9 5 9 7 9 7 5 7 5 8 5 8 7 8 7 5 7
9 9 7 9 7 5 7 5 8 5 8 7 8 7 5 7
8 8 7 8 7 5 7
°17 Ó™™ Œ ™™ ‰ displaced

17
° œ œœœœ
displaced to start on the third note
°& ŒŒ ™ ‰‰ œ œ œ œ œ œ œ œ œ œ œ œœ œ œœ œœ œœ œœ œœœ œœ œœœ œœ œœœ œœ œœ œœ œœ

displaced to
to start
start on
on the
the third
third note
ÓÓ™
17
& œœ œœœ œœ œœœ œœ œœœ œœ œœ œœ œœ ™™

œ œ
note
&
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¢⁄⁄ 55 8 55 8 7 8 7 5 7 5
5 5
5 5 7 5 7 9 7 9 9
¢¢⁄ 5 88 5 88 77 88 77 55 77 55
5 5 7 5 7 8 7 8 8 5 5
5 5 7 5 7 9 7 9 5 9 5
5 7 8 7 8 5 8 5 7 5 7 8 7 8 5 8 5 7 5 7 9 7 9 9
œ œ œ œ œ œœ œœœœœœœœœ œ
5 5 7 5 7 8 7 8 8
°21 œ œ œ
5 7 8 7 8 8
œ œ œ œ œ œ
5 7 8 7 8 8
œ œ œ œœ œœ œœ œ œœ œ œ œ œ œ œœ ‰
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21
° œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œœ œœ œœ œœ œ œœ œ œ œ œ œ œ œ
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21
& œœœ œ
& œ œ œ œ œ œœ œ œœ
5 5 7 5 7 8 7 8 8 7 5 7 5 5
5 5 6 5 6 8 6 8 5 8 5 7 5 7 8 7 8 5 7 5 8 5 8 6 8 6 5 6 5 5
¢⁄⁄
7 5 7 5 7 5 6 5 6 8 6 8 8 7 7 5 7 5 7 5 5
5 8 5 7 5 7 8 7 8 8 7 5 7 5 8 5 8 6 8 6 5 6 5
7 5 7 5 7 5 9 5 9 7 9 7
¢¢2⁄
7 5 7 5 7 5 6 5 6 8 6 8 8 8 8 6 8 6 5 6 5
7 5 7 7 7 7 5 7 5 9 5 9 7 9 7
9 9 7 9 7
Heptatonic 123, Grouped in Threes
° Œ™
25
& œ œ œ œ œ œ œ œ œ œ
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©2016 Jim Gleason. All Rights Reserved. œ œ œ œ
¢⁄
5 7 5 5
8 8 7 8 7 5 7 5 5
8 8 7 8 7 5
1-2-3 triad arpeggio with rhythmic displacement

link to videotab
1-2-3 quadrad arpeggio with rhythmic displacement

link to videotab
1-2-3 full tertian arpeggio with rhythmic displacement

link to videotab

1-2-3 with Anti-Metric Grouping

q =90 1-2-3
1-2-3 Pentatonic
Pentatonic Fragment
Fragment Pattern
Pattern With
With Anti-Metric
Grouping
°qq =90
q =90
°& 4 ŒŒ ‰‰ ŒŒ ™™
1-2-3 Pentatonic Fragment Pattern With Anti-Metric Grouping
1-2-3
q
4pentatonic1-2-3
=90 withPentatonic
anti-metric grouping
Fragment ŒŒ ÓÓ
Pattern With Anti-Metric Grouping ÓÓ ∑∑ ∑∑
¢¢& 44
° ™
=90
°&to4 videotab
link Œ ŒŒ ÓÓ ‰‰ ŒŒ ™ ÓÓ ∑∑ ∑∑
¢¢& 4 Œ
°
1-2-3 ascending in sixteenths
œ œ œ œ œ œœ œ œœ œœ œœ œœ œœ
°11& 1-2-3 œœ œ œœ œœ œœ œœ œœ œœ œœ œ œœ œ œœ œ œœ œ œœ œ œ œ œ œœ Œ Ó
1
∑∑
œ œ
1
°1& 1-2-3 ascendingœin sixteenths

1-2-3 ascending
œ
ascending in
œ œ œ œ
in sixteenths
œ
sixteenths
œ
œ œ œ
œ œ œ
œ œ œ œ œ œ œ œ œ œ œ Œ Ó
°& œœ œ œ œ œ œœ œ œœ œ œœ œ œ œ œ œœ œ œœ œ œœ œ œ œ œ œ œ1 œ4 1 œ3 1 3 1 3 3 1 3 4 Œ Ó œ œ œ œ œ œ œ œ œ ∑
& œ œ œœ œ œœ œ œœ œ œ œ œ œ œ œ œ 4 Œ Ó ∑
œ œ
1 4 15 3 15 38 15 38 10 3 18 10 3 12
œ 5 5 8 1 15 448 115 338 115 338 115 338 10 3 118 10 3 12
4
⁄
3 3 4
¢¢⁄ 5 8 5 8 5 7 5 7 5 7 5 7 5 7 55 7 55 77 55 77 5 77 5 8 5 8 888 5 8 5 8 10 8 10 12
5 5 7 5 7 5 7 5 8 1 5 4 8 1 3 8 1
5 5 7 5 7 5 7 5 7 5 7 5 7 5 8 5 8 5 5 5 3
5 8 1
8 5 3
5 8
8 10 3 188 10
10 3 12
10 4
12
¢¢⁄⁄ 3-2-1
5 5 7 5 7 5 7 5 7 5 7 7 5 5 8 5 8 5
5 8 5 8 5 7 5 7 5 7 5 7 5 7 5 7 5 7 5 7 7
œœ5 œ8 descending
œœ œœ8 œœ œ œœinin sixteenths
5 5 7 5 7 5 7 5 7 5 7 7
5
5 8 5 8
8 descending 8 5 7 in 5 sixteenths
° œœ œ œœ œ œ œ œ œ
7 7
3-2-1
œ descending
°55& 3-2-1 œ œinin sixteenths
5
œ œ œ œ œ œ œ œ œ œœœœ œ Œ Ó ∑∑
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5 3-2-1
3-2-1 descending sixteenths
descending sixteenths
°& 4 3 1 3 1 1 4 1 4 œ œœœ œœœœœœœœœœ œ œ œ œœœ Œ Ó ∑
& 121244 101033 1188 101033 1188 1155 4488 1155 448 55 8 5 8 5 5 œ œ œ œ œ œ œ œ œœ œ œœ œœ œœ œœ œœ œœ œœ œœ Œ Ó ∑
œ
⁄
4 3 1 3 1 1 4 1 4
¢¢⁄ 12 10 8 10 8 5 8 5 8 5 8 5 8 5 77 5 77 55 77 55 77 55 77 55 77 55 7 55 7 5 7 5 8 5 8 5
124 10
12 10
3 188 10 3 18 155 488 155 48 55 8 5 8 5 77 5 77 55 77 55 7 55 7 5 7 5
10 8 5
8 8 5 8 5 5
¢⁄⁄
8 8 5 8 5 5 7 7 5 7 5 5
¢9 1-2-3 ascending in sixteenths, rhythmically displaced to put the second note on the beat
7 7 5 7 5 7 5 7 5 7 5 7 5 7 5 7 5 8 5 8 5
8œ 5 œ œ œ œ œ
7 7 5 7 5 7 5 7 5 7 5 5
8 5 8 8 55
° œœ œ œœ œœ œœ œœ œ œœ œ œ œ œ œ
7 7 5 7 5 8
™ œ œ
8
°99& 1-2-3 ÓÓ ascending ŒŒ ‰‰ ™ in sixteenths, œ œ œ œ œ œ

œ œœbeatœ œœ œ œ œ œ œœ œ œœ œœ œœ œœ œœ ≈≈ ŒŒ ÓÓ
1-2-3 ascending in sixteenths, rhythmically displaced to put the second note on the beat
œœ œœ toœœ putœœ œtheœœsecond œ œonœœthe
9
° rr œ œ œrhythmically œ œ œœdisplaced
œ œ œnote
œ œ
ŒŒ ‰‰ ™™ œœr œ œœ œ œœ œ œœ œ œ œ œ œ œ œ œœ œ œœ œœ œœ œœ œ œœ œ œ œ1 œ4 œ1 œ3 œ1 3 œ1 3 3 1 3 4 ≈≈ ŒŒ ÓÓ
9& 1-2-3
ascending in sixteenths, rhythmically displaced to put the second note on the beat
°& Ó
& Ó œr œœ œ œœ œ œœ œ œœ œ œœ œ œ œ œ œ
œ
1 4 15 3 15 38 15 38 10 3 18 10 3 12
4
5 5 8 1 5 4 8 1 8 1
¢¢⁄⁄
1 4 15 3 3 1
5 3 3
8 1 1
5 33
8 103
3 1 3
8 10
1 3 44
12
5 5 7 5 7 5 7 5 8 5 8
5 5 7 5 7 5 7 5 7 5 7 5 7 5 8 1 4 155 38 155 388 155 388 10 3 188 10
10 3 12
10 124
5 5 7 5 7 5 7 5 7 5 7 5 5 8 8
5 8 5 8 5 8 5 8 5 8 10 8 10 12
¢¢⁄⁄ 3-2-1 descending in55 sixteenths,

5 7 5 7 5 7 7
5 8 5 8 5 7 5 7 7 5 7 5 7 5 5 7 5 7 5 7 5 8 5 8 8
5 8 5 8 5 7 5 7 5 5 5 7 5 7
7 5 7 5 7 5 7 5
7
7 7 5 7 7
œœ5 sixteenths, 8œ œ 8œ rhythmically

5 5 7 5 7 5 7
œ œ
8 8
8 5 8 rhythmically displaced to put the second note on the beat
° œ œ œ
5 7 5 7 7
œ œ œ œ œ œ œœdisplaced
œ rhythmically œ œœ œœ œœtototo œœput
™™ ininœRœR sixteenths, œœ second
13 3-2-1 descending in displaced to put the second note on the beat
°13 Ó Œ ‰ R œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œ œœ œ œ œ œ œ œ œ ≈≈ ŒŒ ÓÓ
Œ ‰ œ œ œ œ œ putœ œœ œ œœnote œœ on œ œœthe
theœbeat
13
œ
3-2-1 descending
descending in sixteenths, rhythmically displaced put the
the second note on the beat
&
°13& ÓÓ œ œ œ œ
3-2-1 beat
13 3-2-1 descending sixteenths, rhythmically displaced the second note on
°& Ó Œ ‰ ™™ R4 3 1 3 1 1 4 1 œ4 œ œ œ œ œ œ œ œœ œ œœ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ ≈ Œ Ó
& Œ ‰ 124 103 18 103 18 15 48 15 4 5 œ œ œ œ œ œœ œ œœ œ œœ œ œ œ œ œ ≈ Œ Ó
33 118 115 448 115 4488 5 88 55 88 55 7 55 7 5 7 5 œ œœ œœœ
¢¢⁄⁄
12 44 10
33 118 10 5
12
12 4 10
103 188 10
103 188 155 488 155 4 55 7 5 7 5 7 5 7 5 7 5 7 5 5
10 8 10 8 5 8 5 8 5 8 5 8 5 7 5 78 8 5 8 5 7 7 5 7 5 5
¢⁄⁄
12
8 8 5 8 5 7 5 7 5 7
5 7 5 5 7 5 5 7 5 7 5 7 5 7 5 7 5 8 5 8 5
¢17 1-2-3 ascending in sixteenths, rhythmically displaced to put the third note on the beat
7 7 5 7 5 7 7 5 7 7 5 5 7 7 5 5
7 5 7
5
5
7 55 7 7 55 8 5 8 5
œ œ 8 œ 8 5
7 7 5 7 5 7 5
œ œ œ
8 5 88 5
1-2-3 ascending in sixteenths, rhythmically displaced to put the third note on theœbeat œ œ œ œ œ œ œ œ œ œ œ
°
7 7 5 7 5 8 5
°17
17
Ó Œ ≈ œ œtoœput œ œœ œœthird œœ œœon
œœ note œœ œbeat
œœ the œœ œ œ œ œ œ œ œ œ œ œ œR ≈ ‰ Œ Ó
°17& Ó Œ ≈ œ œ œ œ œ œœ œ œœ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œœ œœ œœ œœ œ œœ œ œ œ œ œRR ≈ ‰ Œ Ó
& œ œ œ œ
17 1-2-3
1-2-3 ascending
ascending in
in sixteenths,
sixteenths, rhythmically
rhythmically displaceddisplaced to put the
the third note on the beat
°& Ó Œ ≈ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ1 4 1 3 1 3 1 3 3 1 3 R4 ≈ ‰ Œ Ó
1-2-3 ascending in sixteenths, rhythmically displaced to put the third note on the beat
& Ó Œ ≈ œ œœ œœ œœ œœ œœ œœ œœ œ œœ œ œ œ œ œ 4 ≈‰ Œ Ó
œ
1 4 15 3 15 38 15 38 10 3 18 103 12
5 5 8 1 5 4 8 1 8 1
¢¢⁄⁄
5 3 5 3 8 1 5 38 10 8 10 12
5 5 7 5 7 5 7 5 8 1 5 4 1 3 1 3 1 3 3 1 3 44 3 1 3
5 5 7 5 7 5 7 5 7 5 7 5 7 5 8 1 48 155 38 155 388 155 388 1010
3 188 10
10
3 12 12
4
5 5 7 5 7 5 7 5 7 5 7 5 5 8 5 8 5 8 8
8
¢¢⁄⁄ 3-2-1 descending55 in88 sixteenths,

5 8 5 8 5 7 5 7 7 5 7 5
5 5 7 7 5 5 7 5 7
7 7 5 8 5 8 5 8 5 8 5 8 10 8 10 12
5 8 5 8 5 7 5 7 5 5 5
5 7 7 55 77
7 5 7 5 7 5 7 5 7 5
7
7 7 7
21 3-2-1 descending5œin8œsixteenths, œœ 8œœ œœ œrhythmically

5 5 7 5 7 5 7
œœ œ œ œdisplaced
8
descendingœin
8 5 7rhythmically 7 displaced to put the third note on the beat
°
5 5 7
inœsixteenths, œ œ œœ œdisplacedœ œ
œ œœ œœ œtototo œœput œœ œnote
to put the third note on the beat
°21 Ó Œ ‰ œinœsixteenths, œ œ œ œrhythmically
œ putœ œœ third œœ œon œœtheœœ œbeat
beat œ Ó
°21& Ó Œ ‰ œ œ œ œ œ œ œ œœ œ œ œœ œ œ œœ œ œ œ œ œ œ œ œœ œ œœ œœ œœ œœ œœ œœ œ œœ œœ œ œ œœ œ œ œ Ó
21 3-2-1
œ œ
3-2-1 descending sixteenths, rhythmically displaced put the
the third note on the beat
& œ œ œ œ
rhythmically displaced
21 3-2-1 descending the third note on the
°& Ó Œ ‰ 4 3 1 3 1 1 4 1 4 œ œ œ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ Ó
& Ó Œ ‰ 1244 1033 118 1033 118 115 448 115 448 5 5 8 5 8 5 5
œ œ œ œ œ œœ œ œ œœ œœ œ œœ œœ œ œœ œœ œ œ Ó
œ œœ
¢¢⁄⁄
4 10
12 3 18 10 3 18 15 48 15 4 5
4 3 18 10
12 3 1 15 48 15 48 5 5 8 5 7 8 5 7 5 5 7 5 7 7 5 7 5 5 7 5
12 10 10 8 10 8 8 5 8 5 5 7 7 5 7 5 7 5 5 7 5 5
8 55 5 8 8 55 8 5 5 5
¢⁄⁄
12 10 8 10 8 5 8 5 8 8 5 7 7 5 7 5 5 7 5 7 7 5 7 5 5 7 5 7 5
8 5 8 5 7 7 8 5 7 7 5 5 5 77 5 5 7 5 5 7 7 5 7 5 7 5 8 7 5 8 5
¢
7 7 5 7 5 7
7 7 5 7
7 5
5 5 7
7 5
5 7 5 5
5 8 7 5 8 5
7 5 7 7 7 5 7 7 5 5 7 7 5
©2017-2018 Jim Gleason. All7Rights
7 5
Reserved. 7 7 5
5 5
7 5 8
7 5
8 7 5 8 8 55
©2017 Jim
©2017 Jim Gleason.
Gleason. All Rights
All Rights Reserved.
Reserved.
œœœ œœœœœ œ 1 4 1 3 1 3 1 3 3 1 3 4
5 5 8 5 8 10 8 10 12
5 5 8 5 8 8
page⁄1586 Fragment Patterns
¢
5 5 7 5 7 7
5 5 7 5 7
5
7
5 7 5 7 7 Part 5: Core Melody and Melodic Cells back to contents
5 8 8
œœ œœœ œ
3-2-1 descending in sixteenths, rhythmically displaced to put the third note on the beat
° Ó œ œœœœœœœœœœ œœ œ
21
& Œ ‰ œ œœ œœœœœœ œœ Ó
œ œ œ œœœœœœœœ
4 3 1 3 1 1 4 1 4
12 10 8 10 8 5 8 5 5
8 5 8 5 8 5 5
¢⁄
7 7 5 7 5 7 5 5
123
123 Heptatonic,
Heptatonic, Grouped
Grouped in
in Fours
Fours 7 7 5 7 5 7 5 5
123
123 Heptatonic, Grouped in Fours
Heptatonic, Grouped in Fours
7 7 5 7 5
8
7 5
8 5
°
q = 100
°
q = 100
° 4 44
44 ∑∑ with anti-metric grouping

∑∑ ∑∑ ∑∑
q = 100
1-2-3 100 heptatonic
¢¢&
° 4
qq =
&
= 100
¢&to
& 4 videotab∑∑ ∑ ∑ ∑ 44
link 4 ∑ ∑ ∑
¢
q = 100 the upward 4-note
q = 100 the upward 4-note
°
q =1 100 the
cell upward
cycle: 4-noteup-up-down upward pair down-up-up up-up-down upward pair down-up-up
°
qq =
1 4
cell upward
cycle: 4-note
up-up-down upward pair down-up-up up-up-down upward pair down-up-up
œœ
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the downward 4-note
5
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the downward 4-note
° œœ œœ œœ œœ œœ œœ
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5
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cell downward
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° ∑∑ œœ œ ŒŒ ŒŒ ŒŒ œœ ŒŒ œœ œœ ŒŒ ŒŒ
5 the 4-note
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∑∑ ŒŒ ŒŒ œœ ŒŒ œœ œœ ŒŒ ŒŒ
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5 9 5
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displaced to start on 555the second
7 8 7 8 5 8 5
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21 displaced to start on the second note
°21& œœ œœ œ œœ ŒŒ
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& ≈ RR œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œœ œ œœ œœ œœ œœ œ œœ œ œœ œ œœ œœ
displaced
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Ó Œ ‰ Ó
21 note
&
& Ó Œ ‰ ≈ œ œ œAll œRights œ œ œ œœ œ œœ œœ œœ œœ œ
œ œ œReserved. œœ œ œœ œ Œ Ó
œ œœœ
©2017-2018 Jim Gleason.
5
5 8 6 8 6 5 6 5 5
5 8 6 8 6 5 6 5 7 5 7 5 7 5 5
5
5 8 6 8 6 5 6 5 7 5 7 5 7 5 9 5 9 7 9 7 5 7 5 5
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5 5 6 5 6 8 6
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back to contents Part 5: Core Melody and Melodic Cells 5 5 7 5 7 9 7 9
5
9
5 7 5 7
Fragment
7
Patterns page 1587
5 5 7 5 7 8 7 8 8
5 7 8 7 8 8
° œ œœœœœœœ œ
21 displaced to start on the second note
& Ó Œ ‰ ≈R œ œœœœœœœ œœœœœœ œ

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8 6 8 6 5 6 5 5
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1-2-3 triad arpeggio with anti-metric grouping

link to videotab
1-2-3 quadrad arpeggio with anti-metric grouping

link to videotab
1-2-3 full tertian arpeggio with anti-metric grouping

link to videotab

1-2-3 with
q =90 1-2-3Both Displacement
Pentatonic Fragment Pattern and Anti-Metric
With Anti-Metric Grouping
Grouping
° 4Œ ‰ Œ™
¢& 4pentatonic with displacement and anti-metric grouping∑
1-2-3 Œ Ó Ó ∑
link to videotab
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° œ œœœœœœ œœœœ œ
5
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° Ó Œ ‰™ R
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13
& œ œœœœœœœ œ ≈Œ Ó
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° œ œ œ œ œ œœœœœœ œ
1-2-3 ascending in sixteenths, rhythmically displaced to put the third note on the beat
œœœœœ œœœœ œ
17
R ≈‰ Œ Ó
& Ó Œ ≈ œ œ œ œ œ œ œ œ
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° œœ œœœœœœ œœ œ
21
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1-2-3 heptatonic with displacement and anti-metric grouping

link to videotab
1-2-3 triad arpeggio with displacement and anti-metric grouping

link to videotab
1-2-3 quadrad arpeggio with displacement and anti-metric grouping

link to videotab
1-2-3 full tertian arpeggio with displacement and anti-metric grouping

link to videotab

qq =110 1-2-3-4 1-2-3-4

1-2-3-4 and
and 4-3-2-1
with Rhythmic
4-3-2-1 Fragment
Fragment Pattern
Displacement
Pattern With
With Rhythmic
Rhythmic Displacement
Displacement
=110
°
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1-2-3-4 ŒŒ ÓÓ
with rhythmic ŒŒ ™™
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link to videotab
° œ œ œœ œ œœ œœ œœ
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5 4-3-2-1
4-3-2-1 descending
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9 beat
ŒŒ ‰‰ ™ r œ œ œ œ œ œ œ
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7
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8 8
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°
4-3-2-1
4-3-2-1 descending
descending ,, rhythmically
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13
13 beat
ŒŒ ≈Œ Ó
& œ œ œœ œ œœ œœ œ œœ œœ œ œœ œœ œ œ ≈ Œ Ó
œ œœ
8 8 55 5
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17 1-2-3-4 ascending, rhythmically displaced to put the third note on the beat
17 1-2-3-4 ascending, rhythmically displaced to put the third note on the beat
ŒŒ ‰‰ œ œ œ œ œ œ œ œ œ ‰‰ ŒŒ ÓÓ
& Ó œ œ
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°& Ó ‰‰ œ œ œœ œ œ œœ œœ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œœ œœ œ œœ œ œ
21 beat
‰ Œ Ó
21
ŒŒ
& Ó œ œ œœ œ œœ œœ œ œœ œœ œ œœ œœ œœ œ ‰ Œ Ó
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8 5 5
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©2017-2018©2017
JimJim
©2017
©2017 Gleason.
Jim
Jim
Gleason.
Gleason. All
Gleason. All AllReserved.
All Rights
Rights
Rights Rights Reserved.
Reserved.
Reserved.
œœ œ œœ œ
5 5 8
5 5 8 5 8 5 8
¢⁄to contents
5 5 7 5 7 5 7 7
5 5 7 5 7 5 7 7
back Part 5:5 Core
8
5 Melody
7
8
5 7and 5Melodic
7 7Cells Fragment Patterns page 1591
œœ œ œœ œ
° Ó
4321 descending, rhythmically displaced to put the third note on the beat
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8 5 5
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7 7 5 7 5 7 5 5
7 7 5 7 5 7 5 5
7 7 5 7 5 7 5
8 8 5
1-2-3-4 heptatonic with rhythmic displacement

link to videotab
1-2-3-4 triad arpeggio with rhythmic displacement

link to videotab
1-2-3-4 quadrad arpeggio with rhythmic displacement

link to videotab
1-2-3-4 full tertian arpeggio with rhythmic displacement

link to videotab

1-2-3-4 with Anti-Metric Grouping

q. =120 1-2-3-4
1-2-3-4 Pentatonic
Pentatonic Fragment
Fragment Pattern
Pattern With
With Anti-Metric
Grouping
q. =120
°q. =120 pentatonic with anti-metric grouping
1-2-3-4 Pentatonic Fragment Pattern With Anti-Metric Grouping
°& 12 ŒŒ ™™
q.
1-2-3-4
=120
°
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12 ŒŒ ÓÓ ‰‰ ∑∑ ∑∑ ∑∑
¢&to8 videotab
link& 12 Œ Œ Ó ‰ Œ™ ∑ ∑ ∑
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1-2-3-4 ascending in eighth triplets
°11& 1-2-3-4 œœ œœ œœ
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∑∑
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1-2-3-4 ascending
ascending in
in eighth
eighth triplets
triplets
œœ œ œ œ œ œ œ œ œ œ œ œ ∑
& œœ œ œœ œ œ œœ œ œ œœ œ œ œ œ œ œ œ œ œ
œœ œ
5 5 8 5 8
5
5 5 8
5
5
8
8
¢¢⁄⁄ 5 8 55 77 8 55 77 555 55 77 555 777

5 5 7 5 7 5 5 7 5 8 7 5 8 5 5 8 5 8
5 5 7 5 7 5 5 7 5 7 7 5 7 5 5 7 5 8 7 5 8 5 5 8 5 8
5 5 8 5 8 5 8
¢⁄ 555 888 55 77 888 55 77 55 77

7 5 7 5 5 7 5 7 7 5 7 5 7 7
7 5 7 5 5 7 5 7 7 5 7 5 7 7
7 5 7 5 7 7
7
° œœ œ œdescending
œœ œœ œœ ininœœeighth
œœ œœtriplets
4-3-2-1 descending in eighth triplets
°55& 4-3-2-1
œ œdescending œœœ œœ
5
œœ œœ œ œœ œœ œ œœ œ
4-3-2-1 in eighth triplets
œ
œ œ œ œ œ œ œœ œœ œ ∑∑
5
°& œ œ œ
œ œ œ œ œ œœ œœ œ œ œœ œœ œœ œœ œœ œœ œœ œœ
4-3-2-1 descending eighth triplets
œ œ œœ œœ œœ œœ œœ œœ ∑
& œ œ œœœ œœ œ œ œ œ œ
8 5 5 œ œ œ œ
8 5 8 5 5 8 5 8 5 5
¢¢⁄⁄
8 5 8 5 5 8 5 7 8 5 7 5 5 7 5 7 5 5
8 5 8 5 5 8 5 7 8 5 7 5 5 7 5 7 7 5 7 5 5 7 5 7 5 5
¢⁄
8 5 8 5 7 8 5 7 5 5 7 5 7 7 5 7 5 5 7 5 7 7 5 7 5 5 7 5 7 5
7 7 5 7 5 7 7 5 7 5 5 7 5 7 7 5 7 5 5 7 5 8 7 5 8 5
7 7 5 7 5 7 7 5 7 5 5 7 5 8 7 5 8 5
7 7 5 7 5 7 5
œœ
8 8 5
° œ
8 8 5
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ‰
1-2-3-4 ascending in eighth triplets, rhythmically displaced to put the second note on the beat
°99& ÓÓ™™ ŒŒ ™™ œœ œ œ œœ œœ œ œœ œœ œœ œœ
9 1-2-3-4 ascending in eighth triplets, rhythmically displaced to put the second note on the beat
‰‰ ‰‰
9
°& j œ œ œ œ œ ‰
œœœœœœ œœ
1-2-3-4
1-2-3-4 ascending
ascending in
in eighth
eighth triplets,
triplets, rhythmically
displaced to
to put
put the
the second
second note
note on
on the
the beat
Ó™ Œ™ œœjj œœ œœ œ œœ œœ œ œœ œœ œ œœ œ œ œœ œ œ œœ œœ œ œ œœ œ œ œ œ
œ œ œ œ œ œ
beat
& ‰ ‰ ‰
œ œœœœœœ œœ œ 5 5 8
5 5 8 5 8 5 5 8 5 8
¢¢⁄⁄
5 5 7 5 7 5 5 7 5 8 7 5 8 5 5 8 5 8
5 5 7 5 7 5 5 7 5 7 7 5 7 5 5 7 5 8 7 5 8 5 5 8 5 8
¢⁄
5 7 5 7 5 5 7 5 7 7 5 7 5 5 7 5 7 7 5 7 5 5 7 5 8 7 5 8 5 8
8 5 7 8 5 7 5 5 7 5 7 7
5 5 5 5 7 5 7 7 5 7 5 7 7
8 5 7 8 5 7 5 5 7 5 7 7
5 5 7
7 5 7 7
5 7 8 5 7 5 7 7
œœ œ œ œ œ
8 5
°
8 triplets,5
8 rhythmically displaced to put the second note on the beat
œ
4-3-2-1 descending in eighth
°13 ÓÓ™™ ŒŒ ™™ ŒŒ JœJ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œœ œœ œ œ œœ œ œ œ œ
13 4-3-2-1 descending in eighth triplets, rhythmically displaced to put the second note on the beat
‰
13
°& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œœ œ œœ œœ œ œ ‰
4-3-2-1
4-3-2-1 descending
descending in
in eighth
eighth triplets,
displaced to
to put
put the
the second
second note
note on
on the
the beat
beat
Ó™ ™
& œ
13
Œ Œ J
& œ œ œ œ œ œ œ œ œ œœ œ œ œœ œ ‰
8
8
5 5
5 8 5 5 8 5 8 5 5
œ
¢¢⁄⁄
8 5 8 5 8 5 7 8 5 7 5 5 7 5 7 5 5
8 5 8 5 5
5 8 5 7 8 5 7 5 5 7 5 7 7 5 7 5 5 7 5 7 5 5
8 5 8 5 7 8 5 7 5 5
¢⁄
7 5 7 7 5 7 5 5 7 5 7 7 5 7 5 5 7 5 7 5
7 7 5 7 5 7 7 5 7 5 7 5 7 7 5 5 7 5 8 7 5 8 5
7 7 5
5 7 5 7 7
7 5
5 7 5 5 7 5 8 7 5 8 5
7 7 5 7 5 8 7 5 8 5
œ
° œœ œœ œœ œœ œœ œœ œœ œœ œœ œJœJ ‰
8 8 5
1-2-3-4 ascending in eighth triplets, rhythmically displaced to put the third note on the beat
°17 ÓÓ™™ ŒŒ ™™ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœ œœ œœ
17 1-2-3-4 ascending in eighth triplets, rhythmically displaced to put the third note on the beat
‰‰ ‰‰
17
°& œ
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ J ‰‰
1-2-3-4 ascending
ascending in
in eighth
eighth triplets,
displaced to
to put
put the
the third
third note
note on
on the
the beat
beat
& Ó™ Œ™
1-2-3-4
‰ œœ œœ œœœœœœœœœ œœ
17
& ‰
œœ œœœœœœœœœ œœ 5 5 8
5 5 8 5 8 5 5 8 5 8
¢¢⁄⁄
5 5 7 5 7 5 5 7 5 8 7 5 8 5 5 8 5 8
5 5 7 5 7 5 5 7 5 7 7 5 7 5 5 7 5 8 7 5 5 8 5 8
5 5 7 5 8 7 5
5 8
8 5 8
¢⁄
5 7 5 7 5 5 7 5 7 7 5 7 5 5 7 5 7 7
5 7 8 5 7 5 5 7 5 7 7 5
5 8 7 5 5 7 5 7 7 5
5 7
7 5 7 7
5
5 7
5
7 8 5 8
5 7 7 5 55 77 5 7 7 7 5 7 5 7 7
œœ œ œ œ œ
5 8 8
°
5 8 8
œ
4-3-2-1 descending in eighth triplets, rhythmically displaced to put the third note on the beat
°21 ÓÓ™™ ŒŒ ™™ ‰‰ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œœ œœ œ œœ œ
21 4-3-2-1 descending in eighth triplets, rhythmically displaced to put the third note on the beat
‰ ‰‰
21
°& œœ œœ œœ œœ œœ œ œœ œœ œ œjj ‰‰
4-3-2-1
4-3-2-1 descending
descending in
in eighth
eighth triplets,
displaced to
to put
put the
the third
third note
note on
on the
the beat
œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œœ œœ œ œœ
beat
&
21
& Ó™ Œ™ ‰ œ
œ œ œ œ œ œ œœ œ œ œœ œj ‰
8 5
8 5
5
8 5 5 8 5 8 5 5
œ
¢¢⁄⁄
8 8 5 5 8 5 7 8 5 7 5 5 7 5 7 5 5
8 5
5 8 5 5 8 7 7 5 5 7 5 7 7 5 7 5 5 7 5 7 5 5
8 5
5 7 8
8 5
¢⁄
8 5 5 7 5 5 7 5 7 7 5 7 5 5 7 5 7 7 5 7 5 5 7 5 7 5
7 7 5 7 5 7 7 5 7 5 5 7 5 7 7 5 7 5 5 7 5 8 7 5 8 5
7 7 5 7 5 7 7 5 7 5 5 7 5 8 7 5 8 5
©2017 Jim Gleason. All Rights Reserved. 7 7 5 7 5 8 7 5 8 5
©2017-2018©2017
JimJim
©2017 JimGleason.
Gleason.
Gleason. All AllReserved.
All Rights
Rights Rights Reserved.
Reserved.
œœ œ œœ œ
5 5 8
5 5 8 5 8 5 8
¢⁄to contents
5 5 7 5 7 5 7 7
5 5 7 5 7 5 7 7
back Part 5: Core
5 7Melody
5 7and 5
Melodic
7 Cells
7 Fragment Patterns page 1593
5 8 8
œœ œ œœ
° Ó™ œœœœœœœœ œœœœœ œœ
4-3-2-1 descending in eighth triplets, rhythmically displaced to put the third note on the beat
Œ™ ‰ œ
21
& œ œ œ œ œ œ œ œ œ œ œ œ j‰ ‰
œ œœ
8 5 5
8 5 8 5 8 5 5
¢⁄
7 7 5 7 5 7 5 5
7 7 5 7 5 7 5 5
7 7 5 7 5 7 5
8 8 5
1-2-3-4 heptatonic with anti-metric grouping

link to videotab
1-2-3-4 triad arpeggio with anti-metric grouping

link to videotab
1-2-3-4 quadrad arpeggio with anti-metric grouping

link to videotab
1-2-3-4 full tertian arpeggio with anti-metric grouping

link to videotab

1-2-3-4 with Both Displacement and Anti-Metric Grouping

Pentatonic 1-2-3-4 Fragment Pattern, Grouped Metrically In rees
1-2-3-4 pentatonic with both displacement and anti-metric
creates a new 12-note design grouping
q. = 107
link to videotab
the upward 3-note
° 12
cell cycle: up-up skip down, up up, skip down up-up up-up skip down, up
∑ Œ™ Œ™ Œ™ ™ ™ œ œ œ Œ™
&8
œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ Œ
¢⁄
5
5 5 7 5 7 5 7
5 7 5 7 5 7 7
5 8 8
° œ œ œ œ œ œ œ œ œ œ œ ™
up, skip down up-up up-up skip down, up up, skip down up-up
œ Œ™ œ œ œ Œ™ œ œ œ Œ™ Œ™ Œ™
5
& Œ ∑
5 5 8
5 5 8 5 8 5 8
¢⁄
5 7 5 7 5 7 7
7
the upward 3-note
° œdown-down
œ œ œ œ œ Œ™ œ œ œ Œ™
9 cell cycle: skip up, down down, skip up down-down down-down skip up, down
& ∑ Œ™ œ œ œ Œ™ œ œ œ Œ™
œ œ œ Œ™
8 5 5
8 5 8 5 8 5 5
¢⁄
7 7 5 7 5 7 5
7
°
down, skip up down-down down-down skip up, down down, skip up down-down
& œ œ œ Œ™ œ œ œ Œ™ œ œ œ Œ™ Œ™ Œ™ Œ™
13
∑
œ œ œ œ œ œ œ œ œ
¢⁄
5
7 5 7 5 7 5 5
7 7 5 7 5 7 5
8 8 5
° œœœœœœœœœ
œ œ
17
& œ œ
œœ œœœ œœ œ œ œ œ œ œ œ ∑
œœœœœœœ œœ
5 5 8
5 5 8 5 8 5 8
¢⁄
5 5 7 5 7 5 7 7
5 5 7 5 7 5 7 7
5 7 5 7 5 7 7
5 8 8
° œœœœœœœœœœœœ œœœ œœ
21
& œ œœœœœœ œœœœœœœ œœ ∑

œ œœ
8 5 5
8 5 8 5 8 5 5
¢⁄
7 7 5 7 5 7 5 5
7 7 5 7 5 7 5 5
7 7 5 7 5 7 5
8 8 5

2 1-2-3-4 Fragment Pattern Grouped Metrically In Threes
° œ œ œœœœœœ
displaced to start on the second note
& Ó™ Œ™ Œ j œ œ œ
25
œ
œœœœœœ œœœœœœ œœ œ œ œ œ
5 5 8
5 5 8 5 8 5 8 8
¢⁄
5 5 7 5 7 5 7 7
5 5 7 5 7 5 7 7
5 7 5 7 5 7 7
5 8 8
° œ œœ œœ
™ ™ ™ œ œœœœœœœ œœœœœœ œœ
29
& Œ Œ Œ ‰ ‰ J œ œœœ œœœœœœœœœœ œ

œ
8 5 5
8 5 8 5 8 5 5
¢⁄
7 7 5 7 5 7 5 5
7 7 5 7 5 7 5 5
7 7 5 7 5 7 5 5
8 8 5
° Ó™ œœœœœœœœœœœ
displaced to start on the third note
Œ™ ‰ œ œ
33
& œ œœœœœœœœ œ œœ œ
œœ œ œœ
5 5 8 5
5 5 8 5 8 5 8 8
¢⁄
5 5 7 5 7 5 7 7
5 5 7 5 7 5 7 7
5 7 5 7 5 7 7
5 8 8
° Œ™ Œ™ Œ™ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
37
& œ œœœœœœœœ œœœœœ œœ

œ œœœœ
8 5 5
8 5 8 5 8 5 5
¢⁄
7 7 5 7 5 7 5 5
7 7 5 7 5 7 5 5
7 7 5 7 5 7 5 5
8 8 5 8
1-2-3-4 heptatonic with both displacement and anti-metric grouping

link to videotab
1-2-3-4 triad arpeggio with both displacement and anti-metric grouping

link to videotab

1-2-3-4 quadrad arpeggio with both displacement and anti-metric grouping

link to videotab
1-2-3-4 full tertian arpeggio with both displacement and anti-metric grouping
link to videotab

1-2-3-4-5 with Rhythmic Displacement

1-2-3-4-5 pentatonic with rhythmic displacement
link to videotab
1-2-3-4-5 heptatonic with rhythmic displacement

link to videotab
1-2-3-4-5 triad arpeggio with rhythmic displacement

link to videotab

1-2-3-4-5 with Anti-Metric Grouping

1-2-3-4-5 pentatonic with anti-metric grouping
link to videotab
1-2-3-4-5 heptatonic with anti-metric grouping

link to videotab
1-2-3-4-5 triad arpeggio with anti-metric grouping

link to videotab

1-2-3-4-5-6 with Rhythmic Displacement

1-2-3-4-5-6 pentatonic with rhythmic displacement
link to videotab
1-2-3-4-5-6 heptatonic with rhythmic displacement

link to videotab
1-2-3-4-5-6 triad arpeggio with rhythmic displacement

link to videotab

1-2-3-4-5-6 with Anti-Metric Grouping

1-2-3-4-5-6 pentatonic with anti-metric grouping
link to videotab
1-2-3-4-5-6 heptatonic with anti-metric grouping

link to videotab
1-2-3-4-5-6 triad arpeggio with anti-metric grouping

link to videotab

HARMONIC FRAGMENT PATTERN CELLS

1-3, 1-3-5, 1-3-5-7
1-3
“1-3” played stepwise makes pairs of every other note. When ascending a major scale or other seven-
tone (heptatonic) scale, 1-3 manifests as pairs of ascending thirds. With the 1-3 fragment cell in
reverse order is “3-1”. Descending a seven-tone scale with the 3-1 fragment pattern cell makes pairs of
descending thirds. Of course you could also ascend with the 31 fragment pattern cell or descend with
the 1-3 fragment pattern cell.
1-3 with rhythmic displacement
1-3-5
1-3-5 with rhythmic displacement
1-3-5 with anti-metric grouping
1-3-5-7
1-3-5-7 with rhythmic displacement
1-3-5-7 with anti-metric grouping

1-2-3-5 AND 1-3-4-5 FRAGMENT PATTERN CELLS

1-2-3-5 and 1-3-4-5 fragment pattern cells are based on heptatonic (seven-tone) scales, such as major,
harmonic minor or melodic minor. They each are a triad of three notes in thirds (1-3-5) with an added
tone. The added tone is either “2” or “4”.
Melodic Cell Sampler 1-2-3-5
Melodic Cell
Cell Sampler
Melodic 1-2-3-5 Examples1-2-3-5
Sampler 1-2-3-5
1-2-3-5 on G9 triad subsets
°1-2-3-5
# n œ œ œ nœ œ œ œ œ œ
G Bº D‹
4 on
&# 4 GGœ œ
1-2-3-5 G9
œ œ
triad
on G9 triad œ œ
subsets
subsets œ
œ œ Bº œ œ œ œ œ œ
° nœ œ œ œ
°& # 44 œ œ œœ œœ œœ œœ œ œ œœ œœ œœ nœ œ œœ œœ œœ œœ œœ nnœœ œ œ œœ œœ œœ
D‹
Bº D‹
& 4œ œ œ œ
5
¢⁄
3 3 6 3 3 5 6 6 5 3
2 4 4 2 4 5 5 4
5 5 5
5
⁄
3 3 6 3 3 5 6 6 5 3
¢ ⁄
2 4 3 4 2 4 5 3 6 3 5 4 3 5 6 6 5 3
¢
5 2 4 4 2 5 4 5 5 4
5 5
1-2-3-5 on Gm9 triad subsets
° # on n œ œ œ nœ œ œ œ œ œ
G‹ D‹ B¨
1-2-3-5 on Gm9
œ œ
&# G‹
1-2-3-5 Gm9 œ subsets
bœtriad œ bœ
triad subsets
b
œ œ B¨ œ œ œ œ œ œ œ
° nœ œ œ œ
°& # œ œ bbœœ œœ œœ bbœœ œ œ bbœœ œœ œœ nœ œ œœ œœ œœ œœ œœ nnœœ œ œ œœ œœ œœ
D‹
G‹ B¨ D‹
& œ œ œ œ
5
¢⁄
3 3 6 3 3 5 6 6 5 3
2 3 3 2 3 5 5 3
5 5 5
5
¢¢⁄⁄
3 3 6 3 3 5 6 6 5 3
2 3 3 3 2 3 5 3 6 3 5 3 3 5 6 6 5 3
5 2 3 3 2 5 3 5 5 3
5 5
C œœœG
1-2-3-5 on triads in perfect fourths for G9: roots on b7-3-6-2-5-1-4
œ œ œ œ œ D‹ G C œ Fœ œ œ # œ Gœ
°1-2-3-5 œ œ œ
F Bº E‹ A‹ D‹ G
# F on triads
1-2-3-5 on triads in perfect
E‹ œ œ œ D‹œœfornœG9:
fourths
œ
for G9: roots
C œœœ
on b7-3-6-2-5-1-4
G œœœCœœœ F
nœ ÆJ
G ŒÓ
œ œ œ œ œ œ F œ œ #œ G
in perfect fourths roots on b7-3-6-2-5-1-4
° & # œ
Bº
œ œ n œE‹œœ A‹
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A‹
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G
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F Bº D‹ G C
œ œ œœœœœœœœœ œœnœ œ œ œœœœœœœœ nœ #ÆJ ŒÓ
& œ œ œ n
nœ
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œ œ œ œ
œ n
nœ
œ œ œ œ ŒÓ
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nn œœ œœ œ œ œ œ œ 5 7 10 12 15 œ 3 5 8 6 7
¢⁄ 1 3 5 3 2 3 5
5 3 5 6 8 10 13 15 15 12 3 35 68
4 245 2 24 5
3 2 35 5 7 10 12 15 2 3 5 3 5 8 6 7
5 3 5 6 5 8 10 7 10 13 15 12 15 15 12 5 3 353 68 5 8 6 7
¢¢⁄⁄ 11 33 55 33 22 33 55
4 2 4 5 5 3 5 6 8 10 13 15 15 12 2 2435 35 68
3 2 354 245 2 325 24 5
3 2 3 5 5 2 3 5
5
1-2-3-5 on triads in perfect fourths for G9: roots on 4-1-5-2-6-3-b7

œ œ triads
1-2-3-5œon œ œ œnin œ œœ
C G D‹ A‹ E‹ Bº F G F C G D‹ G
° # CCœ œ GG œœperfect
œ fourths for G9: roots on 4-1-5-2-6-3-b7 nœCCœœœœGGœœ D‹
1-2-3-5 perfect fourths for G9: roots on 4-1-5-2-6-3-b7
D‹nœœœ œœœ E‹
on triads in
& œ œ œ
œ œ œ
œ œ
A‹
nœ œ œnœ
Bº
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F
G ‰ F
G
œ
F
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œ
G
° œ n œ œ œ œ œ œ œ œ œ
D‹ A‹ E‹ Bº F D‹
#
°& # œn œ œ œnœ œœ œ
nœœœœœœœnœ œœ œ œ œ œ œ œn œ œ œ‰ œ œ nœ œ œœ œ
nœ œœœœœœœœœ œ œ‰ŒÓ
& 15 12 10 7 5 œ œ n œ œ
nœ œnœœœœœœœ œ œ ‰ œ n œ œ
œœœnœœœœœ œœ‰ŒÓ
œ œ œ œœ œœn œ œœ œœ 8 5 8 6 3 5 3 3
15 13 10 8 653 5 nœ œ
54 2 4 5 42 2
¢⁄
3 3 6 3 3 5 6 6 5 3
2 3 3 2 3 5 5 3
5 5
C œœœG
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° # œ œ œ
F Bº E‹ A‹ D‹ G
œ œœœ œœnœ œœœœœ nœ ÆJ

ŒÓ
& œnœ œ œœ œ œ œnœœœ œ
œ œ
nœ œ œ œ
5 7 10 12 15 3 5 8 6 7
Melodic
3 5 6 8Cell
10 Sampler - 1-2-3-5
¢⁄
5 13 15 15 12 3 35 68
4 245 2 24 5
2 3 2 35
Melodic
2 3 5
1 3 5
3 2 3 5 Melodic Cell
Cell Sampler
Sampler -- 1-2-3-5
1-2-3-55
2
2 1-2-3-5 on triads in perfect fourths for Gm9: roots on 2-5-1-4-b7-b3
D‹ G‹ C F
œ
B¨
œ œ nœ œ œ G‹
°1-2-3-5 œ b œ
1-2-3-5
1-2-3-5 on
on triads
triads in
in perfect
perfect fourths
fourths for
for Gm9:
Gm9: roots
roots on
on 2-5-1-4-b7-b3
# D‹ œ œroots œ 4-1-5-2-6-3-b7
nœFF on œœ œœ
2-5-1-4-b7-b3
G‹
œ CC for
b œ œ G9: œ
B¨
nœ œ b œ œ œ n œ
G‹
‰ ÓG
œ œ œ
D‹ on triads in perfect fourths
° & œ œ œ œ
G‹ B¨ G‹
# œ nœ
° # œ œ œ œ œœn œœœ œ bbœœ œœ œœ œœ œ nœ
œ œ œ œ
œ nœ œ
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page Part 5: Core Melody and Melodic Cells back to contents
1-2-3-5 on triads chromatically: abstract version for actual improv

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Melodic
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1 5 Part 5: Core Melody and Melodic Cells
1 3 2 5 Fragment Patterns page 1605

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©2017-2018 onGleason.
Em (G6 Allno 5) and
Rights G9 triad subsets
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Major Scale Tone 1-2-3-5 in Fourths Library

Major Scale-Tone 1235 In Fourths
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10 9 10 12 12 10 9 10
10 9 10 12 12 10 9 10
10 8 10 12 12 10 8 10
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2 Major Scale Tone 1234 In Fourths
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14 14 16 17 17 16 14 14
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©2017-2018 JimJimGleason.
©2010-2011 Gleason. AllAll Rights
RIghts Reserved.
Reserved.
Major Scale Tone 1234 In Fourths 3
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7 10 9 10 10 9 10 7
7 10 8 10 10 8 10 7
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9 12 10 12 12 10 12 9
8 12 10 12 12 10 12 8
10 12 12 10
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12 15 15 12
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10 14 12 14 14 12 14 10
10 14 12 14 14 12 14 10
10 14 12 14 14 12 14 10
12 13 13 12
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13 17 17 13
13 17 15 17 17 15 17 13
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12 16 14 16 16 14 16 12
12 15 14 15 15 14 15 12
12 15 14 15 15 14 15 12
13 15 15 13
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5 3 5 7 7 5 3 5
5 3 5 7 7 5 3 5
3 5 7 7 5 3
œ œœœœœ œœœœœœœ œ
45
œ
œœœœ œ œ œ œœœœ 5
fingering 6
& œ œ œ œ œ œ 4
œœœ œ œ œœœ
1 2 3 2 1 2 3 2 1 2 4 2 1 2 4 3 1 2 4 2 2 4 2 1 3 4 2 1 2 4 2 1 2 3 2 1 2 3 2 1
8 8
8 6 8 10 10 8 6 8
⁄
7 5 7 9 9 7 5 7
7 5 7 9 9 7 5 7
7 5 7 8 8 7 5 7
5 7 8 8 7 5
©2017-2018
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Jim Gleason. All Rights
All RIghts Reserved.Reserved.
47
œ œ œ œ œ œ œœ œœœœœœœ œ
5 œœœœœ
œ œ œœœœ
fingering 7
&4 œ œ œ œ œœœœœ
œœ œœ
1 2 4 2 1 2 4 3 1 2 3 2 1 2 3 3 1 3 4 3 3 4 3 1 3 3 2 1 2 3 2 1 3 4 2 1 2 4 2 1
10 10
10 8 10 12 12 10 8 10
⁄
9 7 9 10 10 9 7 9
9 7 9 10 10 9 7 9
8 7 8 10 10 8 7 8
7 8 10 10 8 7
œ œ œ œœœœœ œœœœœœœ œ
œ œ œœœœ
49
& œœœœœœœœœœ
fingering 1
œœœœœ
œ œœ
1 2 4 3 1 2 4 3 1 2 4 2 1 1 3 3 1 3 4 3 3 4 3 1 3 3 1 1 2 4 2 1 3 4 2 1 3 4 2 1
12 12
12 10 12 13 13 12 10 12
⁄
10 9 10 12 12 10 9 10
10 9 10 12 12 10 9 10
10 8 10 12 12 10 8 10
8 10 12 12 10 8
51
œ
œ œ œ œ œ œœœœ
fingering 2
œœœœœœ
œ
1 2 3 2 1 2 4 2 1 2 4 2 1 1 3 2 1 2 4 2 2 4 2 1 2 3 1 1 2 4 2 1 2 4 2 1 2 3 2 1
13 13
13 12 13 15 15 13 12 13
⁄
12 10 12 14 14 12 10 12
12 10 12 14 14 12 10 12
12 10 12 14 14 12 10 12
10 12 13 13 12 10
œ œ œ
œœœœ œ œ œœœœœ
53 fingering 3
& œœœœœœœ œœœœœ

œ
1 2 4 3 1 3 4 3 1 3 4 3 1 2 4 3 1 3 4 3 3 4 3 1 3 4 2 1 3 4 3 1 3 4 3 1 3 4 2 1
15 15
12 15 13 15 17 17 15 13 15 12
⁄
14 12 14 14 12 14
14 12 14 15 15 14 12 14
14 12 14 15 15 14 12 14
œœ œœœœœœœ œ
12 13 15 15 13 12
œ œ œ œ œ œ
œœœœœ œ
55 fingering 4
œ œœœœœ
& œœ œ œ œ œ œœœœœœ
1 2 4 2 1 2 4 2 1 2 4 3 1 2 3 3 1 3 4 3 3 4 3 1 3 3 2 1 3 4 2 1 2 4 2 1 2 4 2 1
17 17
17 15 17 18 18 17 15 17
⁄
16 14 16 17 17 16 14 16
15 14 15 17 17 15 14 15
15 14 15 17 17 15 14 15
13 15 17 17 15 13
©2017-2018 JimJimGleason.
©2010-2011 All
Gleason. All Rights
RIghts Reserved.
Reserved.
Major
MajorScale-Tone 1-3-4-5
Scale-Tone 1345in Fourths Library
In Fourths
little finger root
5 œ œ œ œ œ œœœ œœœœœœœ œ
œœœœœœ œ œ œœœœœœ
fingering 4
&4 œ œ œ œ œœœœœ
œ
4 2 4 1 4 2 4 1 3 1 3 1 3 3 4 1 2 1 3 4 4 3 1 2 1 4 3 3 1 3 1 3 1 4 2 1 4 4 2 4
3 5 7 8 8 7 5 3
3 5 6 6 6 6 5 3
⁄
2 4 5 5 5 5 4 2
2 3 5 5 5 5 3 2
3 5 5 5 5 3
5 5
3
& œœœœœœœœœœ œ œ œœœœœœ
fingering 5
œ œœœœœ
4 2 4 1 4 2 4 1 3 1 3 1 3 2 4 1 2 1 2 4 4 2 1 2 1 4 2 3 1 3 1 3 1 4 2 4 1 4 2 4
5 7 8 10 10 8 7 5
6 8 8 8 8 6 5
⁄
4 5 7 7 7 7 5 4
3 5 7 7 7 7 5 3
5 7 7 7 7 5
7 7
5
œ œ œ œ œ œœœœœ œœœœœœœœœœ
œ œœœœœ
& œœœœœœœœœ
fingering 6
œœœœœ
4 3 4 1 4 3 4 1 4 2 4 1 3 2 4 1 2 1 2 4 4 2 1 2 1 4 2 3 1 4 2 4 1 4 3 4 1 4 3 4
7 8 10 12 12 10 8 7
6 8 10 10 10 10 8 6
⁄
5 7 9 9 9 9 7 5
5 7 9 9 9 9 7 5
7 8 8 8 8 7
8 8
œœ œœœœœœ
7
œ œ œ œ œœœœœ œœœœœ
œ œ œ œœœœœœœœ
fingering 7
œ
& œœœ œ œ
œ
4 2 4 1 4 3 4 1 3 2 3 1 3 3 1 2 3 1 3 4 4 3 1 3 2 1 3 3 1 3 2 3 1 4 3 4 1 4 2 4
8 10 12 13 13 12 10 8
8 10 12 12 12 12 10 8
⁄
7 9 10 10 10 10 9 7
7 9 10 10 10 10 9 7
8 10 10 10 10 8
10 10
œ œ œ œ œ œœœ œœœœœœœ œ
œœœœœ œ œ œœœœœ
9 fingering 1
& œœœœœœ œœœœœ

œ
4 2 4 1 4 2 4 1 3 1 3 1 3 3 4
1 2 1 2 4 4 2 1 2 1 4 3 3 1 3 1 3 1 4 2 4 1 4 2 4
10 12 13 15 15 13 12 10
10 12 13 13 13 13 12 10
⁄
9 10 12 12 12 12 10 9
9 10 12 12 12 12 10 9
10 12 12 12 12 10
œ œ œ œ œ “” œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
12 12
11
œ œ œ
fingering 2
œ œ
& œœœœœœ œ œ œœœœœ
œ
3 1 2 1 4 1 2 1 3 1 3 1 3 2 4
1 3 1 3 4 4 3 1 3 1 4 2 3 1 3 1 3 1 2 1 4 1 2 1 3
12 13 15 17 17 15 13 12
12 13 15 15 15 15 13 12
⁄
10 12 14 14 14 14 12 10
10 12 14 14 14 14 12 10
12 14 14 14 14 12
13 13

©2010-2011 Jim Gleason. All RIghts Reserved.
2page 1612 Fragment Patterns Part
Major Scale Tone 1235 In 5: Core Melody and Melodic Cells
Fourths back to contents
œ œ œ œ œ œ œ œ œ œ “” œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œœœœœ 5
13
& œœœœœ
fingering 3
œ4
3 2 3 1 3 2 3 1 3 2 4 1 3 2 4 1 3 1 3 4 4 3 1 3 1 4 2 3 1 4 2 3 1 3 2 3 1 3 2 3
13 15 17 19 19 17 15 13
13 15 17 17 17 17 15 13
⁄
12 14 16 16 16 16 14 12
12 14 15 15 15 15 14 12
14 15 15 15 15 14
15 15
œœ œœœœœœœ
middle finger root
œ œ œ œ
15
5 œœœœœœ
œ œœœœœœœœ
fingering 4
&4 œ œ œ
œœ œ œ œœœœœ
2 1 2 4 2 1 2 4 2 1 2 3 2 1 3 4 3 1 3 4 4 3 1 3 4 3 1 2 3 2 1 2 4 2 1 2 4 2 1 2
3 5 7 7 5 3
3 5 6 5 5 6 5 3
⁄
2 4 5 4 4 5 4 2
2 3 5 3 3 5 3 2
2 3 5 3 3 5 3 2
3 3
œ œœœœœœ œœœœœœœœœœ
17
œ œ œ
fingering 5
&
œ œ œ œ œœœœœ œœœœœ œ
œ œœœ
œ
2 1 2 4 2 1 2 4 2 1 2 4 1 1 2 4 2 1 3 4 4 3 1 2 4 2 1 1 4 2 1 2 4 2 1 2 4 2 1 2
5 7 8 8 7 5
5 6 8 6 6 8 6 5
⁄
4 5 7 5 5 7 5 4
3 5 7 5 5 7 5 3
3 5 7 5 5 7 5 3
5 5
œ œ œ œ œœœ œœœœœœœ
œ œœœœœœœœ
19
& œœœœœœœœœœ œ
fingering 6
œ œœœœœ
2 1 2 3 2 1 2 4 2 1 2 4 2 1 2 4 2 1 2 4 4 2 1 2 4 2 1 2 4 2 1 2 4 2 1 2 3 2 1 2
7 8 10 10 8 7
6 8 10 8 8 10 8 6
⁄
5 7 9 7 7 9 7 5
5 7 9 7 7 9 7 5
5 7 8 7 7 8 7 5
7 7
21
œ œ œ œ œœœœœœ œœœœœœœœœœ 5
œ œœœœœ
& œœœœœœœœœ
fingering 7
œœœœœ4
2 1 2 4 2 1 3 4 3 1 3 4 2 1 3 4 3 1 3 4 4 3 1 3 4 3 1 2 4 3 1 3 4 3 1 2 4 2 1 2
8 10 12 12 10 8
8 10 12 10 10 12 10 8
⁄
7 9 10 9 9 10 9 7
7 9 10 9 9 10 9 7
7 8 10 8 8 10 8 7
8 8
©2017-2018 Jim
©2010-2011 Jim Gleason.
Gleason. All All Rights
RIghts Reserved.
Reserved.
back to contents Part 5: Core Melody and Melodic
Major Cells
Scale Tone 1235 In Fourths Fragment Patterns page 1613
3
œ œœ œ œ œœœœœœ
23
5
&4 œ œ œ œ œ œ œ œ
fingering 1
œœœœœ
2 1 2 4 2 1 2 4 2 1 2 4 1 1 3 4 2 1 3 4 4 3 1 2 4 3 1 1 4 2 1 2 4 2 1 2 4 2 1 2
10 12 13 13 12 10
10 12 13 12 12 13 12 10
⁄
9 10 12 10 10 12 10 9
9 10 12 10 10 12 10 9
8 10 12 10 10 12 10 8
œœ œœœœœœ
10 10
œ œ œ œ œ œœœœœ
œ œ œœœ œœœœœœœ
25 fingering 2
œ œ œ
& œœœœœ œœ
2 1 2 4 2 1 2 4 2 1 2 4 1 1 2 4 2 1 2 4 4 2 1 2 4 2 1 1 4 2 1 2 4 2 1 2 4 2 1 2
12 13 15 15 13 12
12 13 15 13 13 15 13 12
⁄
10 12 14 12 12 14 12 10
10 12 14 12 12 14 12 10
10 12 14 12 12 14 12 10
œ œ “” œ œ œ œ
12 12
œ œ œœœ œ
œ œ œ œ œ œ œ œœœœœœ
fingering 3
œ œ
27
œ
& œœœ œ
œ œ œ œ œ œ œ œ 45
2 1 3 4 3 1 3 4 2 1 2 4 2 1 2 4 2 1 2 4 4 2 1 2 4 2 1 2 4 2 1 2 4 3 1 3 4 3 1 2
13 15 17 17 15 13
13 15 17 15 15 17 15 13
⁄
12 14 16 14 14 16 14 12
12 14 15 14 14 15 14 12
12 14 15 14 14 15 14 12
13 13
œœœ œœœœœœœ œ
index finger root
œ
29
5 œ œ œ 5
fingering 4
&4 œ œ œ
œ œ œ œœœœœ 4
œ œ œ œ œœœœœ
œœœ œ œ
1 4 1 2 1 4 1 2 1 4 1 3 1 3 1 3 1 4 1 3 3 1 4 1 3 1 3 1 3 1 4 1 2 1 4 1 2 1 4 1
3 5 5 3
3 5 3 6 6 3 5 3
⁄
2 4 2 5 5 2 4 2
2 3 2 5 5 2 3 2
2 3 2 5 5 2 3 2
1 5 5 1
31
5 œ œ œ œ œœ œœœœœœœ
œ
œœœœœœœ œœœœœœœœ
fingering 5
&4 œ œ
œœ œ œ œœœœœ
1 4 1 2 1 4 1 2 1 4 1 2 1 3 1 2 1 4 1 3 3 1 4 1 2 1 3 1 2 1 4 1 2 1 4 1 2 1 4 1
5 7 7 5
5 6 5 8 8 5 6 5
⁄
4 5 4 7 7 4 5 4
3 5 3 7 7 3 5 3
3 5 3 7 7 3 5 3
3 7 7 3
œ œ œœœœœ œœœœœœœœœœ
33
œ œ œ 5
fingering 6
& œœœœœœœœœ œœœœœ œ

œ œ 4
œ œœ
1 4 1 3 1 4 1 3 1 4 1 2 1 4 1 3 1 4 1 2 2 1 4 1 3 1 4 1 2 1 4 1 3 1 4 1 3 1 4 1
7 8 8 7
6 8 6 10 10 6 8 6
⁄
5 7 5 9 9 5 7 5
5 7 5 9 9 5 7 5
5 7 5 8 8 5 7 5
5 8 8 5
©2017-2018
©2010-2011Jim Gleason.
Jim Gleason. All Rights
All RIghts Reserved.Reserved.
œ œœœœœœœœ
35
5
&4 œ œ œ œ œ œ œ œ œ œ œ
fingering 7
œ œœœœœ
1 4 1 2 1 4 1 3 1 4 1 3 1 3 1 3 1 4 1 2 2 1 4 1 3 1 3 1 3 1 4 1 3 1 4 1 2 1 4 1
8 10 10 8
8 10 8 12 12 8 10 8
⁄
7 9 7 10 10 7 9 7
7 9 7 10 10 7 9 7
7 8 7 10 10 7 8 7
7 10 10 7
œ œ œ œ œœ œœœœœœœ
œœœ œ œœœœœœœ
37
fingering 1
œœœœœ
œ
1 4 1 2 1 4 1 2 1 4 1 2 1 3 1 3 1 4 1 3 3 1 4 1 3 1 3 1 2 1 4 1 2 1 4 1 2 1 4 1
10 12 12 10
10 12 10 13 13 10 12 10
⁄
9 10 9 12 12 9 10 9
9 10 9 12 12 9 10 9
8 10 8 12 12 8 10 8
8 12 12 8
œ
œœ œ œœœœœœœœ
39
œ œ œ
fingering 2
œ
& œœœ œ œ œœœœœ
1 3 1 2 1 4 1 2 1 4 1 2 1 1 2 3 1 4 1 2 2 1 4 1 3 2 1 1 2 1 4 1 2 1 4 1 2 1 3 1
12 13 13 12
12 13 12 15 15 12 13 12
⁄
10 12 10 14 14 10 12 10
10 12 10 14 14 10 12 10
10 12 10 14 14 10 12 10
10 13 13 10
œ œœ œ œ œœœœœ
41 fingering 3
& œœœœœœœ œ œœœœœ

œ
1 4 1 3 1 4 1 3 1 4 1 3 1 4 1 3 1 4 1 2 2 1 4 1 3 1 4 1 3 1 4 1 3 1 4 1 3 1 4 1
13 15 15 13
13 15 13 17 17 13 15 13
⁄
12 14 12 16 16 12 14 12
12 14 12 15 15 12 14 12
12 14 12 15 15 12 14 12
12 15 15 12
©2010-2011 Jim Gleason. All RIghts Reserved.

1-2-3-5 on Harmonic Minor V
1-2-3-5 on Harmonic Minor V7b9 Examples
C form V7b9 of C harmonic minor (G7b9 to C)
1-2-3-5 on the root, third and fifth; 1-2-3-4 on the b7
œ œnœ œ œ œ œ
œ œœ œœœ œ œ
G7(b9)
b4 œ œ œ œnœ œ œ œ œ nœ
& b b4
nœ œ œ œ œ œ œ (1)
1 1 3 1 3 4 1 4 1 3 4 2 3 4 2 1 2 3 1 3 1 1 3 2 3 1 2 4 1 2 4 3
7 7 10
9 8 9 12 8 9
7 7 10 7 8 10 10
⁄ 7 8 10
8
10 11
8 11 8 10 11
9
10 11
9 9 10
œnœ œ
œœ œœœ œœœœœœœ œ
G7(b9)
b bbbb
5
&b b nœ nœ œ œ œ œ œ œ œ œ œ œ
œ œ œnœ
(1)
3 4 2 1 4 2 1 3 2 3 1 1 3 1 3 2 1 2 4 3 2 4 3 1 4 1 4 3 1 3 1 1
10 7 7
9 8 12 9 8 9
10 10 8 7 10 7 7
⁄ 10 9 9
11 10
9
11 10 8 11 8
11 10
8
10 8 7
1-2-3-5 on E form V7b9 of F harmonic minor (C7b9 to F)

œ œ œ œ œ œ œnœ
œ œ œ œ
C7(b9)
b 4 œ œnœ œ œnœ œ
9
& b bb 4 œ œnœ œ œ œ œ œ œ œ œ œ œ
2 3 1 4 1 1 3 1 3 4 1 4 1 3 4 2 3 4 2 1 2 3 1 4 1 2 4 2 4 1 2 4
9 8 9 12
8 8 11 8 9 11 11
9 9 9 10
⁄ 8 9
7 10 7 8 10
8
10 11
8 11 8 10 11 10 11
nœ œ œ œ œ œ œ œ
b œ œ œ nœ œ œ œ œ nœ œ œ œ
13
& b bb œ œ œ œ œ œ œ nœ œ œ b 44
œœ
4 2 1 4 2 4 2 1 4 1 3 2 1 2 4 3 2 4 3 1 4 1 4 3 1 3 1 1 4 1 3 2
12 9 8 9
11 11 9 8 11 8 8
10 9 9 9
⁄ 11 10 11 10 8 11 8
11 10
8
10 8 7 10 7
9 8

page
2 1616 Fragment Patterns 1-2-3-5 On HarmonicPart 5: Core
Minor V7b9Melody and Melodic Cells back to contents
D form V7b9 of D harmonic minor (A7b9 to D)

œ œ œ œ#œ œ œ œ œ
œ œ œ
A7(b9)
œ œ œ
17
4
& b 4 œ œ œ œ œ œ œ œ œ œ#œ œ œ œ #œ
œ
#œ
3 4 1 4 1 2 4 2 4 1 2 4 1 1 4 2 4 1 2 1 2 3 1 4 1 3 4 2 3 4 2 4
9 9 12
8 8 11 8 10 11 10 11
9 7 9 9 10
⁄ 9 10
7 10 7 8 10
8
10
7 8 11 7 8 11 11
œ#œ œ œ œ œ œ œ
œ œ œ œ œ œ œ#œ œ#œ
21
& b œœœœœœ œœœ œ n 44

œ œ œ# œ
4 2 4 3 2 4 3 1 4 1 3 2 1 2 1 4 2 4 1 1 4 2 1 4 2 4 1 2 4 1 4 3
12 9 9
11 10 11 10 8 11 8 8
10 9 9 7 9
⁄ 11 11 8 7 11 8 7
10
8
10 8 7 10 7
10 9
A form V7b9 of A harmonic minor (E7b9 to A)

œœœœ œ
œ œ#œ œ#œ
E7(b9)
œ œ
25
4
&4 œ
#œ œ œ#œ œ œ œ œ œ œ œ œ
œ œ œ œ œ
œœ
2 3 1 3 1 2 3 1 2 3 1 4 1 1 3 1 3 4 1 4 1 3 4 3 3 4 3 1 3 4 1 4
7 7 10
9 9 9 10
7 7 10 7 9 10 9 10
⁄ 7 8
5 8 5 7 8
6
7 8
6 9 6 7 9 9 10
œ œ œ #œ œ œ
œ œ #œ œ œ œ œ œ œ œ
bb
29
& œ œ œ #œ œ œ œ #œ œ
œ œœœœœœ
4 1 4 3 1 3 4 3 3 4 3 1 4 1 4 3 1 3 1 1 4 1 3 2 1 3 2 1 3 1 3 2
10 7 7
10 9 9 9
10 9 10 9 7 10 7 7
⁄ 10 9 9 7 6 9 6
8 7
6
8 7 5 8 5
8 7

1-2-3-5 On Harmonic Minor V7b9 3
G form V7b9 of G harmonic minor (D7b9 to G)

œ #œ œ œ œ œ œ œ œ
#œ œ
D7(b9)
b œ œ œ
33
œ œ
& b œ œ#œ œ œ œ œ #œ œ œ œ œ œ œ œ
œ
2 4 1 3 4 1 3 1 3 4 1 4 1 2 4 2 4 1 2 1 1 2 1 4 1 1 3 1 3 1 2 4
8 8 11
10 7 8 10 10 11
8 7 8 11 7 8 11
⁄ 8 10
6 9
10
6 9
7
9 10
7 10 7 8 10 10
œ œœ œ
b œ œ œ #œ œ #œ œ œ œ
œœ œœœœœœœ
37
b œ
& #œ œ #œ œ œ œ œ œ œ
4 2 1 3 1 3 1 1 4 1 2 1 1 2 1 4 2 4 2 1 4 1 4 3 1 3 1 4 3 1 4 2
11 8 8
11 10 10 8 7 10
11 8 7 11 8 7 8
⁄ 10 10 8 7 10 7
10 9
7
9 6
10
9 6
10 8

1-2-3-5
1-2-3-5 on on Harmonic
Harmonic MinorMinor IIm7b5b9
Iim7b5b9 Examples
the "b9" of IIm7b5b9 is not currently accepted as a chord tone, but can function as an arpeggio tone
G form IIm7b5b9 (Dm7b5 to G7) of C harmonic minor

Progresses to V7b9 (G7b5b9). 1-2-3-5 on the root, third, fifth. 1-2-3-4 on the seventh.
œ œ œ œ œnœ œ œ œ œ œ œ
œ œœ œ œœ œ
D‹7[áÁ]
b4
& b b 4 œ œ œ œ œ œ œ œ œnœ œ œ œ
3 4 1 4 1 3 4 3 4 2 3 1 3 1 1 3 1 1 3 2 3 1 2 1 2 1 1 4 1 2 3 4
8 7 8 11 8 10 11 13
9 8 9 9 12
8 7 8 10 7 8 10 10
⁄ 10 11
8 11 8 10 11
10
11
9 10 10
œ œ œ œ œ œnœ
œ œœœœœœœ œœ
D‹7[áÁ]
b œ œ œ œ nœ œ œ œ œ œ bbbb 44
5
&b b œ
œ œœœ
4 3 2 1 4 1 1 2 1 2 1 3 2 3 1 1 3 1 1 3 1 3 2 4 3 4 3 1 4 1 4 3
13 11 10 8 11 8 7 8
9 9 8 9
10 10 8 7 10 8 7 8
⁄ 10 10 9
11
10
11 10 8 11 8
11 10
C form IIm7b5b9 (Gm7b5 to C7) of F harmonic minor

Progresses to V7b9 (C7b5b9). 1-2-3-5 on the root, third, fifth. 1-2-3-4 on the seventh
œ
œ œnœ œ œ œ œ œ œ œ œ œ
G‹7[áÁ]
b 4
9
& b bb 4 œ
œ œœ œœ œ œ œ œ œ
œ œ œ œ œnœ œ œ
1 2 3 2 2 1 1 4 1 3 4 1 3 4 1 4 1 3 4 3 4 2 3 2 3 1 2 4 1 2 4 2
9
9 8 9 11 8 9 11
10 9 10 10
⁄ 6 8 9
8
9
7 8 11 8 10 11
8
10 11
8 11 8 10 11 11
œœœœœœœ
œ œ œnœ œ œ œ œ œ œ œ
G‹7[áÁ]
b bbbbb 44
13
& b bb œ œ œ œ œ œ œ œnœ œ œ œ
œœ
2 4 2 1 4 2 1 3 2 3 2 4 3 4 3 1 4 1 4 3 1 4 3 1 4 1 1 2 2 3 2 1
9
11 9 8 11 9 8 9
10 10 9 10
⁄ 11 11 10 8 11 8
11 10
8
11 10 8 11 8 7
9
8
9 8 6

1-2-3-5 On Cells
Harmonic Minor IIm7b5b9 Fragment Patterns page 1619
2
E form IIm7b5b9 (Cm7b5 to F7) of Bb harmonic minor
Progresses to V7b9 (F7b5b9). 1-2-3-5 on the root, third, fifth. 1-2-3-4 on the seventh
C‹7[áÁ]
œ œ œ œ œn œ œ œ œ œ œ œ
b 4 œ œœ œœœ œ
17
& b bbb 4 œ œ œ œ œ œ œ œ œnœ œ œ œ

1 2 4 3 4 1 2 1 2 1 1 4 1 3 4 1 3 4 1 4 1 3 4 4 4 3 4 2 4 1 2 4
9 8 9 11
11 10 11 11
8 8 11 8 10 11 11
⁄ 8 9 11
9
11
8 9
8
9
7 8 11 8 10 11 10 11
œ œ œ œ œ œnœ œ
C‹7[áÁ]
b œ œœœœœœœ œœœ œ
21
& b bbb œ œ nœ œ œ œ œ œ b 44
œ œœœ
4 2 1 4 2 4 3 4 4 4 3 1 4 1 4 3 1 4 3 1 4 1 1 2 1 2 1 4 3 4 2 1
11 9 8 9
11 11 10 11
11 11 10 8 11 8 8
⁄ 11 10 11 10 8 11 8 7
9
8
9 8
11
9
11 9 8
A form IIm7b5b9 (Em7b5 to A7) of D harmonic minor

Progresses to V7b9 (A7b5b9). 1-2-3-5 on the root, third, fifth. 1-2-3-4 on the seventh
œ
œœ œœœœœœœ
E‹7[áÁ]
œ œ
25
b 4 œ
& 4 #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ#œ œ œ
œ
1 3 4 2 4 1 2 4 1 2 4 2 4 1 2 1 2 4 1 2 1 2 3 1 2 3 1 4 1 3 4 3
10
8 8 11 8 10 11
7 7 9 7 9 10 9 10
⁄ 6 9 10
8
10
7 8 10 7 8 10
8
10
7 8 8 11
œœœœœœ
E‹7[áÁ]
œ œ œ œ œ œ œ œ #œ œ œ œ bb 44
29
&b œœœœœœ œœœ œ

œ œ# œ œ
3 4 3 1 4 1 3 2 1 3 2 1 2 1 4 2 1 2 1 4 2 4 2 1 4 2 1 4 2 4 3 1
10
11 10 8 11 8 8
10 9 10 9 7 9 7 7
⁄ 11 8 8 7
10
8
10 8 7 10 8 7
10
8
10 9 6

1-2-3-5 On Harmonic Minor IIm7b5b9
3
D form IIm7b5b9 (Am7b5 to D7) of G harmonic minor

Progresses to V7b9 (D7b5b9). 1-2-3-5 on the root, third, fifth. 1-2-3-4 on the seventh
œ
œ œ#œ œ œ œ œ œ œ œ œ œ
A‹7[áÁ]
b4 œ œ
33
&b 4 œ œ
œœ œœœ œœ œ œ œ
œ œ œ œ#œ
2 4 1 4 1 3 4 2 4 1 2 4 1 2 4 2 4 1 2 2 2 1 2 1 2 4 1 2 4 1 2 4
6 8 6 8 11
8 7 8 8 10 11 10
8 7 8 8
⁄ 8 10
6 10 6 9 10
8
10
7 8 10 7 8 10 10
œœœ œœ
œ œ œ œ #œ œ œ œ œ
A‹7[áÁ]
b œ
œ œ œ œ œ œ œ œ œ œ œ #œ œ
37
&b œ œœœ
4 2 1 4 2 1 4 2 1 2 1 2 2 2 1 4 2 4 2 1 4 2 1 4 2 4 3 1 4 1 4 2
11 8 8 6 6
11 10 10 8 8 7 8
8 8 7 8
⁄ 10 10 8 7 10 8 7
10
8
10 9 6 10 6
10 8

1-3-4-5
1-3-4-5on
OnHarmonic Minor
Harmonic Minor V7b9V
C form V7b9 of C harmonic minor (G7b9 to C)
œ œ œ œnœ œ œ œ œ
œ œ nœ œ œ œ œ œ œ
G7(b9)
b4
& b b4 œ œ œ œnœ œ œ
nœ œ œ œ œ œ œ
1 3 4 1 3 1 3 4 1 3 4 2 3 2 3 1 2 1 1 3 1 3 1 2 3 1 2 4 1 4 1 3
8 10
8 9 8 9 12 8 12
7 7 8 10 7 10 10
⁄ 7 10 11
8
10
8 10 11 8 10 11
9
10
9 10 9
œ œnœ œ œ
b œ œœ œœœœœœœ œœ
bbbb
5
&b b nœ nœ œ œ œ œ œ œ œ œ œ œ
œ œn œ
3 1 4 1 4 2 1 3 2 1 3 1 3 1 1 2 1 3 2 3 2 4 3 1 4 3 1 3 1 4 3 1
10 8
12 8 12 9 8 9 8
10 10 7 10 8 7 7
⁄ 9 10 9
10
9
11 10 8 11 10 8
10
8
11 11 7
1-3-4-5 on E form V7b9 of F harmonic minor (C7b9 to F)

œ œ œ œ œ œ œ œ œ œ œn œ
œ
C7(b9)
b 4 nœ nœ œ
9
& b bb 4 œnœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
2 1 1 3 1 3 4 1 3 1 3 4 1 3 4 2 3 2 3 1 2 1 2 4 1 4 1 2 4 1 2 4
8 9 8 9 12
8 8 9 11 8 11 11
9 9 10 9
⁄ 8
7 8 10 7 10 11
8
10
8 10 11 8 10 11 10
nœ œ œ œ œ œ œ œ œ
b œ œ nœ œ œ œ œ nœ œ œ œ œ
13
& b bb œ œ œ œ œ œ nœ œ œ œ
œ
b
4 2 1 4 2 1 4 1 4 2 1 2 1 3 2 3 2 4 3 1 4 3 1 3 1 4 3 1 3 1 1 2
12 9 8 9 8 6 6
11 8 9 8 8
9 10 9 9 6
⁄ 10 11 10 8 10 8
10
8 6
10 7 10 8 7
8

page 1622 Fragment Patterns 1-3-4-5 On HarmonicPart 5: Core
Minor V7b9Melody and Melodic Cells back to contents
2
1-3-4-5 On D form V7b9 for G form target

17 A7(b9)
œ œ œ œ œ œ œ œ œ œ œ#œ œ œ œ œ
4
& b 4 œ œ œ œ œ œ œ œ œ œ#œ œ œ œ #œ
#œ
3 1 2 4 1 4 1 2 4 1 2 4 1 4 1 3 4 2 3 1 2 1 3 4 1 3 4 2 3 2 3 4
6 9 9 10 12
8 8 10 8 10 11 10
6 7 9 6 9 10 9
⁄ 9
7 8 10 7 10
7 8
10
7 8 11 7
œ œ#œ œ œ œ œ
œ œ œ œ œ œ œ œ #œ œ œ #œ œ
21
&b œ œœœ œœœœœœœ n

#œ
4 3 2 3 2 4 3 1 4 3 1 2 1 3 2 4 3 1 4 1 4 2 1 4 2 1 4 1 4 2 1 3
12 10 9 9
10 11 10 8 11 10 8 8
9 10 9 9 7
⁄ 11 11 7 11 8 7
10
8 7
10 7 10 8 7
9
A form V7b9 of A harmonic minor (E7b9 to A)

25 E7(b9)
œ œ œ œ#œ œ#œ œ œœœœœ
4
& 4 œ œ œ œ œ œ#œ œ#œ œ œ œ œ œ œ œ œ œ
œ
2 1 2 3 1 2 3 1 2 1 1 3 1 3 4 1 3 1 3 4 1 3 4 3 3 3 4 1 3 1 2 4
7 7 8 10
9 9 10 9
7 7 9 10 7 9 10 9
⁄ 7
5 7 8 5 7 8
6
7
6 7 9 6 9 10 9
œ œ œ #œ œ œ œ #œ
œ œœœœœœœ œœœ œ bb
29
& #œ œ œ œ #œ œ œ œ œ œ œ
œ
4 2 1 3 1 4 3 3 3 4 3 1 4 3 1 3 1 4 3 1 3 1 1 3 1 3 2 1 3 2 1 2
10 8 7 7
9 10 9 9
9 10 9 7 10 9 7 7
⁄ 9 10 9
11
9 7
11 7 11 8 7 5 8 7 5
7

1-3-4-5 On Harmonic Minor V7b9 3
G form V7b9 of G harmonic minor (D7b9 to G)

œ #œ œ œ œ œ œ œ œ
#œ œ œ
D7(b9)
b œ œ
33
œ œœ œ
& b œ œ œ#œ œ œ œ œ #œ œ œ œ œ œ
2 4 1 3 4 3 4 1 3 1 2 4 1 4 1 2 4 1 2 1 1 1 2 4 1 3 4 1 3 1 3 4
8 8 10 11
7 7 8 10 7 10 11 10
7 8 7 8 7
⁄ 8 10
6 9
10
9 10
7
9
7 8 10 7 10 10
œœœ œœ
b œ œ #œ œ œ #œ œ œ œ œ
œ œ œ œ œ œ œ œ #œ œ œ #œ #œ
37
& b
œ œœœ
4 3 1 3 1 4 3 1 4 2 1 1 1 2 1 4 2 1 4 1 4 2 1 3 1 4 3 4 3 1 4 2
11 10 8 8
10 11 10 7 10 8 7 7
7 8 7 8 7
⁄ 10 10 7 10 8 7
9
7
10 9
10
9 6
10 8

1-2-3-5 on Melodic Minor IV
1-2-3-5 on Melodic Minor Iv Examples
E form bII9 (Db9 to C, using Ab melodic minor)

bœ œ œbœ œ œ œ œ œ
b 4
D¨9
œ
œ œ œœ œ œ œ œ œ
& b bb 4 œ œ œ œ œ œ œbœ œ œbœ œ œ
2 4 1 4 1 3 4 2 4 1 2 1 2 4 1 3 4 1 3 2 3 1 2 1 2 4 1 4 1 2 4 4
7 7 11 7 9 11 13
9 8 9 9 11
8 8 10 8 10 10
⁄ 9 11
8 11 8 10 11
9
11
8 9 9 11 11
œ œ œbœ œ œ œ
b œ bœ œ œ œ œ œ œ œ œ œ œ œ
bbbbb
5
& b bb bœ œ œ œ bœ œ œ œ
œ œœœ
4 4 2 1 4 1 4 2 1 2 1 3 2 3 1 4 3 1 4 2 1 2 1 4 2 4 3 1 4 1 4 2
13 11 9 7 11 7 7
11 9 9 8 9
10 10 8 10 8 8
⁄ 11 11 9 9 8
11
9
11 10 8 11 8
11 9
A form bII9 (Gb9 to F, using Db melodic minor)

1--2-3-5 on the root, third and fifth; 1-2-3-4 on the b7
bœ
9
b
G¨9
b œ œb œ œ œ œ œ œ œœœœœœœ
4
& b bbb 4 œ œbœ œ œ œ œ œ œ œ œ œ œ œ œ œ
2 4 1 4 1 2 4 1 2 4 1 4 1 3 4 2 4 1 2 2 2 4 2 4 4 2 4 2 4 1 2 4
9 8 9 12
9 9 11 9 11 11
9 8 9 9 11 11
⁄ 9 11
7 11 7 9 11
8
9 11
8 11 8 10 11 11
bœ œ œ œ œ œ
13
b œ œ œ œ œ bœ œ œ œ œ bœ œ b
b œœœœœœ œœœ œ
&b b b bœ œ œ œ b
4 2 1 4 2 4 2 4 4 2 4 2 2 2 1 4 2 4 3 1 4 1 4 2 1 4 2 1 4 1 4 2
12 9 8 9
11 11 9 11 9 9
11 11 9 9 8 9
⁄ 11 11 10 8 11 8
11 9
8
11 9 7 11 7
11 9

1-2-3-5 On Melodic Minor IV
2 to contents
back Part 5: Core Melody and Melodic Cells Fragment Patterns page 1625
G form bII9 (Eb9 to D, using Bb melodic minor)

œœœœ bœ
b4 œ œ œ œ œ œ œ
17 E¨9
b œ b œ œ
&b 4 œ b œ œ œ œ œ œ œœœœœœœ œœ
œ
1 1 2 1 2 4 1 3 4 1 3 1 3 1 1 4 1 3 4 3 4 1 3 1 1 3 1 4 1 3 4 2
9
8 8 11 8 10 11
10 8 10 8 10
⁄ 6 8 9
8
9 11
8 10
11
8 10
8
10
7 8 11 8 10 11 11
bœ œ œ œ œ œ
b œ œ œ œ œ bœ œ œ œ œ bœ œ
21
&b œ œ œ œ œ œ œ œ œ bœ œ œ b 44
œœ
2 4 3 1 4 1 3 1 1 3 1 4 3 4 3 1 4 1 1 3 1 3 1 4 3 1 4 2 1 2 1 1
9
11 10 8 11 8 8
10 8 10 8 10
⁄ 11 11 10 8 11 8 7
10
8
10 8
11
10 8
11 9
8
9 8 6
D form bII9 (Bb9 to A, using F melodic minor)

b œ œb œ œœœœœ
œ œ œ œ
25 B¨9
4 œ
& b 4 œ œ œ œ œ œbœ œ œbœ œ œ œ œ œ œ
œ œ
œ
1 1 2 1 2 4 1 3 1 2 3 2 3 1 2 4 1 2 4 2 4 1 4 1 2 4 1 4 1 2 4 1
10
9 9 13 9 11 13
10 9 10 10 12
⁄ 6 8 10
8
10 12
8 11 8 10 11
10
11
8 10 12 8 10 12 12
œ œ œbœ œ œ œ bœ
œ œœœœœœœ œœœ œ bbb
29
&b bœ œ œ œ bœ œ œ œ
œ œœœ
1 4 2 1 4 1 4 2 1 4 1 4 2 4 2 1 4 2 1 3 2 3 2 1 3 1 4 2 1 2 1 1
10
13 11 9 13 9 9
12 10 10 9 10
⁄ 12 12 10 8 12 10 8
11
10
11 10 8 11 8
12 10
8
10 8 6

1-2-3-5 On Melodic Minor IV
3
C form bII9 (Ab9 to G, using Eb melodic minor)

œ
b œ œbœ œ œ œ œ bœ œ œ œ œ œ œ
33 A¨9
4
& b b 4 œ œbœ œ œ œ œ bœ œ œ œ œ œ œ œ
œ
œ
1 3 4 2 4 1 2 1 2 4 1 3 4 1 3 1 3 1 1 4 1 3 4 4 4 2 4 1 2 4 1 4
8 8 11
11 9 11 9 11
8 7 8 11 8 10 11 11
⁄ 8 10 11
9
11
8 9
8
9 11
8 10
11
8 10 10
œœœœœœœ
bb bœ œ bœ œ œ œ œ œ
œ œ œ œ œ œ œ œ bœ œ bœ
37
& b œœœœœœ
4 1 4 2 1 4 2 4 4 4 3 1 4 1 1 3 1 3 1 4 3 1 4 2 1 2 1 4 2 4 3 1
11 8 8
11 9 11 9 11
11 11 10 8 11 8 7 8
⁄ 10 10 8
11
10 8
11 9
8
9 8
11
9
11 10 8

USING TRIADS WITH NEIGHBOR TO IMPLY CADENCES

Focus On The Roots of the Cadenced Triads on the Fretboard
Learn triad fingerings thoroughly, so you can quickly conceive and play these triads with neighbor.
Visualize the sequence of root locations for the three chords involved on the fretboard.
Use a Variety of Triad with Neighbor Cells

Any number may be altered as necessary with a flat or sharp. The 1-2-3-5 triad with neighbor cell is a
favorite. Use the others listed below as well. Notice that 1-3-6-5 and 5-3-7-1 have had their last two
numbers reversed to end on a triad (1-3-5) tone. “5-6-7-1“ and “1-7-6-5” are technically “triad tones 1-5
with passing tones 6-7”.
ascending 7-1-3-5 1-2-3-5 1-3-4-5 1-3-6-5 3-4-5-1 3-5-7-1 5-7-1-3 5-1-2-3 5-6-7-1
descending 5-3-7-1 5-3-2-1 5-4-3-1 6-5-3-1 1-5-4-3 1-7-5-3 3-1-7-5 3-2-1-5 1-7-6-5
Modal II-V-I Cadences with Roots in Fourths

Cadences are based on the traditional II-V-I cadence (Dm-G-C). Modally, this is three chords in
perfect fourths, with the third chord numbered as “I”. Here is a table comparing major scale-tone three-
chord cadences with the same cadences numbered modally with the target chord as “I”.
modal table of II-V-I cadences
example in Dm-G-C Em-Am-Dm F-Bdim.-Em G-C-F Am-Dm-G Bdim.-Em-Am C-F-Bdim.
C major parent scale
target mode major Dorian Phrygian Lydian Mixolydian Aeolian Locrian
parent major scale- IIm-V-I IIIm-VI-IIm IV-VIIdim-I IIIm-VI-IIIm VIm-IIm-V VIIdim.IIIm-VIm I-IV-VIIdim.
tone numbers
modal scale numbers IIm-V-I IIm-Vm-Im bII-Vdim-I II-V-I IIm-Vm-I IIdim.-Vm-Im bII-bV-Idim
1-2-3-5 example of a IIm-V-I cadence - click to play

untitled - COPYRIGHT BELOW
This example
q = 150
is very predictable and not that interesting. We’ll work on making interesting variations.
Since IIm (Dm)
Swing andqaV
Eighths (G) are generally interchangeable, Dm and G are played during G.
a z=[qp ]e
° œ œ œ œ œ ˙
D‹7 G13 CŒ„Š9 FŒ„Š7
& ∑ œ œ œ œ ∑
œ œ œ
1 2 b3 5 1 2 3 5 1 2 3 5
D minor G major C major
¢⁄
7 7 9
7 7 9 10
7 8 10
10

The Flat Five Substitute

In triads, a flat five substitute replaces a V triad (G) with a bII triad (Db). This is called a “flat five
substitute” because the interval between V and bII is a flatted fifth.
Roots up in fourths should be associated with roots downward chromatically. The downward chromatic
version uses a flat five substitute. Dm-G-C (IIm-V-I) becomes Dm-Db-C.
1-2-3-5 example of a IIm-bII-I cadence - click to play

This is a bit more interesting than the previous example. The example below is the chromatic counterpart
of the previous example. The melodic line is a little more pleasing going up on the first four-note cell
(Dm) then down on the second untitled - COPYRIGHT
cell (Db), then up on the third BELOW
cell (C). Dm-G-C (IIm-V-I) becomes
Dm-Db-C
q = 150 )IIm-bII-I). Since IIm (Dm) and V (G) are generally interchangeable and Db is a flat five
substitute for G. qaa z=[qp ]e
Swing Eighths
°
D‹7 G13 CŒ„Š9 FŒ„Š7
& ∑ œ bœ œ bœ ∑
œ œ œ bœ œ nœ nœ œ ˙
1 2 b3 5 5 3 2 1 1 2 3 5
D minor Db major C major
¢⁄
7 6 5
7 8 8 6 7
10 9 8 10

Use Sequences of Chord Roots To Imply Modal II-V-I Cadences

resolving to VI minor and I major
The most common three chord cadence is II-V-I. Use triad with neighbor cells (such as 1-2-3-5) with
roots ascending in fourths (or descending chromatically with the second chord as a flat five substitute)
to imply resolution to VI minor with a keyscale VIIdim-IIIm-VIm sequence and to imply resolution to
I major with a keyscale IIm-V-I sequence.
triad with neighbor modal II-V-I, Aeolian
keyscale VIIdim-IIIm-VIm is an Aeolian II-V-I modal cadence to VIm - clck to play
Swing Eights qaa z=[qp ]e
° #4
q = 170 GŒ„Š7
œ
E7(#9) A‹7 D7(#9)
∑ œ œ œ œ œ
& 4 œ œ
VIIdim (1235) IIIm (1235)
7
¢⁄
7
7 10 9 10
9 10
œ œ
° # œ œ œ œ œ œ œ œ
GŒ„Š7 E7(#9) A‹7 D7(#9)
œ
1
œ Ó
&
VIm (for I major) VIIdim (1235) IIIm (1765)
8 7
8 8 7 8 10 10 8 7
¢⁄
9 7
° # œ
GŒ„Š7
œ
E7(#9) A‹7
œ œ œ œ œ
D7(#9)
œ œ nœ
œ
3
œ ‰ ‰ Œ
&
VIm (for I major) VIIdim (1235) bVII (5431)
bVII is a flat five substitute for IIIm

8 7
8 8 7 8 10 10
¢⁄
9 7 10
œ œ œ œ
° # œ œ œ œ nœ œ
GŒ„Š7 E7(#9) A‹7 D7(#9)
œ j
5
& œ ‰ œ Œ
VIm (for I major) VIIdim (5431) bVII (1345)
8 7 7 8
8 10 7 10
¢⁄
9 9 7 10
10
° # œ œ œ œ n
GŒ„Š7 E7(#9) A‹7 D7(#9)
œ
7
œ Œ ∑
&
VIm (for I major)
7
8 8 8
¢⁄
9 7

triad with neighbor modal II-V-I, major
keyscale IIm-V-I isqaa z=[ qp ]e

Swing Eights
a major (Ionian) II-V-I modal cadence to I major - click to play
° #4 œ
q = 170 GŒ„Š7
œ
E7(#9) A‹7 D7(#9)
∑ œ œ œ œ œ
& 4 œ
IIm (1235 Am) IV (1235 D)
7 10
¢⁄
9 7 9
7 9 10
° # œ
GŒ„Š7 E7(#9) A‹7 D7(#9)
œ
1
& Œ Ó œ œ œ œ œ œ œ
I major (G) IIm (1235 Am) V (1765 D)
¢⁄
9 7
7 9 10 10 9 7
° #
GŒ„Š7 E7(#9) A‹7 D7(#9)
œ bœ
3
& œ Œ Ó œ œ œ œ bœ bœ
I major (G) IIm (1235 Am) bII (5431 Ab)
bII is a flat five substitute for V
¢⁄
9 8
7 9 10 10 8 6
10
° # œ
GŒ„Š7 E7(#9) A‹7 D7(#9)
œ bœ
5
Œ Ó œ œ œ œ
VIIdim (1235)
& œ bœ
I major (G) IIm (5431 Am) bVII (1345 F)
¢⁄
9 7 7 8
10 7 6 10
° # œ
7 GŒ„Š7 E7(#9) A‹7 D7(#9)
& Œ Ó ∑
I major (G)
¢⁄
7

I-VIm-IIm-V with 7-3-6-(b3)-2-5-1-(b5)-4-7-3 in major
7-3-6-2-5-1-4 Root Sequences to Join Multiple Modal II-V-I Cadences
q = 200
By adding some flat five substitutes, sequences of four four-note triad with neighbor cells can be used.
This allows practice of modal II-V-I cadences to VIm, I and IIIm (III diminished in Mixolydian mode)
in°a continuous
#4
GŒ„Š7 sequence. See E7(#9)
the examples below. TheA‹7chord numbers in parenthesis
D7(#9) are flat five
∑
& 4 for the chords that precede them.
substitutes ∑
resolving to I major with VI minor, I major and III minor
¢⁄
7-3-6-(b3)-2-5-1-(b5)-4-7-3 in I major - click to play
° # œ œ œ œD7(#9) œ
œ œ œ œ. œ œ œ œ
GŒ„Š7 E7(#9) A‹7
œ
1
& œ
.
I VIIdim IIIm
10 13 12 10
¢⁄
12 9 12 12 9 11 12 12 11
12
œ œ nœ œ œ œ bœ
° # œ œ bœ nœ œ bœ bœ
GŒ„Š7 E7(#9) A‹7 D7(#9)
œ œ
3
&
VIm bIII IIm V as bII (b5 of V)
10 13 12 8 11
12 11 13 12 10 11 13
¢⁄
9 11 12 13
œGŒ„Š7 n œ œ
° # nœ œ bœ œ œ nœ
E7(#9) A‹7 D7(#9)
nœ bœ nœ #œ
5
& bœ œ nœ
I bV IV VIIdim
10
12 10 10 13
¢⁄
12 13 10 9 12 11 12
13 11 10 12
œ œ œ
° # œ n
7 GŒ„Š7 E7(#9) A‹7 D7(#9)
& Ó ∑
IIIm
10 12 14
12
¢⁄

page"G"
1632 Fragment Patterns
Mixolydian Part 5: Core Melody and Melodic Cells back to contents
° # 4 to I Mixolydian with VI minor, I major and III minor

G9 E7(#9) A‹7 D7(#9)
resolving
& 4 ∑ ∑
b7-3-6-(b3)-2-5-1-(b5)-4-b7-3 in Mixolydian - click to play
Compare this example with the previous major example. They use essentially the same melodic line, but
¢⁄ the chord qualities from those in major mode to Mixolydian mode.
change
° #
G9 E7(#9)
nœ
A‹7
œ nœ œ œ
D7(#9)
œ œ œ
j j
1
œ
& ‰ œ ‰ œ #œ
j œ
I bVII major IIIdim
10 13 12 10
¢⁄
10 12 12 10
8 9 12
10 10
° # œ œ bœ nœ œ bœ bœ
G9 E7(#9) A‹7 D7(#9)
nœ œ
3
&
VIm bIII IIm V as bII (b5 of V)
10 13 12 11
12 11 13 13 12 10 11 13
¢⁄
9 10 12 13
œG9 n œ œ
° # nœ œ bœ œ œ nœ
E7(#9) A‹7 D7(#9)
nœ bœ nœ nœ
5
& bœ œ nœ
I bV IV bVII major
10
12 10 10 13
¢⁄
12 13 10 9 12 10 12
13 11 10 12
œ œ nœ œ
° # œ #œ œ
7 G9 E7(#9) A‹7 D7(#9)
& ‰ J ∑
IIIdim
10 12 13 10
12 11 12
¢⁄

resolving to VI minor with VI minor, I major and III minor
7-3-6-(b3)-2-#5-1-(b5)-4-7-3 in VI Aeolian - click to play

The key is VI Aeolian (E Aeolian). Roman numerals below the music notation staff refer to the parent
major (the relative major scale, G major). Note that the V7 chord is changed to #Vdiminished seventh.
By using sharp fiveI-VIm-IIm-V with
of the parent major scale,7-3-6-(b3)-2-5-1-(b5)-4-7-3
the VI minor scale becomes VI harmonic minor. Note
that otherwise, the melody in this example
q = 150 in VI Aeolian
is identical to its I major counterpart, 7-3-6-(b3)-2-5-
1-(b5)-4-7-3 in I major.
° #4
E‹7 CŒ„Š7 F©‹7(b5) B7(b9)
& 4 ∑ ∑
¢⁄
œ œ
° # ™œ œ œ œ œ. œ œ œ œ œ œ
E‹7 CŒ„Š7 F©‹7(b5) B7(b9)
œ
1
œ
& ™
.
I VIIdim IIIm
™ 12
™
10 13 12 10
¢⁄
9 12 12 9 11 12 12 11
12
° # œ œ bœ nœ œ œ
E‹7 CŒ„Š7 F©‹7(b5) B7(b9)
œ œ #œ
3
&
VIm bIII IIm #Vdim
10 13 12 8 11
12 11 13 12 10 11 13
¢⁄
9 11 12 13
œ œ œ
° # œ œ bœ œ œ nœ
E‹7 CŒ„Š7 F©‹7(b5) B7(b9)
nœ bœ nœ #œ
5
bœ œ nœ
&
I bV IV VIIdim
10
12 10 10 13
¢⁄
12 13 10 9 12 11 12
13 11 10 12
œ œ œ
° # œ ™™ n
7 E‹7 CŒ„Š7 F©‹7(b5) B7(b9)
& Ó ∑
IIIm
10 12 14
™
™
12
¢⁄
©2017-2018©2018
JimJimGleason. All Rights Reserved.
Gleason. All Rights Reserved.
resolving to II minor or IV major with II minor, IV major and VI minor

To imply resolution to II minor or IV major, play three four-note triad with neighbor cells (such as
1-2-3-5) with roots ascending in fourths (or descending chromatically with the second chord as a flat
five substitute), designed to end on II minor, IV major and VI minor. The IIm is the “modal relative
minor” IIm-V
of IV with
major and 3-6-2-(b6)-5-#1-4-(b7)-7-3-6
suggests a IV6 chord. in II Dorian
q = 100
Swing Sixteenths
(IV)-3-6-2-(b2)-5-1-4-(b7)-7-3-6
qs i=[ep ]x
in II Dorian - click to play
° #4 ∑ œœ
™ œ™
D9 A‹7 D9
& 4 ∑ ∑ Ó œ™
≈œ ® ®
A‹7
R R
7
8
¢⁄
9
9 10
A‹7 œ œ
œ™ œ œ œ œ œœ œœ œ œ œ œ œ œœœœ œ œ
œœ œ ≈nœnœbœ œ#œ œ œ#œ œ œ
3
° # Œ œœœœ
œ œœœ œ
A‹7 D9 D9
œŒ
5
& ‰Œ
3
IV(C) IIIm(Bm) VIm(Em) IIm(Am) VIIº(F#º) bVI(Eb) V(D) #1º(G#º)
(b5 of VII) (D7 no root) (b5 of II) E7 no root
as V of Am
10 8 7 10 7 8 7 7 8 12 10 8 12 12
10 8 8 7 10 87 10 12 1013 10 1215
¢⁄
9 11 9 7 9 1112 12 10 11 12 1314
1312
œœ
œ œ n œ n œ œ œœ œ œ#œœ œ œ œ œ# œ œ
œ œ œ œ œ œ #œ œœ ^^
A‹7 D9 A‹7 D9
° # ≈ R ≈ R ≈R
9
nœ œ œ™ œ œ
& ‰Œ ≈œœœ ≈ œ œœœœ ≈R ≈R ≈ R œœ Œ
IV (C) bVII(F) VIIº(Bº) IIIm(Bm) VIm(Em) I(G) IV(C) V (D)
(secondary root on third of Am7) (same as next
chord but with
F note which moves to F#)
12 15 1717 14 1915
1315 1013 1013 15 17 13 1513 12 10
¢⁄
17 1012 1112 16 16 1214 14 10 11
1012 1214 1212
12 1214
15

(IV) 3-6-2-(b6)-5-1-4-(b7)-7-3-6 in IV Lydian - click to play

resolving to V major with III minor, V major, VII diminished and II minor
To imply resolution to V major, play three four-note triad with neighbor cells with roots ascending in
fourths (or descending chromatically with the second chord as a flat five substitute), designed to end on
III minor, V major, VII diminished or II minor. The IIIm is the “modal relative minor” of V major and
suggests a V6 chord.
4-7-3-(b7)-6-2-5-(b2)-1-4-7-(4)-3-6-2 in V Mixolydian - click to play

Implying V-bII-I Cadences Using Triads with Neighbor
Making I-VIIdim. or IV-IIIm Into a Three-Chord Cadence

Use I-Idim.-VIIdim. for I-VIIdim. and use II-Vdim.-IIIm for IV-IIIm.

A Wide Variability of Content for the Target I Chord

You don’t necessarily need to play a triad with neighbor cell on the target I chord. Begin the I chord
with a triad tone or another chord tone followed bywith
I-VIm-IIm-V one or1-2-3-5,
more additional I chord tones. You could
begin the I chord with a triad chord tone then continue with an appropriate pentatonic scale named
q = 100
after Swing
the I Sixteenths Seventh
chord (I major Arpeggios
pentatonic and
for a Ima7 Flat
chord, forFive Substitutes
example) or you could begin the I chord
with a large arpeggio, such as a VIm11 arpeggio for a Ima7 target chord (VIm11 has the same notes as
qs i=[ep ]x
Ima9/6). SeeA‹7 the example below. D9
° #4
GŒ„Š7 E7(#9)
∑ ∑
¢& 4 with a variety of 1-2-3-5 cell and flat five substitutes - click to play
I-VIm-IIm-V
° # œ œ b œ œ bœ œ œ
œ nœ œ œ
A‹7 D9 GŒ„Š7 E7(#9)
œ
1
¢& Œ ‰™ œ œ Ó
R
Cma7 Cm7 Bm7
IV can chromatically voice-lead to IIIm7
with IVma7-IVm7-IIIm7. IIIm7 is Ima9nr.
A‹7 D9
œ œ
GŒ„Š7
œ œ b œ œ b œ b œ n E7(#9)
œ œ nœ
° # ‰™ œ œ œ œ
≈ R ≈ nœJ ™
3
¢&
r
œ œ œ
œ œ œ œ œ
Em Am D G Ab
To ascend four-note cells in fourths, back-cycle to the target Gma7 by
starting down a fourth for each beat preceding G. Ab is "chromatic drift",
with its Eb note on top voice-leading to the "E" on the E7#9, thinking Em11
to sound the key of G.
œ œ n œ D9 œ #œ
° # Œ œ œ œ œ œ œ œ
5 A‹7 GŒ„Š7 E7(#9)
¢& nœ nœ œ œ œ Œ ‰
œ œ
G D Am Em
To ascend four-note cells in fourths, back-cycle to the target Em11
(substitute for Gma9) by starting down a fifth for each beat preceding Em.
is follow the cycle of fifths: 4-1-5-2-6-3-7-4 etc. or F-C-G-D-A-E-B.
œ œ œ
A‹7
b œ n œ œ œ n œ b œ œ œ n œ # œGŒ„Š7œ œ n œ œ
b œ n D9 œ œ #œ œ
E7(#9)
° #
7
œ œ nœ œ œ nœ
≈
¢&
G Ab Am Bb Bm
With four-note cells going up chromatically, every other goes up a step,
so its the same as a II going to III, which is on the third of I.
is becomes roots up in fifths, with the middle of the three four-note
cells as a flat five substitute. G-D-Am-Em-Bm becomes G-Ab-Am-Bb-Bm.
° #
A‹7 D9 GŒ„Š7 E7(#9) A‹7 D9 GŒ„Š7 E7(#9)
œ œœœbœbœbœbœ œnœnœœ œ
9
¢& Ó Ó ∑ ∑
Am Ab G
With four-note cells going down chromatically, every other goes down a step,
so its the same as a II going to I, or VIm to V, etc. e middle of three four-note
cells becomes a flat five substitute. Am D G becomes Am Ab G.

FREE-FORM TRIADS WITH NEIGHBOR

Basic Rules
three triad arpeggio tones and a neighbor

These are four-note cells, like 1-2-3-5 and 1-3-4-5. 1-2-3-5 is a triad with a neighboring tone as the
second note. 1-3-4-5 is a triad with a neighboring tone as the second note. 1-3-5-6, 1-3-5-4 or 1-3-5-7
would be a triad with a neighboring tone as the fourth note. This opens more possibilities.
To open even more possibilities, let’s think more broadly. What is 1-2-3-5? It is a triad (1-3-5) with a
neighbor as the second note (2). Why not apply the same idea to inversions of triads? A close-voiced
triad with the third in the bass ascends 3-5-1 and is called first inversion (third in the bass is first
inversion). So, inserting a neighboring tone between the first two tones of 3-5-1 makes 3-4-5-1.
Applying the same idea to second inversion. A close-voiced triad with the fifth in the bass ascends 5 -
1 - 3 and is called second inversion. Since there are two tones between “5” and “`”, inserting a neighboring
tone between the first two tones of 5-1-3 makes 5-6-1 or 5-7-1.
preferences of 6 or 7 between 5 and 1

Musical styles have already defined the preferences in choosing to linearly place either scale tone 6 or 7
between scale tones 5 and 1, when one of the two is to be chosen.
In western European folk, bluegrass, country music and other American triad-based music, “6” is
preferred between 5 and 1 for major chords.
In western European folk, bluegrass, country music, blues (not swing) and other American triad-based
music, “b7” is preferred between 5 and 1 for minor chords.
In swing music, “6” is an option to “b7” between 5 and 1 for minor chords.
using hexatonic (six note) scales to add neighboring tones to triads

The typical notes used to add neighbors are six-note scales, which can be called hexatonic scales. They
are not used in linearly form, running up and down the scale as is done with seven-tone and five-tone
scales. Instead, they are used to make cells that add neighbors to triads.
The common hexatonic scales can be conceived in multiple contexts. If you have a blues, rock, or country
background, you may want to use the “pentatonic with added tone” name. If you have a jazz or classical
background, you may want to use the hexatonic name, based on the heptatonic (seven tone) scale name.

common hexatonic scales:

numeric hexatonic name pentatonic with added tone triad with neighbors descrption added numbers
1-2-3-4-56 major no seven major pentatonic, add four major triad with neighbors above 1-3-5 and 2-4-6
each
1-b3-4-5-b7 Aeolian no six minor pentatonic, add two triad with neighbors above each 1-b3-5 and b7-2-4
1-2-b3-4- Dorian no m6/9 pentatonic, add triad with neighbors above each 1-b3-5 and 2-4-6
5-6 seven four

C Major Triads With A Neighbor - Major Scale No Seven
C major triad with neighbor - major no seven examples
œ œ œ œ
° 4œ œ œ œ œ œ œ œ œ œ œ œ œ œ
neighbor above lowest
œ œ œ œ œ œ
&4
8 8 12 8 8
8 8 8 10 10 8 8 8
¢⁄
7 9 9 10 10 9 9 7
10 10
œ œ œ œ
° œ œ œ œ œ œ œ œ œ œ œ œ œ œ
neighbor above middle note
œ œ œ œ œ œ
&
8 8 10 12 10 8 8
8 8 10 8 8 10 8 8
¢⁄
9 10 9 9 10 9
10 10
œ œ œ œ œ œ
° œ œ œ œ œ œ œ œ œ œ œ
neighbor above top note
œ œ œ œ œ œ
&
8 10 12 13 12 10 8
8 10 8 13 13 8 10 8
¢⁄
9 9 12 12 9 9
10 10
œœ œ œ œ œ œœ œ œœ œœ œ œ œ œ œ œ
mixing during each triad
° ™ œ œœœ œœ œœ œœ œ œ œœ œ œ œœ œ œœœœ œœ œ œœ ™™
& ™ œ
™ 7 9 8 810 9 910 8 8 10 8 9 8 10 8 12 10 8 8 910 8 9 7 9 8 10 8 810 9 8 8 10 12 8 10 8 ™

™ 10 ™
¢⁄
10 10 10
œœœ œ œ œ
° ™ œ œ œ œ œ œ œœ œœ œ œ œœ œ œœœ œ œ œ œ œ œ œ œœ œ œœ œ œ œœœ œœ œ
& ™ œœ œœ ™™
™ 12 10 8 8 8 12 8 8 12 8 8 10 12 8 8
™
™ ™
10 10 8 8 8 8 10 8 8 8 10 8 8
¢⁄
9 10 10 9 79 10 9 97 910
10 10

Major Triads With A Neighbor - Major Scale No Seven
2 1642 Fragment Patterns
° ™œœœœœœœœ œœ œœœ œ œœ
descending inversions with theme and variation by choice of neighbor
œ œ
& ™ œœœ œ œ œ œ œ œ œ œ œœ œ ™™
™ 8 8 8
™
™ ™
10 8 8 8 8 8 8 10
¢⁄
9 10 9 9 7 9 10 9 9 7 9 7 9
10 10 7 10 10 10
10 10
œœœ œœ œ œœœ œ œ
° ™ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ
™™
& ™ œ
™ 12 10 8 8 8 12 8 8 8
™
™ ™
8 10 8 8 8 10 8 8 8 8 10
¢⁄
9 9 7 9 10 10 9 10 9 9
10 10
œœœœ œ
° ™œ œ œ œ œ œ œ œ œ œ œœ œœœœœœœœ œœœ œœœœ
ascending inversions with theme and variation by choice of neighbor
& ™
™ 8 8 10 12 8 8 8 12 8
™ 10
8 8 10 8 8 8 8 8 10 10 8
¢⁄
7 9 9 10 9 9 10 9 10 9
10
œœœ œœ
° œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™
& œœœ œ œ œœœ œœ
8 8
™
™
8 8 10 8 8 8 8
¢⁄
7 9 9 10 9 10 9 9 7 9 9 10 9 7
10 10 10 7 10 10 10
10 10
œœœœœ œ
œœœœœœ œ
mixing with neighbor after last tone
° œ œœœœœœ œ œ œ œ œ œœœœœœ œœ
& œ œœ˙
8 10 8 12 13 12 8
8 10 8 8 8 13 13 8 8
¢⁄
9 9 7 9 10 9 12 14 12 9 7 9 9
10 10 10 7 10
10 8 7

A Minor Triads With A Neighbor - Aeolian No Six
A minor triad with neighbor - aeolian no six examples
œ œ œ œ
neighbor above lowest
° 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ
&4 œ
5 5 8 5 5
5 5 5 8 8 5 5 5
¢⁄
4 5 5 7 7 5 5 4
7 7
œ œ œ œ
neighbor above middle note
° œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ
& œ
5 5 7 8 7 5 5
5 5 8 5 5 8 5 5
¢⁄
5 7 5 5 7 5
7 7
œ œ œ œ
neighbor above top note
° œ œ œ œ œ œ œ œ œ œ
& œ œ œ œ œ œ œ œ œ
5 7 8 10 8 7 5
5 8 5 10 10 5 8 5
¢⁄
5 5 9 9 5 5
7 7
° ™ œœœ œœœ œœœ œ œ œ œœ œœ œ œ œ œ œ œ œœœ œœœ œœœ œ œ œ œœ œ œ œ œ œ œ œœ ™

mixing during each triad
& ™œ œ œ œ ™
™ 5 5 8 7 5 5 5 7 8 5
™
™ ™
5 5 8 5 58 5 5 58 5 5 85
¢⁄
45 75 57 5 57 54 5 75
7 7 7 7
° ™ œ œ œ œ œœ œ œ œ œœœ œœ œ œ œœœ œ œœ œ œ œœ œ œ œ œ œ œœœ œœ œ œ œœœ œ œœ ™

& ™ œœ œœ ™
™ 8 7 5 5 8 5 5 8 5 5 7 8 5 5
™
™ ™
5 8 85 5 5 5 85 5 5 8 5 5
¢⁄
5 7 75 4 5 75 54 5 7
7 7

A Minor Triads With A Neighbor - Major Scale No Seven
2 1644 Fragment Patterns
descending inversions with theme and variation by choice of neighbor

° ™œœœœœœœ œ œœœ œ œ œœ ™
& ™ œ œ œœœœ œ œ œ œ œ œ œ œ œœ œ ™
™ 5 5 5
™
™ ™
8 5 5 5 5 5 5 8
¢⁄
5 7 5 5 4 5 7 5 5 4 5 4 5
7 7 7 7 7
8 7 7
° ™œœœœœœœœ œœœ œœœœ œœœœœœœœ œœœ œœœœ ™

& ™ œ œ ™
™ 8 7 5 5 5 8 5 5 5
™
™ ™
5 8 5 5 5 8 5 5 5 5 8
¢⁄
5 5 4 5 7 7 5 7 5 5
7 7
° ™ œœœœœœœ œœœœœœœœ œœœ

ascending inversions with theme and variation by choice of neighbor
œ œ œ œ œ œ œœ
& ™œ œœœ œœ
™ 5 5 7 8 5 5 5 8 5
™
5 5 8 5 5 5 5 5 8 8 5
¢⁄
4 5 5 7 5 5 7 5 7 5
7 7
° œ œ œ œ œ œ œœœœœ œ œ œ œ œ œ œœ
œ œ œ ™™
& œœ œ œ œ œœœ œ œ
5 5
™
™
5 5 8 5 5 5 5
¢⁄
4 5 5 7 5 7 5 5 4 5 5 7 5 4
7 7 7 5 7 7 7
7 7
œœœœœ œ
mixing with neighbor after last tone
° œ œ œ œ œ
œ œœœœ œœ œœœ œ œ œœœœœœ œœ
& œœ œ œœ˙
5 7 5 8 10 8 5
5 8 5 5 5 10 10 8 5 5
¢⁄
5 5 4 5 7 5 9 9 5 4 5 5
7 7 7 5 7
7 5
8

major triad with neighbor cells using Mixolydian no six examples

minor triad with neighbor cells using Dorian no seven examples
using heptatonic (seven-note) scales to add neighboring tones to triads

We’ll use major, Dorian, Mixolydian, Aeolian, harmonic minor, Phrygian major and Lydian dominant.
They are applied to the triad on the root, third or fifth of a ninth chord. Later, you can work on the
inversions of each of those triads.
usable hexatonic linear four-note triads with neighbor

Not all of the possibilities of scales and inversions sound good. These do. They are usable on most
styles of music. In blues and jazz, they work well combined with the heptatonic versions that follow.
major no seven (hexatonic) root position first inversion second inversion

ascend 1 - 2 - 3 - 5 3-4-5-1 5-6-1-3
descend 5-3-2-1 1-5-4-3 3-1-6-5
ascend 1-3-4-5 3-5-6-1 5-1-2-3
descend 5-4-3-1 1-6 -5-3 3-2-1-5
ascend 1-3-5-6 3-5-1-2 5-1-3-4
descend 6-5-3-1 2-1-5-3 4-3-1-5
(rhythmically displace to put the second,
third or fourth note on the beat)
Aeolian no six, (hexatonic) root position first inversion second inversion

ascend 1 - 2 - b3 - 5 b3 - 4 - 5 - 1 5 - b7 - 1 - b3
descend 5 - b3 - 2 - 1 1 - 5 - 4 - b3 b3 - 1 - b7 - 5
ascend 1 - b3 - 4 - 5 b3 - 5 - b7 - 1 5 - 1 - 2 - b3
descend 5 - 4 - b3 - 1 1 - b7 - 5 - b3 b3 - 2 - 1 - 5
ascend 1 - b3 - 5 - b7 b3 - 5 - 1 - 2 5 - 1 - b3 - 4

descend b7 - 5 - b3 - 1 2 - 1 - 5 - b3 4 - b3 - 1 - 5
(rhythmically displace to put the
second, third or fourth note on
the beat)
Dorian no seven (hexatonic) root position first inversion second inversion

ascend 1 - 2 - b3 - 5 b3 - 4 - 5 - 1 5 - 6 - 1 - b3
descend 5 -b3 - 2 - 1 1 - 5 - 4 - b3 b3 - 1 - 6 - 5
ascend 1 - b3 - 4 - 5 b3 - 5 - 6 - 1 5 - 1 - 2 - b3
descend 5 - 4 - b3 - 1 1 - 6 - 5 - b3 b3 - 2 - 1 - 5
ascend 1 - b3 - 5 - 6 b3 - 5 - 1 - 2 5 - 1 - b3 - 4
descend 6 - 5 - b3 - 1 2 - 1 - 5 - b3 4 - b3 - 1 - 5
(rhythmically displace to put the
second, third or fourth note on
the beat)
usable heptatonic linear four-note triads with neighbor

These work especially well on blues and jazz, but also on other more sophisticated genres that are not
limited to triads. These do not exclude the sixth nor seventh. In these versions, the seventh is treated
as a chord tone and the root above it can serve as a neighbor to the seventh.
major (heptatonic) triad on root triad on third triad on fifth

ascend 1 - 2 - 3 - 5 3-4-5-7 5-6-7-2
descend 5 - 3 - 2 - 1 7-5-4-3 2-7-6-5
ascend 1 - 3 - 4 - 5 3-5-6-7 5-7-1-2
descend 5 - 4 - 3 - 1 7-6-5-3 2-1-7-5
Mixolydian (heptatonic) triad on root triad on third triad on fifth

ascend 1 - 2 - 3 - 5 3 - 4 - 5 - b7 5 - 6 - b7 - 2
descend 5 - 3 - 2 - 1 b7 - 5 - 4 - 3 2 - b7 - 6 - 5
ascend 1 - 3 - 4 - 5 3 - 5 - 6 - b7 5 - b7 - 1 - 2
descend 5 - 4 - 3 - 1 b7 - 6 - 5 - 3 2 - 1 - b7 - 5

Dorian (heptatonic) triad on root triad on third triad on fifth

ascend 1 - 2 - b3 - 5 b3 - 4 - 5 - b7 5 - 6 - b7 - 2
descend 5 - b3 - 2 - 1 b7 - 5 - 4 - b3 2 - b7 - 6 - 5
ascend 1 - b3 - 4 - 5 b3 - 5 - 6 - b7 5 - b7 - 1 - 2
descend 5 - 4 - b3 - 1 b7 - 6 - 5 - b3 2 - 1 - b7 - 5
Aeolian (heptatonic) triad on root triad on third triad on fifth

ascend 1 - 2 - b3 - 5 b3 - 4 - 5 - b7 5 - b6 - b7 - 2
descend 5 - b3 - 2 - 1 b7 - 5 - 4 - b3 2 - b7 - b6 - 5
ascend 1 - b3 - 4 - 5 b3 - 5 - b6 - b7 5 - b7 - 1 - 2
descend 5 - 4 - b3 - 1 b7 - b6 - 5 - b3 2 - 1 - b7 - 5
harmonic minor (heptatonic) triad on root triad on third triad on fifth

ascend 1 - 2 - b3 - 5 b3 - 4 - 5 - 7 5 - b6 - 7 - 2
descend 5 - b3 - 2 - 1 7 - 5 - 4 - b3 2 - 7 - b6 - 5
ascend 1 - b3 - 4 - 5 b3 - 5 - b6 - 7 5-7-1-2
descend 5 - 4 - b3 - 1 7 - b6 - 5 - b3 2-1-7-5
Phrygian major (heptatonic) triad on root triad on third triad on fifth

ascend 1 - b2 - 3 - 5 3 - 4 - 5 - b7 5 - b6 - b7 - b2
descend 5 - 3 - b2 - 1 b7 - 5 - 4 - 3 b2 - b7 - b6 - 5
ascend 1 - 3 - 4 - 5 3 - 5 - b6 - b7 5 - b7 - 1 - b2
descend 5 - 4 - 3 - 1 b7 - b6 - 5 - 3 b2 - 1 - b7 - 5
Lydian Dominant (heptatonic) from root from third from third

ascend 1 - 2 - 3 - 5 3 - 4 - 5 - b7 5 - 6 - b7 - 2
descend 5 - 3 - 2 - 1 b7 - 5 - #4 - 3 2 - b7 - 6 - 5
ascend 1 - 3 - #4 - 5 3 - 5 - 6 - b7 5 - b7 - 1 - 2
descend 5 - #4 - 3 - 1 b7 - 6 - 5 - 3 2 - 1 - b7 - 5
linear first, then more abstract

First explore four-note triad with neighbor cells with fixed rules. Practice a particular type on each
inversion of a chord. Practice a particular time on one triad, then on a different triad (with a different
root) in the same range of pitch. Either way, you’ll build a knowledge of things you can use in theme
and variation. But don’t stop there..

Next, think more broadly. Play any three tones of a triad within an octave and decide on playing a
neighbor after one of them, making the neighbor the second, third or fourth of four tones in a cell (not
so much the fourth note with heptatonic versions). Do that a lot, until it becomes second nature. All
over the fretboard.
cells on each of a series of chords

By themselves and unadorned, these cells can be boring. By using these on each of a series of chords in
perfect fourths or stepwise with chromatic passing cells, they can be very interesting.
For fourths, use one cell on each beat. For major types (Ionian, Mixolydian), begin successions of beats
with 7 (or b7), 3, 6, 2, 5, 1, 4. For minor types (Dorian, Aeolian), begin successions of beats with 6
(omit if six is flat), 2, 5, 1, 4, b7, b3.
When using these cells on each of a series of chords in stepwise order with chromatics (such as C, C#,
Dm), use cells based on triads that are subsets of the chord you are playing on, such as IIm - IIIm - IV
- V on a V type chord. When two stepwise chords are of different qualities (i.e. major and minor), use
a cell based on a major triad in-between.
Here is a table of chromatic triads on which to use melodic cells:
ascend I #I IIm
descend IIm bII I
ascend IIm #IIm IIIm
descend IIIm bIIIm IIm
ascend IV #IV V
descend V bV IV
ascend V #V VIm
descend VIm bVI V
ascend VIm #VI VIIdim
descend VIIdim bVII VIm
ascend VIm bVII I
descend I bVII VIm
ascend bVII VII I
descend I VII bVII
The cell played on IIIm is often played the same as IIm, using a tone a whole step above the root of the
IIIm, instead of a half step above it as the parent major scale suggests. Likewise, the cell played on IV
is often played the same as that on V, with a whole step below its fifth, instead of a half step like the
parent major scale suggests.
VII is often omitted between VIm and I, using bVII, ascending or descending.
DON’T OVERUSE FRAGMENT PATTERNS

Keep aware of the listener’s experience. Don’t get carried away in playing fragment patterns if there
is no melodic purpose. Keep consecutive fragment patterns of the same type down to two or three
consecutive instances. More than that may make the music too predictable for the listener.
Sometimes, a longer repetition of fragment patterns is warranted. Jimmy Page used a sequence of nine
3-2-1 fragments in the outro solo to Good Times, Bad Times, but there was a little variation and he
didn’t commonly use fragments in that repetitive manner in his solos.
Bach used a lot of fragment patterns, such as in Brandenburg Concerto 3, but always kept stimulating
the listener with theme and variation.




52
Thirds and
Sixths
• Diads
• Heptatonic Scale-Tone Thirds and Sixths
• Thirds on Strings Three & Two: Text Version
• Thirds on Strings Three & Two: Video Version
• Sixths on Strings One & Three or Two & Four
• Subsets of Major Scale Fingerings
• Slurring Thirds and Sixths
• Chords Implied by Thirds and Sixths

page 1654 Thirds and Sixths Part 5: Core Melody and Melodic Cells back to contents
DIADS
Are Two Simultaneous Notes and Intervals or a Chord?
A two-note chord is called a diad. A three-note chord is called a triad, four-notes a quadrad, five notes a
pentad, six notes a sextad and a seven-note chord is called a heptad. It is not universally agreed that two
notes are a chord, though. I like to think they are a two-note chord, because two notes played at the
same time function like a chord by establishing a chord color. We don’t have common names for diads
(two-note chords), so we have to use interval names.
A minor third is a two-note chord (diad) whose notes are one and a half steps or three frets apart.
Minor thirds have a sad quality, like minor chords. A major third is a two-note chord whose notes
are two whole steps (four frets) apart. Any interval can make up a diad, but thirds and sixths are most
common.
° œ
& b œ n œ # œ bœ œœ œœ #œœ bœœ nœœ #œœ bœœ nœœ #œ bœ nœ
minor major augmented minor major perfect augmented diminished perfect augmented minor major augmented minor major perfect
second second second third third fourth fourth fifth fifth fifth sixth sixth sixth seventh seventh octave
¢⁄
5
5 6 6 7 8 8 9
4 5 6 6 7 8 9 9
8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
bœ nœ œ
° bœ nœ #œ bœ œ œ #œ bœ nœ #œ b œ nœ #œ
&
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
minor major augmented minor major perfect augmented diminished perfect augmented minor major augmented minor major perfect
ninth ninth ninth tenth tenth eleventh eleventh twelfth twelfth twelfth thirteenth thirteenth thirteenth fourteenth fourteenth fifteenth
5 6 6 7 8
5 6 7 7 8 9 9
¢⁄
6 7 8 8
8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8

back to contents Part 5: Core Melody and Melodic Cells Thirds and Sixths page 1655
Major and Minor Thirds and Sixths

major and minor thirds
A major third is equivalent to the interval from the first to third steps of a major scale. A minor third is
one half step smaller, made by raising the lower-pitched note or lowering the upper-pitched note. So, it
is the interval from one to flat three or from sharp one to three of a major scale.
°
C major scale steps 1 through 3 major third minor thirds
& œ œ œ œ œ
œ œ œ œ œ ˙ w
w b˙˙ #n ˙˙
¢°⁄
4 5
C major scale 5 7 steps 1 through 3 major third minor thirds
œ
5 7 8 5 7 7 6 7
& œ œ œ
8 8 8 8 9
œ œ œ œ œ œ ˙ w
w b˙˙ #n ˙˙
majorCand minor sixths
A°major
major scale steps 1 through 6 major sixth minor sixths
¢ ⁄& sixth œ œ œfrom the first to5sixth7 step œ w b ˙ n

7˙
4 5
is the7 same8 as the
5 interval of a7major scale.6 A minor sixth is a
œmade œ
œ by raising the lower-pitched œ
œ orœlowering the
7
8 œ
half stepœ smaller, œ œ 8note w ˙ note.
#9˙ It is the
5
8 upper-pitched
8
interval from one to flat six or from sharp one to six of a major scale.
¢°⁄
C major scale 4 5 steps 1 through 6 major sixth minor sixths
5 7 5 7 7 6 7
œ œ œ œ
5 7 8 5 7 8
& œ œ w b˙ n˙
8 8 8 8 9
œ œ œ œ œ œ œ œ w ˙ #˙
¢⁄
4 5
5 7 5 7 7 6 7
5 7 8 5 7 8
8 8 8 8 9

Inverting Thirds and Sixths

the magic number nine
To figure out the inversion of any interval less than an octave, subtract the interval from the number
“nine”, then change the quality. With perfect fourths or perfect fifths, they remain “perfect” when
inverted, which means (for one thing) that they are in each others major scale.
a second plus a seventh a third plus a sixth a fourth plus a fifth a fifth plus a fifth
°
is an octave is an octave is an octave is a ninth
& œ ˙ œ ˙ œœ ˙ œœ ˙
œœ œ ˙ œœ œ ˙ œœ ˙ œœ ˙
¢⁄
5 5 7 7
10 10 10 10
5 5 7 7 8 8 10 10
8 8 8 8 8 8 8 8
an octave minus a seventh an octave minus a sixth an octave minus a fifth an ninth minus a fifth
° œ
is a second is a third is a fourth is a fifth
& œ œ œ œ œœ œ ˙˙
œ œ ˙˙ ˙˙ œœ
œ ˙˙ œ œ œ
¢⁄
5 5 5 5 7 7
10 10
5 5 7 7 8 8 10 10
8 8 8 8 8 8 8 8
inverting thirds and sixths changes the quality

Intervals from one of a major scale to two, three, five, six or seven (all the intervals under an octave except
four and five) are all called major. Flatting the upper note of any of those intervals changes it to minor.
Thirds can be “inverted” by raising the lower-pitched note an octave or lowering the upper-pitched note
an octave. In either case the interval becomes a sixth and is the opposite quality of the third. Inverted
major thirds are minor sixths. Inverted minor thirds are major sixths. Major sixths invert to minor
thirds and minor sixths to major thirds.
° ˙ ˙ ˙˙
& ˙˙ ˙ ˙˙ #˙˙ #˙˙ b˙˙ b˙˙
˙˙ ˙
major minor major minor perfect perfect augmented diminished diminished augmented
second seventh third sixth fourth fifth fifth fourth fifth fourth
¢⁄
5 5 5 5 5
6 6
5 5 7 7 8 8 9 9
8 8 8 8 8

HEPTATONIC
Heptatonic SCALE-TONE THIRDS
(7-Tone) Scale-Tone AND
Thirds And SIXTHS
Sixths
œœ œœ œœ œœ
° 4 œœ œœ
C major scale in thirds
œœ œœ œœ œœ
&4 œœ œœ œœ œœ œœ
œœ
M3 m3 m3 M3 M3 m3 m3 M3 M3 m3 m3 M3 M3 m3 m3 M3
unique fingering for strings two and three same fingering for strings six & five, four & three, two and one
scale tones numbered below according to bottom note scale tones numbered below according to bottom note
1 2 3 4 5 6 7 1 1 2 3 4 5 6 7 1
5 6 8 10 12 13 15 17
¢⁄
5 7 9 10 12 14 16 17
2 3 5 7 9 10 12 14
3 5 7 8 10 12 14 15
œ œ œ œ
C major scale in sixths
° œ œ œ œ œ œ œ œ œ œ œ
5
œ œ œ œ œ œ œ œ œ œ œ
& œ œ œ œ œ œ
m6 M6 M6 m6 m6 M6 M6 m6 m6 M6 M6 m6 m6 M6 M6 m6
same fingering for strings three and one same fingering for strings six and four
scale tones numbered below according to top note scale tones numbered below according to top note
1 2 3 4 5 6 7 1 1 2 3 4 5 6 7 1
1 3 5 6 8 10 12 13
¢⁄
5 7 9 10 12 14 16 17
2 3 5 7 9 10 12 14
7 8 10 12 14 15 17 19
C major scale in thirds - retaining the index finger on the second string
œœ œœ œœ œœ œœ œœ œœ
° œœ œœ œœ œœ œœ œœ œœ ˙˙
9
&
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
1 2 2 1 1 2 2 1 2 2 1 1 2 2 1
5 6 8 10 12 13 15 17 15 13 12 10 8 6 5
¢⁄
5 7 9 10 12 14 16 17 16 14 12 10 9 7 5
C major scale in thirds - retaining the middle finger on the third string
° œœ œœ œœ œœ œœ œœ œœ ˙˙
13
&
3 1 1 3 3 1 1 3 1 1 3 3 1 1 3
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
5 6 8 10 12 13 15 17 15 13 12 10 8 6 5
¢⁄
5 7 9 10 12 14 16 17 16 14 12 10 9 7 5

page 1658 Thirds and Sixths Part 5:
Thirds and Sixths In Heptatonic Core Melody
(7-Tone) Scalesand Melodic Cells back to contents
2
œœ œœ
C major #5 scale in thirds (with tone center on "6", it becomes A harmonic minor)
œœ
° œœ œœ #œœ œœ # œœ œœ
17
œœ œœ
& œœ œœ #œœ œœ #œœ
M3 m3 M3 M3 m3 m3 m3 M3 M3 m3 M3 M3 m3 m3 m3 M3
1 2 3 4 #5 6 7 1 1 2 3 4 #5 6 7 1
5 6 9 10 12 13 15 17
¢⁄
5 7 9 10 13 14 16 17
2 3 6 7 9 10 12 14
3 5 7 8 11 12 14 15
° œ œ œ œ
C major #5 scale in sixths (with tone center on "6", it becomes A harmonic minor)
œ #œ œ #œ œ œ œ
œ œ œ œ œ œ
21
œ œ œ œ œ œ œ œ œ
& œ œ #œ œ œ #œ
m6 M6 m6 m6 M6 M6 M6 m6 m6 M6 m6 m6 M6 M6 M6 m6
1 2 3 4 #5 6 7 1 1 2 3 4 #5 6 7 1
1 3 5 6 9 10 12 13
¢⁄
5 7 9 10 13 14 16 17
2 3 6 7 9 10 12 14
7 8 11 12 14 15 17 19
œœ b œœ
C melodic minor (major b3) scale in thirds
° bœœ œœ bœœ œœ œœ œœ
œœ bœœ
25
& œœ bœœ œœ œœ œœ
bœœ
m3 m3 M3 M3 M3 m3 m3 m3 m3 m3 M3 M3 M3 m3 m3 m3
1 2 b3 4 5 6 7 1 1 2 b3 4 5 6 7 1
4 6 8 10 12 13 15 16
¢⁄
5 7 8 10 12 14 16 17
1 3 5 7 9 10 12 13
3 5 6 8 10 12 14 15
œ œ œ œ
C melodic minor (major b3) scale in sixths
° œ bœ œ œ œ œ bœ œ bœ œ œ œ œ bœ
29
& bœœ œ œ œ œ œ œ
bœ œ œ œ œ œ
M6 M6 m6 m6 m6 M6 M6 M6 M6 M6 m6 m6 m6 M6 M6 M6
1 2 b3 4 5 6 7 1 1 2 b3 4 5 6 7 1
1 3 4 6 8 10 12 13
¢⁄
5 7 8 10 12 14 16 17
1 3 5 7 9 10 12 13
6 8 10 12 14 15 17 18

Thirds and Sixths In Heptatonic (7-Tone) Scales
3
C harmonic major (major b6) scale inœthirds

œœ b œœ œœ œ
° œœ œœ œœ b œœ œœ
33
œœ bœœ œœ
& œœ œœ œœ bœœ
M3 m3 m3 m3 M3 M3 m3 M3 M3 m3 m3 m3 M3 M3 m3 m3
1 2 3 4 5 b6 7 1 1 2 3 4 5 b6 7 1
5 6 8 9 12 13 15 17
¢⁄
5 7 9 10 12 13 16 17
2 3 5 6 9 10 12 14
3 5 7 8 10 11 14 15
œ œ œ œ
C harmonic major (major b6) scale in sixths
° œ œ bœœ œ b œœ œ œ bœœ œ b œœ œ
37
& œ œ œ œ œ œ œ œ
œ œ œ œ œ
m6 M6 M6 M6 m6 m6 M6 m6 m6 M6 M6 M6 m6 m6 M6 m6
1 2 3 4 5 b6 7 1 1 2 3 4 5 b6 7 1
1 3 4 6 8 9 12 13
¢⁄
5 7 9 10 12 13 16 17
1 3 5 6 9 10 12 14
7 8 10 11 14 15 17 19

THIRDS ON STRINGS THREE & TWO: TEXT VERSION

The A Major Scale
the A major scale by letter and number on the third string
Here is the A major scale on the third string for one octave.
° ### 4 œ œ œ œ œ œ
& 4œ œ
A B C# D E F# G# A
1 2 3 4 5 6 7 1
¢⁄
2 4 6 7 9 11 13 14
A whole step is and increase or decrease of two frets, like frets two to four. A half step is one fret, like
frets three to four. The major scale ascends from step one through eight with this pattern of whole and
half steps: whole-whole-half-whole-whole-whole-half.
A “whole-whole-half ” sequence is a tetrachord, four consecutive notes on a seven tone scale. You could
say the major scale is two whole- whole -half tetrachords separated by a whole step. Tetrachords most
commonly have two whole steps and one half step, but steps four through seven of the major scale make
the “whole-whole-whole” tetrachord.
Where notes repeat inclusively eight notes higher or lower, the interval is called an octave. On a single
string, octaves are an increase or decrease of twelve frets. So A on the second fret is mirrored by A an
octave higher at the fourteenth fret, B at the fourth and sixteenth frets, C# at the sixth and eighteenth
and so on. The entire set of notes that make up the A major scale from the A at the second fret to the
A at the fourteenth fret would repeat from frets 14 to 26, if you had that many frets.
the A major scale by letter and number on the second string

Now, we’ll duplicate the notes from the A major scale on the third string from its third step up an
octave. On the third string, this ascends steps three through three (C#-D-E-F#-G#-A-B-C#) on the
sixth through eighteenth frets. The same notes on the second string are four frets lower on frets two
through fourteen. See below.

° ### 4 œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ
scale tones three through three
& 4
C# D E F# G# A B C# C# D E F# G# A B C#
3 4 5 6 7 1 2 3 3 4 5 6 7 1 2 3
¢⁄
4 5 6 9 11 12 13 16
6 7 9 11 13 14 16 18
° ### œ œ œ œ œœ œœ œœ œœ œœ œœ œœ
scale tones one through one scale tones one through one and three through three combined
œ
& œ œ œ œ
œ
Making Thirds
A B C# D E F# G# A 3 4 5 6 7 1 2 3
pairing the
1 notes
2 in
3 thirds
4 5 6 7 1 1 2 3 4 5 6 7 1
The cycle of thirds is 6a pattern of9every11other note in a seven 3tone scale. 7A cycle
9 of 10
thirds12can 14
be called
the⁄ tertian cycle and a seven tone scale like the major scale can be called a heptatonic scale. Thirds are
2 5
¢
2 4 7 13 14 2 4 6 7 9 11 13 14
pairs of notes in the cycle of thirds. The cycle of thirds in numbers and in letters is shown below. The
letters are shown with “F#”, “C#” and “G#”, since those notes are sharp in the A major scale.
1
1 A 4 frets 3
° ### 4 œ œ œ 6œ œ œ3 œ œ œ œ œ œ
6 3 frets
C# œ
3 frets 4 frets
œ œ œ
scale tones three through three
F#
& 4 4 frets 3 frets 4 frets
thirds
3 frets
4 thirds 5 4D E5
C# D E F# G# A B C# C# D E F# G# A B C#
3 frets 4 frets
3 4 5 3 frets6 7 14 frets 2 3 3 4 5 6 7 1 2 3
2 7 B G#
24 7
3 frets 3 5frets
¢⁄
6 9 11 12 13 16
6 7 9 11 13 14 16 18
° ### œ œ œ œ œœ œœ œœ œœ
œœ œœ œœ œœ
scale tones one through one scale tones one through one and three through three combined
œ
& œ œ œ
A B C# D E F# G# A 3 4 5 6 7 1 2 3
1 2 3 4 5 6 7 1 1 2 3 4 5 6 7 1
¢⁄
2 3 5 7 9 10 12 14
2 4 6 7 9 11 13 14 2 4 6 7 9 11 13 14

major and minor thirds are diads

The intervals between notes on the diagrams above are shown in frets, so they relate to the guitar. The
frets between these two scale tones is figured by the difference between the fret numbers for the two
notes. So notes on the fifth and ninth frets constiute an interval of four frets. A four-fret interval is a
major third. A three fret interval is a minor third.
As you can see on the diagrams, four-fret intervals occur in three places: from one to three, four to six
and from five to seven. These three are major thirds. So, major thirds ascend from major scale tones
one, four and five. Three-note chords built in thirds are called tertian triads (1 -3-5 makes a I major
triad). You may know that major triads occur on major scale tones one, four and five, paralleling the
major thirds that occur on major scale tones one, four and five.
The three fret intervals called minor thirds occur on the other four tones: two, three, six and seven.
This parallels the triads built the major scale, except step seven is a minor third, but a diminished triad.
So, major thirds occur on steps one, four and five. All the rest are minor thirds (two, three, six and seven).
ease of fingering on the third and second string

Due to the irregular tuning between the third and second string, thirds are fingered uniquely on those
strings. A major third is a two-string barre. A minor third is a diagonal shape with the higher-pitched
note one fret lower on the second string.
“track” thirds on the larger string

Thirds are named major and minor in relation to the lower-pitched note on the larger string of the
adjacent pair they are played on. Tracking on the third string, means orient to the numbered tones on
the third string.
graphic orientation
Thinking in numbers and letters can be challenging. Recognizing graphic patterns can be very useful.
Notice that major scale tones four and five are both major thirds, barred on the third and second string.
So, you have barres at tones 1, 4 and 5. In-between 1 and 4 (ascending) and in-between 5 and 1
(ascending), there are two minor thirds. Memorize this graphic pattern (major thirds boxed).
letter A B C# D E F# G# A
number 1 2 3 4 5 6 7 1
third major minor minor major major minor minor major
thirds numbers 1-3 2-4 3-5 4- 6 5-7 6-1 7-2 1-3
II IV V VII IX X XII II

triad-based music
In major key music like Appalachian music (bluegrass, fiddle tunes), country, American folk music,
which are harmonically based on western European music British and celtic folk songs major chords are
primarily depicted as major triads with an occasional secondary chord tone, the sixth.
The primary scale tones in major triad-based music are those of the major pentatonic with the fourth
added as a neighboring tone but not so much as a scale tone. The seventh is rarely used on major chords,
unless a blues style is desired. Chromatics and the flatted seventh tend to suggest ragtime, blues and jazz.
Thinking in the “A” Major Parent Scale

Parent scale numbering allows you to multi-purpose a major scale and use it for a number of different
modes, seeing their common basis.
Using the A major scale, can create an E chord for use in the key of E Mixolydian on the fifth step of
“A”, the minor key of B Dorian on the second step of “A”, the minor key of F# Aeolian on the sixth step
of “A” or the major key A Ionian (major) on the first step of “A”. All of these use the A major scale and
all its scale-tone chords, but each one establishs a particular one as the ending chord or key, such as an
Bm chord for B Dorian.
A major scale-tone triads on strings 1-3, tracking on the third string

major triads are in boxes
number 1 2 3 4 5 6 7 1
triad major minor minor major major minor diminishecd major
A major numbers 1-3 -5 2-4-6 3-5-7 4- 6-1 5-7-2 6-1-3 7-2-4 1-3 -5
scale-tone triads A I Bm II C#m IV D V E VII F#m IX G#dim X A I
E Mixo. numbers 4- 6-1 5-b7-2 6-1-3 b7-2-4 1-3-5 2-4-6 3-5-b7 4- 6-1
B Dor. numbers b7-2-4 1-b3-5 2-4-6 b3-5-b7 4-6-1 5-b7-2 6-1-b3 b7-2-4
F# Aeo. numbers b6-1-b3 b7-2-4 1-b3-5 2-4- b6 b3-5-b7 4-6-1 5-b7-2 b6-1-b3

Modal Key Scale Numbering

Modal key numbering may work best for you graphically on the guitar at first, memorizing the patterns
of thirds and related chords.
When“1” of the major scale is not the key, re-numbering the mode with “1” on whichever note is assigned
as the tone center is better to think while you’re playing or working up parts. I’ll call that “modal key scale
numbering”. With modal key numbering, common chords always use the same numbered tones of the
key. If the chord progression uses a IV major chord, it is always 461, as in the major scale. If the chord
progression uses a I major chord it is still 135. So in E Mixolydian, even though it is using A major scale
tones 5 7 2 to build an E major chord, it is numbered 1 3 5 in E Mixolydian, because E is now one.
Think the Sequences Generically

portable triads
The order of triads built on the major scale, ascending step one to one are major-minor-minor-major-
major-minor-diminished. There’s a major chord, then two minors, then two majors, then minor and
diminished. That’s major mode.
In Mixolydian, use b7. Start on the second of the two major chords in a row, the one that is V major in
major mode. Ascend from there: major, minor diminished, major, two minors, then two majors, ending
at the octave.
In Dorian, use b3 and b7. Start on the first of the two minor chords in a row, the one that is II minor
in major mode. Ascend from there: two minors, two majors, minor diminished, major, back to minor
at the octave.
See Modal Major Scale Tone Chords.
portable thirds
It’s simpler than triads for thirds. There are three major thirds and two adjacent pairs of minor thirds.
In major, the major thirds are at 1, 4, 5. In Mixolydian, the major thirds are at b7, 1, 4. In Dorian, the
major thirds are at b3, 4, b7. In Aeolian , the major thirds are at b3, b6 and b7.
See Chords Implied By Heptatonic Thirds And Sixths.

Thinking in the Mode E Mixolydian

number 1 2 3 4 5 6 7 1
A major numbers 1-3 -5 2-4-6 3-5-7 4- 6-1 5-7-2 6-1-3 7-2-4 1-3-5
scale-tone triads A I Bm II C#m IV D V E VII F#m IX G#dim X A XII
E Mixo. numbers 4- 6-1 5-b7-2 6-1-3 b7-2-4 1-3-5 2-4-6 3-5-b7 4- 6-1
chords suggested by E Mixolydian thirds

This uses the A major parent scale. Major thirds are in boxes. Thirds suggest the following chords:
letter E F# G# A B C# D
number 1 2 3 4 5 6 b7
third major minor minor major minor minor major
thirds numbers 1-3 2-4 3-5 4- 6 5-b7 6-1 b7-2
IX X XII II III V VII
I chords E VII E XII E7 II E6 V E9 VI
I chord numbers 1-3-5 1-3-5 1-3-5-b7 1-3-5-6 1-3-5-b7-9

blues swing jazz blues
IV chord Ama7 IX A6 X Ama9 XI A XII A V
IV chords num- 4-6-1-3 4-6-1-2 4-6-1-3-5 4-6-1 4-6-1

bered in the key of I jazz ballad swing jazz ballad

Thinking in the Mode E Dorian

the D major parent scale for E Dorian, tracking on the third string
letter D E F# G A B C# D
number 1 2 3 4 5 6 7 1
numbers in D 1-3 -5 2-4-6 3-5-7 4- 6-1 5-7-2 6-1-3 7-2-4 1-3-5
scale-tone triads D V Em VII F#m IX G X A XII Bm II C#dim III D V
numbers in D b7-2-4 1-b3-5 2-4-6 b3-5-b7 4-6-1 5-b7-2 6-1-b3 b7-2-4

Dorian
chords suggested by E Dorian thirds

I’m numbering in E Dorian This uses the D major parent scale. Thirds suggest the following chords:
letter E F# G A B C D
number 1 2 b3 4 5 6 b7
third minor minor major major minor minor major
thirds numbers 1-b3 2-4 b3-5 4- 6 5-b7 6-1 b7-2
VIII XI XII II III V VII
I chords Em VII Em XII Em7 II Em6 V Em9 V
I chord numbers 1-3-5 1-3-5 1-3-5-b7 1-3-5-6 1-3-5-b7-9

IV chord A7 VII A6 X A XII A V
IV chords num- 4-6-1-b3 4-6-1-2 4-6-1 4-6-1

bered in the key of I

using a fourth when a third won’t work

If you are playing a style that demands staying more strictly on the triads without an added harmony
like a sixth or seventh, you’ll find there’s a gap in the scale from tones three through eight without an
available third to use on the chord. This problem can be solved by using tones 5 and 1, instead of five
and seven. The third above scale tone five is seven, which would make a major seventh chord sound. If
you need to stay with triads, use a fourth with tones 5 and 1 instead.
numbers 1-3 3-5 5-b7 5-1
IX XII III IV
I chords E VII E XII E7 II E IV

THIRDS ON STRINGS THREE & TWO: VIDEO VERSION

the A major scale by letter and number on the third string
video link
A major scale ascends seven different tones, then the eighth one has the same name as the fist one. In
numbers, this is one through one.
Numbering the tones of the A major scale on the third string, each numbered tone to the next is two
frets except three to four and seven to eight, which are each one fret.
A whole step is two frets. A half step is one fret.
The major scale ascends from step one through eight with this pattern of whole and half steps: whole-
whole-half-whole-whole-whole-half.
The major scale could also be conceived as two whole-whole-half tetrachords separated by a whole step.
In A, the letter names are A-B-C#-D-E-F#-G#-A.
the A major scale by letter and number on the second string

Now, we’ll duplicate the notes from the A major scale on the third string from its third step up an
octave. On the third string, this ascends steps three through three on the sixth through eighteenth frets.
The same notes on the second string are four frets lower on frets two through fourteen.
pairs of notes in thirds
video link
Now, we’ll pair the notes on the third and second string. When the note on the third string is 1, 3 or 5
of the parent scale, the third above it is major.
So barre at 1, 3, and 5 of the major scale on the third string to include a note at the same fret on the
second string.
So, there’s a single major third at step “1” of the parent major scale. In A, that’s here on the third string,
second fret, or here at the fourteenth fret. From parent scale step “1” there are two minor thirds above it
and two minor thirds below it. After ascending or descending from “1” through the two minor thirds,
two major thirds will follow.

Triad-Based Music
major thirds and major triads in four common modes
video link
If you’re using scale-tone thirds or triads in A major (also called A Ionian) the major thirds and major
triads are at 1, 4 and 5. The cycle of thirds is 13572461. You’ll need to know this, so you’ll hear it a lot
from me.
In E Mixolydian, the same major thirds and major triads are 4, b7 and 1 of E.
In B Dorian, the same major thirds and major triads are b7, b3 and 4 of B.
In F# Aeolian, the same major thirds and major triads are b3, b6 and b7 of F#.
This may be confusing. If you work extensively in each mode, it’s numbering will become familiar.
why do I need to think in the numbering for each mode?

video link
It may seem much simpler to think in terms of the parent scale with only seven notes and seven numbers,
thinking 2 through 2 for one mode and 5 through 5 for another.
When comparing modes, major scale fingerings, scale-tone triad qualities in order by scale step, thinking
in the parent scale is very useful.
If I want to play in A major, I use the scale tone triads of the A major scale and establish the A chord as
the key with emphasis by longer duration, ending a progression with it, using a well-known three-chord
progression that ends on, or other means of drawing attention to the A major chord as the key.
If I want to play in E Mixolydian, built on the fifth step of A major, I can use the scale tone triads of the
A major scale and establish the E chord as the key with the various means of emphasis to establish the
E major chord as the key.
To play in B Dorian, built on the second step of A major, I can use the scale tone triads of the A major
scale and establish the B minor chord as the key with the various types of emphasis to establish the B
minor chord as the key.
To play in F# Aeolian, built on the sixth step of A major, I can use the scale tone triads of the A major
scale and establish the F# minor chord as the key with the various types of emphasis to establish the F#
minor chord as the key.

That seems to work well, and it does when you are playing modes of the same parent scale. But, music
commonly makes use of multiple parent scales, especially blue-based music like rock and jazz. That’s
where key scales come in.
key scales versus parent scales

video link
With key scales, you name every scale after the key. So, if you’re in the key of “A”, you name every scale
with the letter “A”. You will commonly use A major, A Mixolydian and A Dorian in a blues-based song.
Of course, the scale must have the letter “A” in it to do so. This allows you to compare things with a
common tone center.
Thinking in key scale lets you use familiar numberings for scale tone chords. A IV major chord is
always 4-6-1. A II minor chord is always 2-4-6.
The major scale has tones 1 through seven with no altered numbers. A Mixolydian has a flat seven.
Dorian has a flat three and a flat seven. In all three of those cases, tones 2, 4, 6 and 1 are not altered, so
all three scales have a IV major chord with 4-6-1 and a II minor chord with 2-4-6.
I’ll number the tones of this A major scale, speaking the tones louder that are in a IV major chord,
4-6-1. Notice that this D major chord is made with many the 4-6-1 tones I just emphasized. Likewise
with A Mixolydian and A Dorian.
Here are each of those three scales with spoken emphasis of 2-4-6, followed by the II minor chord,
made with many of the 2-4-6 tones.
video link
In parent scales, when the key is assigned to a numbered tone other than “1”, the chord up a scale step is
not “2” and the chord up a fourth is not “4”. That’s non-intuitive.
If you put the key on “5” and still number it as “5” the chord up a scale step is VIm. If you put the key
on “5” and number it as “1” the chord up a scale step is II minor.
From any note on the sixth string, the note up a perfect fourth is on the same fret of the fifth string. If
you put the key on “5” and still number it as “5” the chord up a perfect fourth is I major. If you put the
key on “5” and number it as “1” the chord up a perfect fourth is IV major.
Parent scale numbering is useful in keeping track of the chords built on that parent scale, but it doesn’t
allow you to think of chords that are common to many modes with the same number. For example,
a IV major chord, a II minor chord or and VI minor chord occurs with the same numbering in three
different modes (major, Mixolydian and Dorian).

With key scales, you can think of a IV major chord made with scale tones 4-6-1 or a II minor chord
made with scale tones 2- 4- 6 in either of the three key scales major, Mixolydian or Dorian. I showed
this earlier.
You can think of a VI minor chord in major, Lydian or Mixolydian. Here are each of those three scales
with emphasis of numbered tones 6, 1 and 3, showing that they all have those tones of a VI minor
chord.
Possibly the most important thing about using key scales is the uniformity of numbers in relation to
emotive and stylistic qualities of notes. You can count on “3” being a happy note “b3” a sad note, “b5” a
depressing note and “#5” an anxious note. “6” suggests swing, “b7” suggests blues and “2” suggests jazz
(when its combined with “7” or “b7).
video link
the major and minor thirds in each mode

The cycle of thirds is 1-3-5-7-2-4-6-1. You’ll need to know this, so you’ll hear it a lot from me. Thirds
include two consecutive numbers from that cycle, like 1 and 3 or 2 and 4.
Each major scale mode has three major thirds. Two of them are on adjacent scale steps, having been “4”
and “5” in the parent scale. The remaining “lone” one is at step “1” of the parent major scale.
In major, there are two minor thirds above and below the major third at “1”.
In Mixolydian, the major thirds are at 1, 4 and b7. There are two minor thirds above and below the
major third at “4”.
In Dorian, the major thirds are at b3, 4 and b7. There are two minor thirds above and below the major
third at “b7”.
In Aeolian, the major thirds are at b3, b6 and b7 There are two minor thirds above and below the major
third at “b3”.
video link
I type chords suggested by major scale-tone thirds for triad-based music

These examples use the A major scale and A chords.
The I major triad is A major and includes 1-3-5. Tracking on the third string, the major third (barreing
the third and second strings) at “1” includes 1-3. The third at “3” includes 3-5. 1-3 and 3-5 are both part
of the A triad, 1-3-5.

The third at 5 doesn’t work for the I major triad, since it would have 5-7, where the “7” is not part of
1-3-5. the I major chord. By changing it to a fourth with 5-1, both tones are in the I major triad 1-3-5.
Here is an A major chord of while this fourth (made of tones 5-1) is a part.
So, the I major triad uses the thirds at 1 and 3 and a fourth at 5. Here are those three intervals again,
each followed by a chord that includes them.
The I major chord will still be 1-3-5 in any mode that includes a I major chord. Notice that 1-3-5, the
notes of this A major I chord are in each of these scales, A major (number and play) and A Mixolydian.
video link
IV type chords suggested by major scale-tone thirds for triad-based music

These examples use the A major scale and D chords.
The cycle of thirds is 1-3-5-7-2-4-6-1. The IV major triad is D major and includes 4-6-1.
Tracking on the third string, the the interval of a third (fretted on the third and second strings) at scale
tone “4” includes 4 -6 and the third at “6” includes 6-1. Both thirds are part of the D triad, 4-6-1.
The third at 1 doesn’t work for the IV major triad, since it would have 1-3, where the “3” is not part of
4-6-1, the IV major chord. By changing it to a fourth with key scale 1-4, both tones are in the IV major
triad 4-6-1.
So, the IV major triad uses the thirds at 4 and 6 and a fourth at 1.
The IV major chord will still be 4-6-1 in any key scale that includes a IV major chord. Notice that
4-6-1, the notes of a D major IV chord are in each of these scales, A major, A Mixolydian and A Dorian.
In American pop styles, the key Mixolydian or Dorian are used during the IV chord. ln blues-based
styles, key Dorian is used during the IV chord, so it elaborates to IV7 or IV9.
video link
V type chords suggested by major scale-tone thirds for triad-based music

These examples use the A major scale and E chords.
The cycle of thirds is 1-3-5-7-2-4-6-1. The V major triad is E major and includes 5-7-2.
Tracking on the third string, the the interval of a third (fretted on the third and second strings) at scale
tone “5” includes 5-7 and the third at “7” includes 7-2. Both thirds are part of the E triad, 5-7-2.

The third at 2 doesn’t work for the V major triad, it would have 2-4, where the “4” is not part of 5-7-2,
the V major chord. By changing it to a fourth with key scale 2-5, both tones are in the V major triad
5-7-2. with chord
So, the V major triad uses the thirds at 5 and 7 and a fourth at 2.
Putting the key on this V chord of the A major scale is called E Mixolydian, which is very common.
The V major chord will still be 5-7-2 in any mode that includes a V major chord. For example, E major
is a V major chord in: A major, A Lydian (E major parent scale), A harmonic minor , A Melodic minor
or A harmonic major.
video link
IIm type chords suggested by major scale-tone thirds for triad-based music
These examples use the A major scale and Bm chords.
The cycle of thirds is 1-3-5-7-2-4-6-1. The II minor triad is B minor and includes 2-4-6.
Tracking on the third string, the the interval of a third (fretted on the third and second strings) at “2”
includes 2 -4 and the third at scale tone “4” includes 4-6. Both thirds are part of the Bm triad, 2-4-6.
The third at 6 doesn’t work for the II minor triad, it would have 6-1, where the “1” is not part of 2-4-6,
the II minor chord. By changing it to a fourth with key scale 6-2, both tones are in the II minor triad
2-4-6.
So, the II minor triad uses the thirds at 2 and 4 and a fourth at 6.
The II minor chord will still be 2 -4-6 in any mode that includes a II minor chord. Notice that 2-4-6
are the notes of an B minor, II minor chord in each of these scales in the key of “A”, A major and A
Mixolydian.
video link
VIm type chords suggested by major scale-tone thirds for triad-based music
These examples use the A major scale and F#m chords.
The cycle of thirds is 1-3-5-7-2-4-6-1. The VI minor triad is F# minor and includes 6-1-3.
Tracking on the third string, the the interval of a third (fretted on the third and second strings) at “6”
includes 6-1 and the third at scale tone “1” includes 1-3. Both thirds are part of the F#m triad, 6-1-3.

The third at 3 doesn’t work for the VI minor triad, it would have 3-5, where the “5” is not part of 6-1-3,
the VI minor chord. By changing it to a fourth with key scale 3-6, both tones are in the VI minor triad
6-1-3.
So, the VI minor triad uses the thirds at 6 and 1 and a fourth at 3.
The VI minor chord will still be 6 -1-3 in any mode that includes a VI minor chord. Notice that 6-1-3
are the notes of an F# minor, VI minor chord in each of these scales in the key of “A”, A major, A Mix-
olydian and A Lydian.
Blues
video link
V type chords suggested by Mixolydian thirds for blues, swing, and jazz
These examples use E Mixolydian.
In whatever key you need Mixolydian, its tone center has to be on the fifth step of some major scale,
then re-numbered with “5” of the major scale as “1” and has to use b7. Flatting seven of an E major
scale make it E Mixolydian, the same notes as a “A” major scale from “5” to “5”.
An E major chord built on the fifth step of an A major scale can be numbered 5-7-2 in its parent scale
“A” major. It would be numbered 1-3-5 in the key of E.
The pattern of thirds built on the A major scale from its fifth step “E” to “E” is the same for E Mixolyd-
ian from “1” to “1”. They are just numbered differently.
Tracking on the third string, the major thirds (which barre the third and second string happen at
Mixolydian scale tones 4, b7 and 1. Two minor thirds occur below “4” and two minor thirds above “4”.
The E major chord uses the thirds at “1” and “3” and can use a fourth at “5” (using tones 5 and 1 of E
Mixolydian). The V7 type chord, E7, originated on the fifth step of its parent scale, A major scale. E7 is
1-3-5-b7 of E Mixolydian. We can use the third at “5”, with E Mixolydian tones 5-b7 (on the third and
second string) to represent the significant part of a dominant seventh chord like E7. Dominant seventh
chords are common to blues.
At scale tone 6 of E Mixolydian, the third 6-1 suggests the E6 chord (1-3-5-6) common to swing. This
includes swing jazz, country swing and rockabilly.
At scale tone b7 of E Mixolydian, the third b7-2 suggests the E9 chord (1-3-5-b7 -2) common to jazz
blues.

IV7 type chords type chords suggested by Dorian scale-tone thirds for blues, swing, and jazz
video link
These examples use E Dorian.
In whatever key you need Dorian, its tone center has to be on the second step of some major scale. A
D major scale from “2” to “2” makes an E Dorian scale. Flatting three and seven of an E major scale also
makes E Dorian.
A major is 4-6-1 of E Dorian. The thirds built on E Dorian at 4 and 6 and a fourth at 1 are part of the
IV major chord, A major.
A7 is 4-6-1-b3 of E Dorian. The third at 1 with 1-b3 is part of the A7. Dominant seventh chords like
A7 are common to blues.
A6 is 4-6-1-2 of E Dorian. At E Dorian scale tone 2, the third 2-4 suggests the A6 chord. Sixth chords
are common to swing jazz, country swing and rockabilly.
A9 is 4-6-1-b3-5 of E Dorian. At E Dorian scale tone b3, the third b3-5 suggests the A9 chord Ninth
chords are common to jazz blues.
Fingering Thirds
video link
fingering on strings three and two

Finger 1 is the index finger, 2 the middle finger, 3 the ring finger and 4 is the little finger. With each pair
of numbers, the number for the third string is indicated first, then the number for the second string.
2-1 for minor thirds and for sliding major and minor thirds
1-2 for major thirds when sliding the upper note to make a fourth, like 1-3 to 1-4
1-1 or 3-3 for barred major thirds
2-3 for major thirds with neighbors
3-2 for minor thirds with neighbors
3-4 for major thirds, especially double hammer and pull-off. These can be used for double
hammer or pull-off from a lower barred major third or from a lower minor third (fingering the
lower minor third with 2 on the third string and finger 1 on the second string).

thirds for I, IV and V chords by region on strings three and two

Here are the thirds on the root and third of A major, the I major chord in the key of A, and the interval
of a fourth on the fifth of the A chord.
Here are the thirds on the root and third of D major, the IV major chord in the key of A, and the
interval of a fourth on the fifth of the D chord.
Here are the thirds on the root and third of E major, the V major chord in the key of A, and the interval
of a fourth on the fifth of the E chord.
In the region near the root of the I major chord on the third string, here are the thirds or fourths for I,
IV and V chords.
In the region near the third of the I major chord on the third string, here are the thirds or fourths for I,
IV and V chords.
In the region near the fifth of the I major chord on the third string, here are the thirds or fourths for I,
IV and V chords.

Uses of Thirds
European style
European, Mediterranean, or Mexican melodies harmonized in thirds.
Chuck Berry style

Thirds in Chuck Berry style, usually descending with some slides.
See Thirds Blues Example 1.
thirds as pickups
In leading into the first beat with a pickup, use thirds. The rhythm can be regular (ie. all eighths or all
sixteenths) or irregular (i.e. syncopated).
thirds and fourths with neighboring tones

Be aware of the major scale fingering in the area and finger the thirds with the two middle fingers.
Fourths are included because they are substituted for thirds when adding a harmony above the fifth of a
chord where you don’t want it to be part of a seventh chord. By using a fourth, you are playing the root
above the fifth.

irds And Fourths With Neighboring Tones
page 1678 Thirds and Sixths
A major scale-tone thirds and fourths withParthammer
5: Core Melody and Melodic Cells back to contents
and pull-off to neighbors
video link
° ### 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ™ œ œ œ œ œ œ œ™
minor third fingering perfect fourth fingering
& 4 J œ œ œ œ œ œ œ J
1 3 2 3 1 2 3 4 2 4 3 2 3 1 2 3 2 1 3 2 4 3 4 2 3 2
5 3 5 7 5 5 7 5 7 9 7 7
¢⁄
4 6 6 6 7 6 6 4 6 6 6 7 6 6
° ### œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ™
major third fingering augmented fourth fingering
& J J
1 2 3 2 1 3 2 4 3 4 3 3 2 1 1 3 1 1 3 1 4 3 2 1 3 1
7 5 7 9 7 7 9 7 9 10 9 9
¢⁄
6 7 7 7 9 7 7 6 7 7 7 9 7 7
° ### œ œ œ œ œ œ œ œ œ œ œ œ œ œ™ œ œ œ œ œ œ œ™
major third fingering perfect fourth fingering
& J J
1 2 3 2 1 3 2 4 3 4 3 3 2 1 2 3 2 1 3 2 4 3 4 2 3 2
9 7 9 10 9 9 10 9 10 12 10 10
¢⁄
7 9 9 9 11 9 9 7 9 9 9 11 9 9
° ### œ œ œ œ œ œ œ œ œ œ œ œ œJ œ ™ œ œ œ œ œ œ œ™
& J
1 3 2 3 1 2 3 4 2 4 3 2 3 1 2 3 2 1 3 2 4 3 4 2 3 2
10 9 10 12 10 10 12 10 12 14 12 12
¢⁄
9 11 11 11 13 11 11 9 11 11 11 13 11 11
œ œ œ œ œ œ œ œ™
° ### œ œ œ œ œ œ œ œ œ œ œ œ œJ œ™ œ
perfect fourth fingering
œ œ œ œ œ
minor third fingering
& J
1 3 2 3 1 2 3 4 2 4 3 2 3 1 2 3 2 1 3 2 4 3 4 2 3 2
12 10 12 14 12 12 14 12 14 15 14 14
¢⁄
11 13 13 13 14 13 13 11 13 13 13 14 13 13

2 Thirds And Fourths With Neighboring Tones
œ œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ œ™
° ### œ œ œ œ œ œ œ œ œ œ œ œ
major third fingering perfect fourth fingering
& J J
1 2 3 2 1 3 2 4 3 4 3 3 2 1 2 3 2 1 3 2 4 3 4 2 3 2
14 12 14 15 14 14 15 14 15 17 15 15
¢⁄
13 14 14 14 16 14 14 13 14 14 14 16 14 14
œ œ œ œ œ œ œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ œ™
œ œ œ œ œ
° ### œ œ
& J J
1 3 2 3 1 2 3 4 2 4 3 2 3 1 2 3 2 1 3 2 4 3 4 2 3 2
15 14 15 17 15 14 15 17 15 17 19 17 17
¢⁄
14 16 16 16 16 16 14 16 16 16 18 16 16
thirds with bends

Thirds with single bends, thirds with double bends and double stop bends.
Thirds with chromatics, which is based in ragtime blues and has made its way into blues, country swing
and jazz.
Memory Devices for Major Triads and Thirds

Tones with flatted numbers in Mixolydian, Dorian and Aeolian are all roots of major thirds and major
triads. The major key blues modes, major, Mixolydian and Dorian all have a IV major.
comparing blues modes

Play I-IV-V of the appropriate qualities in major, Mixolydian and Dorian.
Major is I-IV-V. Mixolydian is I-IV-Vm. Dorian is Im-IV-Vm.

SIXTHS ON STRINGS ONE & THREE OR TWO & FOUR

Sixth Subsets of Close-Voiced Chords
sixths on strings one and three: alone and as subsets of close-voiced triads
sixths on strings two and four: alone and as subsets of close-voiced triads

Sixth Subsets of Open-Voiced Chords
sixths on strings one and three: alone and as subsets of open-voiced triads
sixths on strings two and four: alone and as subsets of open-voiced triads

SUBSETS OF MAJOR SCALE FINGERINGS

Subsets Of Major Scale Fingerings On Strings 4-3-2
°
major scale fingering 4 major scale fingering 5
& œœ œœ œœ œœ œœ œœ ˙˙ œœ œœ œœ œœ œœ œœ ˙
˙
fingers 1 1 1 1 1 2 1 1 1 1 1 1 1 1 1 2 2 2 1 1 1 1
fingers 2 2 3 2 1 3 1 2 3 2 2 2 3 3 1 3 3 3 1 3 3 2
4 5 6 7 1 2 1 7 6 5 4 5 6 7 1 2 3 2 1 7 6 5
3 5 6 5 3 5 6 8 6 5
¢⁄
2 4 5 4 5 7 5 4 5 4 2 4 5 7 5 7 9 7 5 7 5 4
3 5 7 7 5 3 5 7 9 9 7 5
° œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œœ œœ ˙ œœ œœ œœ œœ œœ œœ ˙
& œ œ ˙ ˙
1 1 2 1 1 4 1 1 2 1 1 1 1 1 1 4 4 4 1 1 1 1
3 3 3 2 2 3 2 2 3 3 3 3 2 3 2 3 3 3 2 3 2 3
6 7 1 2 3 4 3 2 1 7 6 7 1 2 3 4 5 4 3 2 1 7
6 8 10 8 6 8 10 12 10 8
¢⁄
5 7 9 7 9 10 9 7 9 7 5 7 9 10 9 10 12 10 9 10 9 7
7 9 10 10 9 7 9 10 12 12 10 9
° œœ œœ œœ œœ œœ œœ ˙
˙ œœ œœ œœ œœ œœ œœ ˙
˙
&
1 1 1 1 1 2 1 1 1 1 1 1 1 2 1 2 2 2 1 2 1 1
2 3 3 1 1 3 1 1 3 3 2 3 3 3 1 3 3 3 1 3 3 3
1 2 3 4 5 6 5 4 3 2 1 2 3 4 5 6 7 6 5 4 3 2
10 12 13 12 10 12 13 15 13 12
¢⁄
9 10 12 10 12 14 12 10 12 10 9 10 12 14 12 14 16 14 12 14 12 10
10 12 14 14 12 10 12 14 15 15 14 12
œœ œœ œœ œœ
° œœ œœ œœ œœ
major scale fingering 3
œœ œœ ˙
˙
&
1 2 2 1 1 4 1 1 2 2 1
3 3 3 2 2 3 2 2 3 3 3
scale tones numbered below according to bottom note
3 4 5 6 7 1 7 6 5 4 3
13 15 17 15 13
¢⁄
12 14 16 14 16 17 16 14 16 14 12
14 15 17 17 15 14

2
Subsets Of Major Scale Fingerings On Strings 3-2-1
° œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œœ œœ ˙ œœ œœ œœ œœ œœ œœ ˙
& œ œ ˙ ˙
fingers 1 1 4 1 1 1 1 1 4 1 1 1 4 2 1 1 1 1 1 3 4 1
fingers 2 2 3 3 3 2 3 3 3 2 2 2 3 3 3 2 2 2 3 3 3 2
6 7 1 2 3 4 3 2 1 7 6 7 1 2 3 4 5 4 3 2 1 7
1 3 5 3 1 3 5 7 5 3
1 3 5 3 5 6 5 3 5 3 1 3 5 6 5 6 8 6 5 6 5 3
¢⁄
2 4 5 5 4 2 4 5 7 7 5 4
° œœ œœ œœ œœ œœ œœ ˙˙ œœ œœ œœ œœ œœ œœ ˙˙
&
1 2 2 1 1 1 1 1 2 2 1 1 1 4 1 1 1 1 1 4 1 1
1 3 3 2 2 3 2 2 3 3 1 2 2 3 2 3 3 3 2 3 2 2
1 2 3 4 5 6 5 4 3 2 1 2 3 4 5 6 7 6 5 4 3 2
5 7 8 7 5 7 8 10 8 7
5 6 8 6 8 10 8 6 8 6 5 6 8 10 8 10 12 10 8 10 8 6
¢⁄
5 7 9 9 7 5 7 9 10 10 9 7
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ˙
° œœ œœ ˙˙ ˙
&
1 3 3 1 1 2 1 1 3 3 1 1 1 2 1 1 1 1 1 2 1 1
2 3 3 3 3 3 3 3 3 3 2 1 1 3 3 2 3 2 3 3 1 1
3 4 5 6 7 1 7 6 5 4 3 4 5 6 7 1 2 1 7 6 5 4
8 10 12 10 8 10 12 13 12 10
8 10 12 10 12 13 12 10 12 10 8 10 12 13 12 13 15 13 12 13 12 10
¢⁄
9 10 12 12 10 9 10 12 14 14 12 10
œœ œœ œœ œœ
major scale fingering 3
œœ œœ œœ œœ œœ œœ ˙
° ˙
&
1 2 2 1 1 1 1 1 2 2 1
1 3 3 2 3 3 3 2 3 3 1
scale tones numbered below according to bottom note
5 6 7 1 2 3 2 1 7 6 5
12 13 15 13 12
12 13 15 13 15 17 15 13 15 13 12
¢⁄
12 14 16 16 14 12

SLURRING THIRDS AND SIXTHS

Hammer And Pull-Off Thirds And SIxths
C major scale in thirds - hammer and pull-off slurring on the second and third strings
° œœ œœ œœ œœ œœ œœ œœ
Œ
&
1 2 1 3 1 4 1 4 1 2 1 3 1 4
1 3 2 4 2 3 1 3 1 3 2 4 2 3
5 6 6 8 8 10 10 12 12 13 13 15 15 17
¢⁄
5 7 7 9 9 10 10 12 12 14 14 16 16 17
œ œœ œœ
° œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
3
& Œ
4 1 3 1 2 1 4 1 4 1 3 1 2 1
3 2 4 2 3 1 3 1 3 2 4 2 3 1
17 15 15 13 13 12 12 10 10 8 8 8 6 5
¢⁄
17 16 16 14 14 12 12 10 10 9 9 9 7 5
C major scale in sixths - hammer and pull-off slurring on the second and fourth strings
to play these cleanly, you must mute the "in-between" (third) string with a plucking hand finger
otherwise, you will probably sound unwanted notes on the in-between string with your pull-off
œ œ œ
° œ œ œ œ œ œ œ œ œ
5
œ œ œ œ œ œ œ œ œ œ œ Œ
& œ œ œ œ œ
2 1 4 1 4 1 4 1 2 1 4 1 4 1
3 2 3 1 3 2 3 2 3 1 3 1 3 2
13 12 12 10 10 8 8 6 6 5 5 3 3 1
¢⁄
4 4
14 12 12 10 10 7 7 5 5 3 3 2
œ œ œ
° œ œ œ œ œ œ œ œ œ œ
7
& œ œ œ œ œ œ œ œ œ œ œ Œ
œ œ œ œ
1 4 1 4 1 2 1 3 1 4 1 4 1 2
2 3 1 3 1 3 2 4 2 3 1 3 1 3
1 3 3 5 5 6 6 8 8 10 10 12 12 13
¢⁄
2 3 3 5 5 7 7 9 9 10 10 12 12 14

Sliding Thirds And SIxths

C major scale in thirds - sliding on the second and third strings
° œœ œœ œœ œœ œœ œœ œœ
& Œ
1 1 1 1 1 1 1 1 1 1 1 1
2 2 2 2 2 2 2 2 2 2 2 2
5 6 6 8 8 10 10 12 12 13 13 15 15 17
¢⁄
5 7 7 9 9 10 10 12 12 14 14 16 16 17
° œœ œœ œœ œœ œœ œœ œœ Œ
&
1 1 1 1 1 1 1 1 1 1 1 1
2 2 2 2 2 2 2 2 2 2 2 2
17 15 15 13 13 12 12 10 10 8 8 8 6 5
¢⁄
17 16 16 14 14 12 12 10 10 9 9 9 7 5
C major scale in sixths - sliding on the second and fourth strings
° œœ œ
œ
œ
œ
œ
œ
œ
œ œ
œ
œ
& œ œ œ œ œ œ Œ
œ
1 1 1 1 1 1 1 1 1 1 1 1 1 1
2 2 2 2 2 2 2 2 2 2 2 2 2 2
13 12 12 10 10 8 8 6 6 5 5 3 3 1
¢⁄
14 12 12 10 10 9 9 7 7 5 5 3 3 2
œ œ œ
° œ œ œ œ œ œ œ œ
œ
œ
œ
œ
œ
œ
œ œ œ œ Œ
& œ œ œ œ œ œ œ
1 1 1 1 1 1 1 1 1 1 1 1 1 1
2 2 2 2 2 2 2 2 2 2 2 2 2 2
1 3 3 5 5 6 6 8 8 10 10 12 12 13
¢⁄
2 3 3 5 5 7 7 9 9 10 10 12 12 14

Thirds Blues Example 1
Thirds Blues Example 1

video link
n œœ n œœ œœ œœ œœ œœ œœ n œœ n œœ œœ œœ œ œb œ œ
D7
° ## 4 J œ œ nœ #œ œ nœ #>œ. œœ
& 4 ‰J œ œ œœ bœ n œb œnœœ ˙˙Œ ™J
b œ n œ nœ b œ
17 17 15 15 13 13 12 13 12 12 10 10 9 8 7 6 7 12
¢⁄
17 17 16 16 14 14 12 14 12 12 11 11 10 9 7 6 7 7 6 5 12
9 8 9 8 7
b œœ #n œœ n œœ œœ œœ # œœ n œœ œœ # œœ
° ## œœ nœœ œœ œœ œœ œœ ‰ œœ j œœ œ œ œ #œ œ œ
G7 D7
œ œ
œœŒ œ œ# œ œ œ JŒ J
& J #œ œ œnœ œ
12 10 10 8 8 6 5 3 5 3 3 5 7 8 9 10 11 12 13 15 16 17 14
¢⁄
12 10 10 9 9 7 6 3 4 7 9 10 11 13 13 14 16 16 17 14
5 5 3 3 5
œ
A7
nœ
nÆœ œ
G7
œœ n œ œ
D7
° ## œ œ
œ œ
œ œ œ œ
œœ œ‰ œ
œ œ
œ œ œ
nœ œœœ œœ J œ œœ #œ œœ nœœ nœœ œ œ #œ œœ œœ
ÆJ œ‰ œnœ ÆJ
J
& J ‰ Œ
13
14 12 12 10 10 12 12 10 8 6 13 15 13 13 12 10 12
¢⁄
14 12 12 11 12 11 12 12 10 9 7 14 12 10 11 9 10 9 12 10 11
14 12 12 10 12

Thirds With Single Bends
irds With
videoSingle
link Bends
A major scale-tone thirds, bending and releasing the lower tone
œ œ œ ÆœJ œ œ œ œ œ œ ÆœJ œ œ œ œ œ œ Æœ œ œ œ œ œ œ œ œ œ œ
° ### 3 J ÆJ
& 4
full full 1/2 1/2 1/2 1/2 1/2 1/2
16 14 14 12 14 12 14 12
¢⁄
15 15 15 14 14 14 14 14 14 14 14 14
œ
° ### œ œ ÆœJ œ œ œ œ œ œ ÆœJ œ œ œ œ œ œ ÆœJ œ œ œ œ œ œ Æœ œ œ œ
5
& J
1/2 1/2 full full full full full full
9 7 7 5 5 4 4 2
¢⁄
9 9 9 7 7 7 5 5 5 3 3 3
œ œ œ ÆœJ œ œ œ œ œ œ Æœ œ œ œ œ œ œ œ œ œ œ
° ### œ œ œ ÆœJ œ œ œ
9
J ÆJ
&
1/2 1/2 1/2 1/2 1/2 1/2 full full
¢⁄
19 17 19 17 14 12 12 10
18 18 18 18 18 18 13 13 13 11 11 11
° ### œ œ œ ÆœJ œ œ œ œ œ œ Æœ œ œ œ œ œ œ œ œ œ œ
œ œ œ ÆœJ œ œ œ
13
& J ÆJ
full full full full 1/2 1/2 1/2 1/2
¢⁄
10 9 9 7 7 5 7 5
9 9 9 7 7 7 6 6 6 6 6 6

Thirds with Double Bends

In these examples, “B1” indicates bending a half step (one fret) and “B2” indicates bending a whole step.
Bending Thirds
œœ œœ œœ œœ
œœ œœ œœ œœ
&
upper scale tone 2 3 4 5 6 7 1 2
lower scale tone 7 1 2 3 4 5 6 7
interval m3 M3 m3 m3 M3 M3 m3 m3
3 5 6 8 10 12 13 15
4 5 7 9 10 12 14 16
⁄
When bending both notes the same interval, you should try to lessen the distance between the strings as you bend by 10% or so.
When bending a two fret interval on the third string and a one fret on the second string, usually no compensation is necessary.
œœ #œœ œœ œœ œœ œœ œœ ##œœ œœ
&
second string slur B1 B1 B1
third string slur B1 B2 B1
second string finger 1 3 3 3 1 1
third string finger 2 2 2 2 2 2
3 4 5 5 6 7
4 4 5 5 7 8
⁄
œœ #œœ œœ œœ ##œœ œœ œœ œœ œœ
&
second string slur B1 B1 B1
third string slur B1 B1 B2
8 9 10 11 12 12
9 9 10 11 12 12
⁄
œœ œœ œœ # œœ œœ
## œœ
&
second string slur B1 B1
third string slur B1 B1
second string finger 1 1 1 3
third string finger 2 2 2 2
13 14 15 16
14 15 16 16
⁄
©2010 Jim Gleason. All Rights Reseerved.

2 Bending Thirds
When pre-bending [(B1)] both notes the same interval, you should try to lessen the distance between the strings as you bend by 10% or so.
Pre-bending [(B1) or (B2)] a two fret interval on the third string and a one fret on the second string, usually requires no compensation.
œœ b œœ œœ œœ bb œœ œœ œœ œœ œœ
&
second string slur (B1) R (B1) R (B1) R B1
third string slur (B1) R (B1) R (B2) R B1
16 15 14 13 12 12
16 16 15 14 12 12
⁄
œœ bb œœ œœ œœ b œœ œœ œœ bbœœ œœ 3
& 4
second string slur (B1) R (B1) R R B1
third string slur (B1) R (B1) R R B1
11 10 9 8 7 6
11 10 9 9 8 7
⁄
3 œœ œœ œœ
&4
second string slur
(B1) R
third string slur
(B2) R
second string finger
3 1
third string finger
2 1
5 5
5 5
⁄
©2010 Jim Gleason. All Rights Reseerved.

Sixths with Single Bends
Sixths with Double Bends

Bending sixths is much more limited than bending thirds. When bending simultaneously in sixths, it
is not practical to bend the smaller string an interval of a whole step, only a half step. If you can’t resist
the temptation and just have to bend the smaller string a whole step, finger the smaller string with the
index and ring fingers and the larger string with the middle finger. The second and fourth strings are
best for bending in sixths, though they can also be performed (with the same fretboard shapes) on the
first and third strings.
œ œ œ œ ˙ œ #œ ˙
œ œ œ bœ ˙ 2œ nœ ˙
& 4
second string slur half step half step whole step
fourth string slur whole step half step whole step
second string finger 3 1/2 3 1&3 full
1/2
fourth string finger 2 2 2
full 1/2 full
12 12 12 12 12
⁄ 12 12 12 12 12

CHORDS IMPLIED BY THIRDS AND SIXTHS

Determine the Chord Type to Figure Out the Key Scale
The key scale is often changed. Especially with thirds and sixths, you need to be aware of which seven-
tone scale (commonly a major scale) you are building thirds and sixths on.
See Modes/Chords and Modes by Numbered Type/Modes by Numbered Type.
Every chord that does not use a numbered type matching its scale tone number in the key changes the
key scale. Playing a Dm chord in the key of C doesn’t change the key scale, it’s still C major because it’s
still a II type. Playing a Dm chord in the key of C as a VIm type changes the key scale because it is using
Dm on the sixth step of F major. In F major, C is on the fifth step, so the key scale would be C major.
The key scale at that point would be C Mixolydian, a “V type” C scale.
Listen for Tonic Chords Intuitively

We can improvise with thirds, sixths or triads without knowing the name of each interval or chord. You
don’t have to know the name of each chord implied by the interval or chord you are currently playing.
You need to determine aurally (“by ear”) if it harmonizes with the current chord and empasize it if it
does by repeating it, sustaining it or otherwise featuring it. If it is not harmonious with the current
chord, chances are that a third on the next scale tone up or down will harmonize with the current chord.
This is due to the fact that the default construction of chords is every other scale tone.
Determine the Parent Scale

Of all the modes of the major scale, we are most familiar with the Ionian or major scale mode. We know
the scale fingerings, chord qualities, chord fingerings, and other harmonies best in terms of the major
scale. Similarly, with the other three usable heptatonic scales, we are most familiar with the mode that
is closest to the major scale.
Melodic minor is traditionaly played differently when ascending and descending. The ascending form is
the same as a major scale with a flat three. It is usually used in its ascending form in jazz. The tradional
descedning version (or form) of the melodic minor scale is the same as Aeolian mode, a major scale with
flat three, flat six and flat seven.
We can most easily recall the fingerings and harmonies of the harmonic minor by thinking of it as major
sharp five with harmonic minor constructed on its sixth step. Compare the major scale modes below
with those of major sharp five, with its descending number series in the ascending order of modes.

modes of the major scale

major Dorian Phrygian Lydian Mixolydian Aeolian Locrian
1-2-3,-4-5-6-7 1-2-b3-4-5-6-b7 1-b2-3-4-5-b6- 1-2-3-#4-5-6-7 1-2-3-4-5-6-b7 1-2-b3-4-5-b6- 1-b2-b3-4-b5-
b7 b7 b6-b7
modes of major sharp five scale

major sharp five Dorian sharp Phrygian major Lydian sharp two Mixolydian sharp Aeolian natural Locrian natural
four (natural third) one seven (harmonic six
minor)
#5 #4 natural 3 #2 #1 natural seven #6
1-2-3-4-#-5-6-7 1-2-b3-#4-5- 1-b2-3-4-5-b6- 1-#2-3-4-5-6-7 #1-2-3-4-5-6-b7 1-2-b3-4-5-b6-7 1-b2-b3-4-b5-
6-b7 b7 6-b7
modes of melodic minor ascending (major flat three)

major flat three Dorian flat two Phrygian flat one Lydian flat seven Mixolydian flat Aeolian flat five Locrian flat four
(melodic minor) (Lydian dominant) six (super Locrian,
“flat all”
b3 b2 b1 b7 b6 b5 b4
1-2-b3-4-5-6-7 1-b2-b3-4-5- b1-b2-b3-4-5- 1-2-3-#4-5-6-b7 1-2-3-4-5-b6-b7 1-2-b3-4-b5- 1-b2-b3-b4-b5-
6-b7 b6-b7 b6-b7 b6-b7
modes of major flat six (harmonic major)

major flat six Dorian flat five Phrygian flat four Lydian flat three Mixolydian flat Aeolian flat one Locrian double
(super Phrygian) (Lydian diminished) two flat seven
b6 b5 b4 b3 b2 b1 bb7
1-2-3-4-5-h6-7 1-2-b3-4-b5- 1-b2-b3-b4-5- 1-2-b3-#4-5-6-7 1-b2-3-4-5-6-b7 b1-2-b3-4-5- 1-b2-b3-4-b5-
6-b7 b6-b7 b6-b7 b6-bb7 (6)
“track” the linear parent major scale

Keep your focus on the parent scale by following it up and down a string while playing its harmonies on
another string. If you are playing thirds, track the seven tone scale on the larger of two adjacent strings.
If you are playing sixths, think of them as inverted thirds and follow the parent scale by “tracking” it on
the larger of the two strings. Sixths are usually played on string sets 1-3, 2-4, 3-5 or 4-6.

interval M3 m3 m3 M3 M3 m3 m3 M3
0 1 3 5 7 8 10 12
 to contents

1 3 5 6 8 10 12 13
back Part 5: Core Melody and Melodic Cells Thirds and Sixths page 1693
C Major Scale Tone Thirds on Strings One and Two 

 
     

interval m3 M3 M3 m3 m3 M3 m3 m3
3 5 7 8 10 12 13 15

5 6 8 10 12 13 15 17
V(6, 7, 9) G6 G9 G G G7 G6
    
   

I (6, ma9) interval m3C M3 Cma7
m3 C6
m3 Cma9
M3 C C
M3 m3 m3

3 5 6 8 10 12 13 15
4 5 7 9 10 12 14 16

II (m9) Dm Dm7 Dm9 Dm
       
 
upper scale tone 6
7
1 2
3 4
5 6
IIIlower
(m7)
scale tone 4Em Em
5 6 7 Em7 Em
1 2 3 4
interval M3 M3 m3 m3 M3 m3 m3 M3


2 4 5 7 9 10 12 14
3 5 7 9 10 12 14 15

IV (6, ma9) F F Fma9 Fma7 F6

VIm (m9) Am7 Am9
©2010 Am
Jim Gleason.
All RIghts Reserved. Am Am7

interval m3 M3 M3 m3 m3 M3 m3 m3
3 5 7 8 10 12 13 15

5 6 8 10 12 13 15 17
C Major Scale Tone Thirds on Strings Two and Three

     
  

interval m3 M3 m3 m3 M3 M3 m3 m3

3 5 6 8 10 12 13 15
4 5 7 9 10 12 14 16

V(6, 7, 9) G G7 G6 G9 G G
    
   
5 3
lower scale tone 4 6 7 1 2 4
I (6, ma9) interval Cma9
M3 C
M3 m3 C
m3 M3 Cma7
m3 C6
m3 Cma9
M3

2 4 5 7 9 10 12 14
3 5 7 9 10 12 14 15

II (m9) Dm Dm Dm7
Gleason. All RIghts Reserved.

©2010 Jim
III (m7) Em7 Am Dm Em Dm Em Em7

IV (6, ma9) Fma7 F6 Fma9 F F

VIm (m9) Am Am7 Am9 Am

to contents
3 5 6 8 10 12 13 15
4 5 7 9 10 12 14 16
back Part 5: Core Melody and Melodic Cells Thirds and Sixths page 1695
C Major Scale Tone Thirds on Strings Three and Four

   
 
 
  
  
interval M3 M3 m3 m3 M3 m3 m3 M3

2 4 5 7 9 10 12 14
3 5 7 9 10 12 14 15
V(6, 7, 9) G9 G G G7 G6 G9
©2010 Jim Gleason. All RIghts Reserved.

I (6, ma9) Cma7 C6 Cma9 C C

II (m9) Dm Dm7 Dm9 Dm Dm

III (m7) Em Em7 Em

IV (6, ma9) F F Fma7 F6 Fma9 F
å
VIm (m9) Am9 Am Am Am7

2 Thirds As Scale Tone Chord Subsets
C Major Scale Tone Thirds on Strings Four and Five

   
      
interval M3 m3 m3 M3 M3 m3 m3 M3

2 3 5 7 9 10 12 14
3 5 7 8 10 12 14 15


V(6, 7, 9) G7 G6 G9 G G
        

5 3
lower scale tone 6 7 1 2 4 5
interval M3 m3 m3 M3 m3 m3 M3 M3
I (6, ma7) C C Cma7 C6 C
 2
3
3
5
5
7
7
8
8
10
10
12
12
13
14
15

II (m7) Dm Dm Dm7 C

III (m7) Em Em Em7

IV (6, ma7) Fma7 F6 F F Fma7

VIm (m7) Am Am7 Am Am



backto contents
2
3
3
5
5
7
7
8
9
10
10
12
12
14
14
15
Thirds and Sixths page 1697
C Major Scale Tone Thirds on Strings Five and Six

  
    
  
interval M3 m3 m3 M3 m3 m3 M3 M3
 2
3
3
5
5
7
7
8
8
10
10
12
12
13
14
15
V(7) G G G7 G
I C C

IIm Dm Dm

IIIm Em Em Em

IV F F
VIm Am Am

Sixths As Scale Tone Chord Subsets
minor sixths occur where the upper tone
page 1698 Thirds and Sixths
is 1, 4 or 5 of the major scale
F Major Scale Tone Sixths on Strings One and Three

F major scaleMinor
in sixths
.sixths occur where the upper tone is 1, 4 or 5 of the major scale.
œ œ œ œ œ
&b Œ œ œ œ n
interval m6 M6 M6 m6 m6 M6 M6 m6
1 3 5 6 8 10 12 13
2 3 5 7 9 10 12 14
⁄
V(6, 7, 9) C7 C6 C9 C C
C major scale in sixths
œ œFma7 œ œ œ
œF œ œF œ œF6 œ œF
&
I (ma7, 6)
œ œ œ œ
1 3 5 6 8 10 12 13
⁄
II (m7) 2 3Gm 5 7Gm 9 Gm7
10 12 14
III (m7) Am Am Am7
IV (6, ma7) Bbma7 Bb6 Bb Bb Bbma7

VIm (m7) Dm Dm7 Dm Dm
©1998-2018 JimGleason.
©2010 Jim Gleason.All All Rights
RIghts Reserved.
Reserved.
⁄
C Major
C major scale in sixths Scale Tone Sixths on Strings Two and Four
Minor .sixths occur where the upper tone is 1, 4 or 5 of the major scale.
œ œ œ œ œ
& œ œ œ
1 3 5 6 8 10 12 13
⁄ 2 3 5 7 9 10 12 14
V(6, 7, 9) G7 G6 G9 G G

I (ma7, 6) C C Cma7 C6 C
II (m7) Dm Dm Dm7
III (m7) Em Em Em7

IV (6, ma7) Fma7 F6 F F Fma7

VIm (m7) Am Am7 Am Am


53
Double Stops
• Double Stops Defined

• Basic Double Stops
• Modal Double Stops
• Parallel Thirds and Sixths
• Jazz Blues Double Stops
• Harmonic Clusters And Tonal Layers

page 1702 Double Stops Part 5: Core Melody and Melodic Cells back to contents
DOUBLE STOPS DEFINED

Double stops are two-note (sometimes three-note, “triple stops”) figures that combine either:
• one note that doesn’t change with another that moves up or down one, two or three scale
tones
• two notes moving in parallel harmony, usually thirds or fourths
• three notes with one of them moving up or down in scales tones

Basic Double Stops on G, C, D, Em Am, Bm in VII position
q = 105
° #4
back to contents Part 5: Corenotice
Melodythatand Melodic
there is a fourCells
beat pause after each double bar line Double Stops page 1703
& 4 ∑ ∑ ∑ ∑
BASIC DOUBLE STOPS
click to play this section on video
¢⁄
C form G major
œœ œœ œ œ
° # œœJ œœ œœ œœ œœ œœ ˙˙ œœ œ œ
G
œ œ
Œ™
1
˙
J œ ÆœœJ œ œœ œ œœ œœ ˙˙
œ
& J ÆœJ Œ
7 8 10 8 7 7 8 7 7 7
8 8 8 8 8 8 8 8 8 8 8 10 8
¢⁄
7 7 9 7 7 9 7 7 7 7
7 9 7 7 9 9
10
œ
° # œœ œ œœ œj œœ œœ œ œ œœ œœ œ œ œœ œœ œœ œ œ œœ œœœ
5
& œ œœ œœ œœ œ œœ œœ œœ œ ˙
ÆœJ
œ ˙
7 8 7
8 8 8 8 10 8 8 8 8
¢⁄
7 7 7 9 7 7 7 7 7 7 7 7 7
10 9 7 9 10 10 10 7 9 7
10 10 10 10 10 10
8 10 8 7
G form D major
œ
° # j œ œ œ œœ œœ œœ œœ œ œœ œœ œœ œœ œœJ œœ œœ œ ‰ œJ
9 D
& œ œœ œœœ œj œœ œœ œœ œ ‰ œœ œœ œ œ œ J

7 5 5 5 5 5 10
8 8 10 10 5 7 8 7 5 10
¢⁄
7 7 7 7 7 7 7 7
7 7 7 7 7 7 7 9
10 10 7 9 7 7 9
10 10 10 10
œœœ œ œ
° # œ œ œ ÆœJ œ œ œ œ œœ œœ œœ œ œœ œœ œ œ œœ œœ œ œ œœ œœ œœ œ
13
&
œ
ÆœJ œ œ œœ ÆJ
œœ œœ œœ œœ œœ œœ œ
10 10 10
8 7 7 8 7 8 10 8 7 8 7 7 10 10 10 10
¢⁄
7 9 11 9 7 9 7 7 12 11 9 9 11 9 7
7 7 7 7 7 7
10 9 7 9 7
10

2 1704 Double Stops
page PartAm,
Basic Double Stops On G, C, D, Em, 5: Core
Bm inMelody and Melodic Cells
VII position back to contents
E form C major
œ œœœ œ œ
œœ œœ œœ Æœ nœœ œœ œœ œœ œ
C
° # œ œ œ œ œJ œ œœ œœ œ œœ
Œ œ œ nœ œ œ œ œ nœœ œœ œœ œœ œ
17
& J J
œ œœ
10 12 10 8 10 8 8
8 8 8 8 8 8 8 10 8 8 8 8 8 8 8 8 8
¢⁄
9 9 9 10 9 7 7 9 10 9 7
10 10 10 10 10 10 10
7 8 10 8 7
8
A form E minor
° # œœ œœ œœ ÆœJ œœ œœ œœ œ œœ œœ œ œ œ œ
œ œ œ œ œœ œ œ œ œ
21 E‹
ÆœJ
J œ ÆœœJ œJ œ œ œ œj œ œ œ œ œ ˙
ÆœJ
œ
ÆœJ œ œ œ
&
7 7 7 7 7 5 7 5
10 8 7 7 8 7 8 8 8 8 8 8 10 8
¢⁄
9 7 9 7 7 9 7 7 9 7 7 7
9 7 9 7 7 9 7
10 10 7
° # bœ œ œ œ œ œ œ œ œ œ
‰ œJ œ œ œ œœ œœ œœ œœ
25
& Ó œ bœ œ œ ˙ Ó ‰ œœ œœ œœ
œ
1/4
11 10 8 10 8
¢⁄
9 9 9 9 9 9 9 9 9 7 9
7 8 7 9 9 9 7 9 9 9
10 7 7 9 7 7 7
10
œœ œ œ œœ œœœ œœ œœ œœ ˙˙
° # œœ œœ œœ œ œ œ
œ œ
œ œ œ
œ œ
œ ‰ œ ˙
29
œ œ Œ œœ œœ œ J J œœ œœ œ
& J
7 10
7 8 7 7 8 10 8 8 8 7 8 7 8
¢⁄
7 7 7 9 7 7 7 9 9 7 11 11 11 11 9 7 7 7 9 7 9
9 7 9 7 9
E form B minor
#œ
° # œœ œ œœ œ œœ œœ œœ œœ œœ œœ œ œ œ#œœ œœ œ œ œœ œœ œœ œ Æœ œœ œœ œœ œ œ œ œ œ œ œ œ
B‹
33
& œ J œ ÆœJ œ œ œ œ œ œ œœ œ
J J
7 9 7 5 7 7 7 7 7 7
7 10 7 7 5 7 5 7 7 8 7 7 7
¢⁄
7 6 7 6 9 7 9 7 7 9 9 7
9 97 9 9 7 9 7 9
9 7 9

back to contents Part 5: Core Melody and Melodic Cells Double Stops page 1705
Basic Double Stops On G, C, D, Em, Am, Bm in VII position 3
° #œ œ œ j œ œœ œ j œœ œœ#œœœ œœœ œœœ œœœ œ œœ œ œœ œ

37
& œ œ œ œ œ œ
œ œ œ nœ œ œ #œ œ Œ ‰
œ œ œ
œ ÆœJ œœ œ œ œ
7 7 7 7
¢⁄
7 7 7 7 7 9 7 7 7 7 7 7 7 7 7
7 9 7 7 9 7 7 7 7 7 9 11 9 7 9 7 9 7 9 7
9 7 8 7 9 7 9 9
10 10
D form A minor
œœ œœ œœ œœ œ œœ œœ œ œ œœ œœ œœ œœ œœ œ œ œ
° #Ó Œ™
œ œ œ œ œ œœ œ
‰ œ œ œœ œ œ œ
41 A‹
J ÆœJ
&
12 10 8 8 10 8 8 8 8 8
10 10 10 8 10 8 10 12 10 8 10 8 10 8 8 8 8 8 8
¢⁄
9 9 9 7 9 7 7
10 10
. . œœ- œ.
° # œœ bœ œ œ nœœ bœœ œ œœ nœœ œœ œ œœ œ œ œ œ œ œ œ
45
& œ nœ œ œ œ œ œ œ ˙˙ ∑
. . - .
10 10 10 10 10
¢⁄
7 8 7 9 8 7 7 9 7 7
10 7 10 7 7 7 10 7 9 10 9 7 9 7
7 7 7 10 7 10 7 7
10 8

Harmonized Pentatonic Scale
Parallel Fourths(examples
and the in CHarmonized
major and A minor)Pentatonic Scale
œœ œœ œœ
E form major / D Form minor
œœ
2 œœ œœ œœ
&4 œœ œœ œœ
10 8
10 8 10 8
9 7 9 7
⁄ 10 7 10
10
7
7 10
10
7
8
œœ œœ œœ
D form major / C form minor
œœ œœ œœ
6
œœ œœ œœ
& œœ
12 10
13 10 13 10
12 9 12 9
⁄ 12 10 12
12
10
10 12
12
10
10
œœ œœ œœ œœ
C form major / A form minor
11
œœ œœ œœ œœ
& œœ œœ
15 12
15 13 15 13
14 12 14 12
⁄ 14 12 14
15
12
12 15
15
12
12
A form major / G form minor

16
œœ œœ œœ œœ
5 3
5 3 5 3
5 2 5 2
⁄ 5 2 5
5
2
3 5
5
3
3
œœ
G form major / E form minor
21
œœ œœ œœ
8 5
8 5 8 5
7 5 7 5
⁄ 7 5 7
7
5
5 7
8
5
5

Country/Folk Double Stops

Double stops are common to country piano stylists such as Floyd Cramer and Moon Mullican. Floyd
Cramer’s double stop style has been called “slip note” style.
Country/folk double stops are extensive in Doc Watson, Chet Atkins, Mark Knopfler, Albert Lee and
Brent Mason.
R&B and Soul Double Stops

Double stops are used in R&B. R&B and soul music was one of Hendrix’s main resources. They
primarily used single upper neighbors and lower neighbors in their double stops. Not much baroque
style ornamentation nor country.
Notable R&B and soul artists that used double stops include Cornell Dupree (with King Curtis, Aretha
Franklinn and The Gadd Gang), Curtis Mayfield, The Impressions, Tower Of Power, Dobie Gray (Drift
Away), James Burton (Otis Redding, Aretha Franklin), John Fruciante (Red Hot Chili Peppers), Jack
Johnson, Dave Matthews ( Jimi Thing).
Hendrix Double Stops

Shuggie Otis, Jimmy James (aka Jimi Hendrix),Jimi Hendrix played the Chitlin Circuit in 1964 and
1965, with the Isley Brothers and Curtis Knight in 1965 before Charles Chandler of the Animals “dis-
covered” Jimmy James in New York and suggested he change his name to Jimi Hendrix (Hendrix was
his birth name).
stay in key scale for single note melody

In single note melody, prefer the key minor pentatonic scale throughout whenever you can , like Hendrix’s
Hey Joe solo. In double stops, play in the key of each chord, with the preferred modes below that play
all chords with a flatted seventh ( in the key of each root).
folk rock, not country

Hendrix style should distinctly not sound country. There is a subtle distinction between folk rock and
country, Folk rock doesn’t use pedal steel guitar so much as country. Pedal steel bends sustain a note or
two while bending another and tend to
Hendrix’s developmental guitar years occurred exactly when folk rock was starting. So, to please his
listeners, he incorporated ornamented open position chords and barred versions of them. Use double
stops with suspended 2 and suspended 4 to reinforce Hendrix’s style (though suspended fourths are
used in country). In Hendrix’s double stop style, suspended 2 and suspended 4 should be used in folk
rock style. Syncopated rhythm is associated more to Hendrix (and R&B/Blues) than country. Incor-
porate key minor pentatonic double stops and the key minor with flat five during any of the chords it
will work on, to make it more bluesy (Hendrixish) and less country.
folk rock in the low range

Hendrix tended to play more single note hammers and slides on the bass strings. Though Hendrix did
not use folk rock double stops in the low range, they seem like a likely extension of his style.
blues with minor chords and minor intervals

Save the first three strings for more bluesy bends and tend to use double stops in the mid and low range.
Use minor and diminished chord sounds frequently. They can be secondary roots, such as a minor triad
with its root on the third of a major seventh chord. Minor chord sounds can also be darkened versions
of existing chords. Usually, avoid emphasizing “6”, because of its association with country swing.
parallel fourths
Use parallel fourths, as Hendrix did in expressing his Cherokee heritage. They sound Asian/American
Indian. Have anything to do with the Mongol origin of American Indians?
See the Harmonized Pentatonic Scale.
use dissonance in parts of chords unlike country

Dissonances can appropriately darken the style and keep it from being too sweet. They include these
intervals: half steps, whole steps, diminished fifths, and to a lesser extent, minor thirds. Country uses
five and six together, so stay away from that whole step.
Descend a scale below a held note, beginning with a scale tone below it (escpecially where that is a half
step), replaying each held note with the corresponding descending scale tone.
baroque ornamentation
Use mordents (grace note movement to a neighbor and back) and trills (like quick “looped” mordents)
or sixteenths (or faster rhythms) with regular pulse rhythm (like four sixteenths).

mel 1.947 mel 1.947
Hendrix-Style
Little WIng style double Double
stops in open position Stops
E Aeolian
tt tt t tt tt t
1
! tt
Em G
Ä 22 Yt
ot t t
tt tt tt t t t
t t t
t t t t t t t t
3 3 0 0 0 0 0 3 3 1 3 3 0 2 0 0 3 3 0 3 1 0 2 0 2 0 2
2 2 2 2 2 2 0 0 0
â 22
S S S P P
S P
S S
3
3 5 3 5 5 3 0 1 0
2 4 2 4 4 2 0 0 0 0 2 0
2 0 0 2 0
2
0 0 0 0 0 3 3 3
Em I
Am I
1
2 3
5 2 3
! || tt t tt t t t ||
Ä t t t t tt ||| t t t t t t t "t t t t
t t t
|
0 2 3 0 1 1 3 1 1 0 3 3 0 3 3 0 2 1 0 1 0 3 0
1 1 3 1 2 2 0
â
H S S S H P
0 3 3 0
1 3 5 3 3 1 0 0
2 5 4 2 0 0 0
2 2 2 4 4 2 0
0 2 2 1 0 1 0
0 3 0
Bm7 II Am I C III
1 1 1 1
1
2 2 3
9 3 3 4
! tt tt tt tt t tt t t tt t t«
Bb
Ä
t t t #t "t t t t t #t t t tI
t
1 3 2 2 2 2 2 3 3 1 3 0 2 3 1 4 1 3 3 4 1 3 4
1 1 1 1 3 1 3
â
H S H S
3 3 3 3 3 1 3 1 5 5
2 2 2 2 4 2 1 2 2 2
4 4 3 3 2 3 5 5
2 0 3

mel 1.948 Hendrix-Style Double Stops mel 1.948
(continued)
D I
G I F sus. 2 I C I
1 1
1 2
1 2
tt tt tt
13
! tt tt
tt t tÛ t tt t tÛ t
G 3
tt tt t "tt tt tt tt
2 3 4 3 4 3
Ä oYt t tt tt #t t t t t tt
t t t t t
t
11 1 0 2 3 3 3 3 0 2 1 1 1 1 1 0 0 0 0 0 0
22 2 0 0 4 2 0 0
2
S S
â
S S H
3 3 3 2 2
13 1 0 3 1 1 1 1 1 1 1 3 3
24 2 0 0 0 0 0 3 2 0 0 2 2
0 3 3 3 3 3 3 0 2 2 0 0 0 0 0 0 0 0
3
C add 9 I C add 9 I D I
1 1 1 2
tt
17
! tt AA AA
3
Û ttt
2 3 4 2 3
Ä tt t t t t AA AA
t t
0 0 0
â
2
3
2
0 0 0 0
3
3
0
0
3
0
2
3
2
0
a
3 3
Em7 I G III II
1 1 1
1 2 2
! tt tt t tt tt t tt tt
20 3 3
tt t tt t tt t
3 4
Ä tt t t t t | t
t t t t
0 0 0 0 1 3 1 1 1 3 1 3 3 3 2 2 4 2 1 4
1 1 3 1 1 1 3 1 3
2
â
H H H
3 3 5 3 3 3 3
3 3 3 3 5 3 3 3 3 3
0 5 4 2 4 2 5 4 2
2 5 5 5 5
0 0 0 0

back
mel to contents
1.949 Part 5: Core Melody and Melodic Cells Double Stops
Hendrix-Style Double Stops mel
page 1711
1.949
(continued)
Am I Em I
1
2 3
24 2
! tt «« t t ||
Ä || t« tI t t t tt t t t t t t
| t t t !t t #t
3 0 0 1 0 4 2 0 0 0 3 0 1 2 0 0
1 3 1 0 2 0
â
H H H
0 0 0 0
1 1 3 1 1 0
2 2 2 0 2 0 0
2 4 2 0
0 0 1 2 0
0 3
Bm7 II Am I C I
1 1 1
1 1
2
2 3 2
3
28
! tt
3
Ä t tt t tt tt t t t t t t
t
t t t
"t t t t t t t t t #tt tt tt t
1 3 1 3 3 2 4 2 2 1 1 0 2 3 2 1 3 0 2 3 0 2 0 0 0 0 3
2 1 1 1 3 3 2 0
â
H H H
2
3 3 5 3 3 1
2 2 2 2 4 2 2 2 0 0 0 0
4 4 4 2 2 0 2 3 2 0
2 1 0 0 2 3 3
G I F add 9 I C I D sus.4 I
1 1
1 2 1 2
t t t tt tt Û t Û
32 2 4 3 4
! t t
3 4 3
t t t t t tt tt t
Ä
t
t t #t t t t t t t t t t t t
3 0 0 4 4 3 0 1 0 4 4 3 0 2 1 1 1 2 0 1 3 4 2 3
0 1 0 1 1 0 2 0
0 2 0
â
H H
3 3 3 3 3 2
0 1 0 1 1 1 1 1 1 3 3
0 0 0 0 2 0 0 2 0 2
0 3 0 2 2 0
3
3
D/F# I Em I
T 1 2 2 3
36
! tt tt AA
3
Ä tt ttt tt tt AA
A t tt t t t t A æ
t t t t t t t A
â a ææ
T
0
0
0
2
2
2 0

Little Wing style double stops inDouble

Little Wing movableStop
formsComping
D form
œ œ
E‹ G
œ œ
# 4 œj œ œ j œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ
A‹
& 4 œ œ œ œb œ œ œ
œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œbœœ œ
œ œ
4 4 4 4 4 4 4 4 4 4 4
3 3 3 3 3 3 2 1 2 1 21 4
2 2 1 2 1
3 3 3 5 5 5 5 5
35 3 5 5 5 5 3 3 3 3 3 5 5 5 5 5 5 5 5 5 5
⁄
24 3 2 2 2 4 5 5 4 2 4 2 5 4 2 4 2 5 4 2 4 2 32
5 5 5 5 5
5
# œœ œœ œ œœ œœ
≈ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œj œœ œœ nœ
4 E‹ B‹ B¨ A‹ C
& ˙˙ œ œ œ œb œ ˙˙˙
˙ œ
3 3 3
3 3 5 5 5 3 5 3 3
⁄
4 2 2 4 4 2 4 4 4 2 2 4 2 5
2 2 4 2 4 2 3 2 2
2 5 1 3
#œœ nœœ œœœœ œ 2 œœœœœœœœœ 4 œ œ œ œœ œœ œ œ œœ œ œœ œ œœ ˙

7 G F C D
& œ œœ œœ ÆœJ œ œ œ 4 4 œ œ œ œœ œœ œœœœ œœœœ œœœœ œœœœ ˙

3 3 3 3 3 3 3
3 53 6 6 6 3 5 53 3 5 5 3 55 3 3 33 33 33
⁄
2 4 4 45 5 5 5 4 2 2 44 2 2 22 22 22
5 5 5 5 5
C form
#4 œœœ
¿ ¿ œ œ œ œœbœ œ œ œ œ œ œ œ œ œ œ œ œ œ
11 E‹ G A‹
& 4 jœ ¿ ¿ ÆœJ œ œ œ œ œ œ œ œ œ œ œ bœ

j œœœ ¿ ¿ œ œ œ œœ

œœœ ¿¿ œ
8 8 8
⁄
X X 7 9 7 9 5 7 5 5 5
X X7 9 7 8 7 5 5 9 9 9 5 9 9 7 5
5 57 X X 7 5 7 5 7 5 6 5
0 3 5 7 X X 5 7
# œœ œœ œ œœ œœ œœ œœ œœ™™
œ ™ œœ œœ#œœ œœ œ œ œœ œœ œ
14 E‹ B‹ B¨ A‹ C
& œ œ™ œbœ œ œ œ œ œ œ œ ÆœJ œ œj œ

œ œœ
œœ
ÆJ
1/4
7
8 7 7 7 7 7 8 8 8 8
⁄
9 7 6 4 6 4 4 4 9 7 9 9
7 8 7 5 7 5 7 9 7 9 7 5
57 7 7 5 5 7 7 5
C™
# œœ nœ nœ ™ œ œ 2 œ œ œ œ œ œ 4 œ œ œ œ œ œ œœ œœ ˙˙
‰™ r œ œ
17 G F D
& œ ™ œj œ œ œ œ œ œ ÆJ 4 4 Ó
œœ œ
ÆJ
3
8 7 8 7 5 5 5 5
8 6 6 8 7 8 8 7 5 5
⁄
7 5 4 7 9 7
5 7 9 5 7 7 5
5 7
5 7

Little Cells
Wing Double Stop Comping Double Stops page 1713
2
A‹ œ œ œ œ œ œ
A form
œ œ œ
# œœ œ œœ≈ œœ œœ≈≈ œ ™ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ
21 E‹ G
œ
œœœ œ™ œ œ œ œœ œœ œ
œ
& œ œ œ
j œ œ ÆJ
œ

œ™ œ œ 3
œ
8
7 8 8 7 8 8 12 12 12 12 10 10 8 8 10 8
⁄
7 7 7 7 7 7 7 9 7 7 7 7 12 12 12 12 11 11 9 9 11 9
7 9 9 7 9 7 7 7 9 10 10 9
9 10 5 0
0 3 3 5 7
# œ œ # œ ™
# œ œ œ œ œ œ œœ Æœœ œ œœ œœ œj œœ œœ œ œ œœœœ nœœœ œœœ œ œœ ™™ Œ œ œ œœœ
œ œ n œ œœœ
E‹ B‹ B¨ A‹ C
œ œ œœ œ œ œœ
24
& J œ œœ œ
œ
œ
9 10 8 5 7 7 8 7
8 8 8 10 8 8 0 0 0 5 7 10 10 8 8
⁄
11 11 77 9 7 7 7 9 7 11 12 11 9 9 9 9 7 7
9 9 7 9 7 9 9 9 10 9 7 9 10 10 10
9
0 7
œ
œ œ œ œ nœ œ nœœ œœ 2
G F C D
# œ
27
œ œ 4
& j œ ÆœJ œœ œœ œœ nœœ œœ œœ 4 œ œ œ œ œ 4 œ™ œ œ œ œ ˙
 œ œ w
nœ œ
5 7 5 10 8 8 3
3 5 3 8 6 6 1 1 3
⁄
0 0 0 0 0 0 0 0 0 0
5 7 5 0 4
10 8 8 8 3 3 5 5
1 3
#
31 E‹ G A‹
& ∑ ∑ ∑
#
34 E‹ B‹ B¨ A‹ C
& ∑ ∑ ∑

Hey Joe style double stops, version 1
Light Swing
Hey Joe Double Stops 1
C major pent. fing. 4 G major pent. fing. 2 D major pent. fing. 4 A major pent. fing. 1
open position II position II position II position
° # œœ œœ œ œ
C G D A
œœ œœ œœ œ
j
œ œ œ œœ nœœœ œœœ œœ œœ ™™
& œ œ ÆœJ
œ œ œ #œ j œ
œ œ
œ œ #œ œ œ
3 3
1 1 1 35 3 3 3 3 3 3 3
¢⁄
0 0 0 45 4 2 2 2 2 2 2
0 2 2 5 2 4 5 5 4 2 2
3 5 2 4 4
3
° # œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ bœ œ
5 E
& œœ œœ œœ œœ ‰ j œœ œœ œœ œœ ‰ œJ œœ
3
œ œœ 4
œ œ œ œ bœ œ œ œ œ œ œ
3
0 0 2 0 0 1 0 3 0 0 3 0 2 3 2 0 2
1
3 3 3 3 3 3 3 3 0
3 3 3 3 3 3 3 3 0 3
¢⁄
0 0 0 0 0 0 0 0 2 3 2 0
2 2 2 2 0 2 2 2 2 2
0 2 0 1 0
0 0 0 3 0 0 0 0
° # œœ 3œ œ œ œœ œ 3 j
9 C G D A
& œ œ œ œ œ œ œ œœ j œ œ j j j j œ
œ œ
œ œœ œœ ™™™
œ œ œ œ œ # œ œ œ # œ
œ œ œ #œ œ œ
1 1 1 1 1
1 1 2 2 4 4 1 1 1 1
1 1 1 1 4 1 3 1 1 3 1 4 1 1 2 1 2 4 1 2 3 3 4 3 3 4 3
3 3
3 5 3 3 3 3
¢⁄
5 2 4 2 2 2 2 2 2
5 5 5 2 2 2 2
3 3 3 23 2 5 4 4 5 4
3 2 3 4 4 5
° # œœ œœ œœ ‰ j œ œœ 3œ œœ œœ œ œ #œ
13 E
& œ #œ œ œ œ œ œ œ œœ œ #œ œ œ #œ œ œ œ
œ 2 2 2 2 2 2 œ 2 2
0 3 3 1 1 3 1 1 3 1 1 3 1 3 1 0 3 3 1 1 3 3 3 2 3 2 1 1 0
5 5 5 3 3 3 5 5 5 3 2
¢⁄
4 4 4 2 2 4 2 2 4 4
4 6 6 2 4 4 4 6 6 4 6 4 2 0
0 0

Hey Joe style double stops

Hey Joe style double stops, version 2
° #4 œ œ
œ œ œ œ œ œ
œ œ j
C G D A
& 4 œ œ œœ œœ œœ œ œ œ œœ œ œ œœ œœ œ œœ œœ œœ œœ œ œ œ œ œ œ œœ œœ œ œ œ™
3
3
#œ
¢⁄
8 8 8 8 10 8
5 7 9 7 9 7 7 7 9 7 7 7
5 7 10 9 7 7 7 5 7 5 7 5 4 7 5 7
5 7 10 5 4 5 7
œœ b œœ œœ œ “œ™” œ
° # œ œ J œ™ œ œœœ
5 E
ÆœJ œ
& œ œ œœ œ œ œ œœ J‰Œ
œœ œ 1/2
œœ œ
full full
1/4 1/4 1/4
12 12 17 17 15
¢⁄
17 17
14 14 14 12 12
5 14 5
5 7 5 7
0 3 5 0 3 5
Rock Double and Triple Stops

Keith Richards (Brown Sugar, Gimmie Shelter, Sympathy for the Devil, Start Me Up) Doobie Brothers
(China Grove, Long Train Running), Brian May (We Will Rock You), Davey Johnstone (with Elton
John, especially on Saturday Night’s Alright for Fighting), Van Halen (Panama, Unchained).

MODAL DOUBLE STOPS

Octave Shapes
Each note by letter name and each note by number re-occurs on the fretboard in a pattern. This pattern
can be related to open position chords. Note how the “A” notes on the fretboard occur in shapes related
to (and named after) open position chords. For more information see Octave Shapes.
the order of shapes:

"EDCAGE"
A
E form E I
A notes V E B E
A A A A
B E
G#
D form
A A notes VII D I
A D
A F#
A D
A C form
A notes X
C I
G
A C
A A C
E
A form A I
A notes XII
A A
A
E A C#
A
G form G I
A A A notes XIV
A
D G B
B
G G
A A A
E form E I
A notes XVII E B E
A A G#
A
B E
A

Triad Arcs
Triads are chords made up of three different notes. The notes may be repeated in octaves. Major triads
combine the first, third and fifth steps of a major scale. Minor triads combine the first, flatted third (one
fret toward the head of the guitar from the third) and fifth of a major scale.
I refer to the three groups of notes that represent all major chord tones or all minor chord tones on the
fretboard as arcs, since they are the notes conceptually embraced by an arc, as shown below.
major chord tone arcs minor chord tone arcs
E form
E form
D/C form
C form
G form A/G form
Modes
Each seven tone scale such as the major scale can create, in effect, seven scales. This is done by establish-
ing one or another of the notes as the main note or tone center by reference to that note in the chord
progression and melody. See Modes.

Modal Double Stops by Octave Shape

Major and Mixolydian only differ in that Mixolydian has flat seven. Since these major examples do not
use scale tone seven (nor b7),Double Stops
they can be Byfor
used also Octave Shape
Mixolydian.
œ
œ œœ œœ œœ œ
E form major
œœ œœ œœ œœ œ
C
œ œ œœ œœ œœ œœ œ œ
& œ œ œ œ œ œ
œ œ œ œ
10 8 8 8 8
8 8 10 8 6 10 8 8 8 8
9 9 10 9 7 10 9 7
⁄ 10 10 10 10
10
10
8
10
7 12
8
10
8
8
8
7
8
œ
œ œœ œœ œœ
D form major
œœ œœ œœ œ
C
8
œ œ œ œ œ œœ œœ œœ œ œ œ
& œ œ œ œ œ œ œ œœ œœ œœœ œœ
œ
15 13 12 10
13 13 13 13 13 13 13 13
14 12 10 9 14 12 10 9 12 12 12
⁄ 10 10 10 10 14 12 10 14
10
12
10
10
10
10
12
10
10
10
10
13
10
10
12
œ œ œ œ
C form major
œ œœ œœ œœ œœ œœ œœœ œœ œ œ œ œœ œœ œœ œ œ œœ œ œ œ œ
C
œ œ œ œ œ œœ œ œœ œœ
14
& œœ œ œ
œ œ
15 13 12 10 15 15 15
13 13 13 13 13 13 13 13 17 15 13 17 15 13
14 12 12 12 12 12 12 14 12 12 12 12 12
⁄ 15 14 14 14 15 14 12 14
15
15 14 12
15 15 15 15 15 15
15 13 12
A form major
22
œœ
C
œœ œœ œœ œœ œœœ œœ œœ œœ
& œœ œœ œ œœ œœ
œ œœ œœ œœ
5 3 3 3 3 3
5 5 6 5 3 5 6 5 3
5 5 5 5 5 5 5
⁄ 5 3 2 5
3
3
3
2
3 3
5
3
3
G form major
œ
œ œœ œœ
C
œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ bb
28
œœ œœ œœ œœ
& œ œ œ œœ œœ œœ œœœ
8 8 8
8 6 5 8 6 5 8 8 8 5 5
5 5 5 9 7 5 7 5 7 5 9 7 5 5 5
⁄ 5 5 5 5 5 7 5 5
8
5
7
5
5
5
7
8

2 Double Stops By Octave Shape
œ œ œ œ œœ œ œ œ œ E form Dorian
œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œ œ œ œ
C‹
b
36
&b œ œ œœ œœ œ œ œ œ
œ œ œ œ œœ œœ
11 10 8 6 8 8 8 8
8 8 8 8 11 10 8 6 11 10 8 6 8 8 8
8 8 8 8 10 8 7 10 8 7
⁄ 10 10 10 10 10 10
10 8 6 12 10
8 8
8
8
6
8
œ œœ œœ œœ D form Dorian
œ œœ œœ œ
C‹
43
b œ œ œ œ œœ œœ œ œ œ œ œœ œœ œ œ œ
&b œ œ œ œ œ œ œ œ œœ œœ
15 13 11 10
13 13 13 13 13 13 13
14 12 10 14 12 10 12 12 12
⁄ 10 10 10 13 12 10 13
10
12
10
10
10
10
13
10
12
10
10
10
10
13
10
10
11
œœ œœ œœ œœ œ œ œ œ œ œœ œœ œœ œ œ œ
C form Dorian
œ œ œ œœ œ œ œ œ œœ œœ œœ œœ œœ œœ œœœ œœ œ œœ
C‹
b œ
49
&b œ œœ œœ œ
œ
15 13 11 10 15 15 15
13 13 13 13 13 13 13 13 13 16 15 13 16 15 13
15 14 12 12 12 12 12 12 15 14 12 12 12 12 12
⁄ 15 13 13 13 13 15 13 12 13
15
15 13 12
15 15 15 15 15 15
15 13 11
A form Dorian
57
b œœ œœ œœ
C‹
œœ œœ œœ œœœ œœ œœ œœ
&b œœ œœ œ œœ œœ œœ
œ œœ œœ
6 5 3 3 3 3 3
4 4 4 6 4 3 4 6 4 3
5 5 5 5 5 5 5
⁄ 5 3 1 5
3
3
3
1
3 3
5
3
3
G form Dorian
œœ œœ œ œœ œœ œœ œœ œœ œœ
b œ œ œ œ œœ œœ œ bbb
63 C‹
&b œœ œœ œ œ œ œ œœ œœ œœ œœœ
8 8 8
8 6 4 8 6 4 8 8 8
5 5 5 8 7 5 7 5 8 7 5 5 5 5
⁄ 5 5 5 5 5 8 7 5 5
8
5
6
5
5
5
6
8

page 1720 Double Stops Double Stops By Octave
Part Shape
5: Core Melody and Melodic Cells 3
back to contents
œ œ œ œ œœ œœ œ œ œ Eœ form Aeolian
bb œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œ œ œ
C‹
70
& b œ œœ œœ œœ œ œ œ œ
œ œ œ œ œœ
11 10 8 6 8 8 8 8
8 8 8 8 11 9 8 6 11 9 8 6 8 8 8
8 8 8 8 10 8 7 10 8 7
⁄ 10 10 10 10 10 10
10 8 6 11 10
8 8
8
8
6
8
œœ œœ œœ œœ D form Aeolian
œœ œœ œœ
C‹
77
b œ œ œ œœ œœ œœ œ œ œ œœ œ œ œ œ
&b b œ œ œ œ œ œ œ œ œœ œœ
15 13 11 10
13 13 13 13 13 13 13
13 12 10 13 12 10 12 12 12
⁄ 10 10 10 13 12 10 13
10
12
10
10
10
10
13
10
11
10
10
10
10
13
10
10
11
œœ œ œœ œœ œœœ
C form Aeolian
œ œœ œœ œœ œœœ œœ œ œ œ œœ œœ œœ œ œ œ œœ œ œ œ œ
C‹
b œ œœœ œ œ œœ œ œœ œœ
83
&b b œœ œœ œ
œ
15 13 11 10 15 15 15
13 13 13 13 13 13 13 13 13 16 15 13 16 15 13
15 13 12 12 12 12 12 12 15 13 12 12 12 12 12
⁄ 15 13 13 13 13 15 13 12 13
15
15 13 12
15 15 15 15 15 15
15 13 11
A form Aeolian
bb œœ œœ œœ œœ œœ œœ œœœ œœ œœ œœ
91 C‹
& b œœ œ œ œœ œœ œœ
œ œ œœ œœ
6 4 3 3 3 3 3
4 4 4 6 4 3 4 6 4 3
5 5 5 5 5 5 5
⁄ 5 3 1 5
3
3
3
1
3 3
4
3
3
G form Aeolian
œœ œœ œ œœ œœ œœ œœ œœ œœ
b œ œ œ œ œœ œœ œ
97 C‹
&b b œœ œœ œ œ œ œ œœ œœ œœ œœœ
8 8 8
8 6 4 8 6 4 8 8 8
5 5 5 8 7 5 7 5 8 7 5 5 5 5
⁄ 5 5 5 5 5 8 6 5 5
8
5
6
5
5
5
6
8

ModalDouble
Modal DoubleStops
StopsBy
ByTriad
TriadArc
Arc
E form C Ionian (major)

œ œœ œœ œœ œœ œ œ œ œ œœ œ
4 œ œ œ œ œ œ
C
&4 Ó Ó
Ó Ó
5 6 7 1 2 3 3 4 5 6 7 1
3 5 7 8 10 12 8 8 8 8 8 8
8 8 8 8 8 8 5 6 8 10 12 13
⁄
œœ œ œ
œ œœ œœ œ œ œœ œœ œœ œœ œ
5
& Ó Œ Ó
Ó Œ Ó
3 4 5 6 7 1 1 2 3 4 5
5 6 8 10 12 13 8 8 8 8 8
9 9 9 9 9 9 5 7 9 10 12
⁄
œœ œœ œœ œ œ œ œ œ œœ œ
9
Œ Ó Ó
& œ œ
Œ Ó œ œ œ œ Ó
1 2 3 4 5 5 6 7 1 2 3
5 7 9 10 12 9 9 9 9 9 9
⁄ 10 10 10 10 10 5 7 9 10 12 14
œ
13
œœ œœ œœ œ Ó œ œ œ œ œœ œ Ó
& œ œ œ Ó œ œ œ œ Ó
5 6 7 1 2 3 3 4 5 6 7 1
⁄ 5
10
7
10
9
10
10
10
12
10
14
10
10
7
10
8
10
10
10
12
10
14
10
15
17
& œ œœ œ œ Ó Œ Ó b
œœ œœ œ œ Ó œ œ œ œ
œ œ œ œ
œ Œ Ó
3 4 5 6 7 1 1 2 3 4 5
⁄ 7
12
8
12
10
12
12
12
10
12
15
12
10
8
10
10
10
12
12
13
10
15

2 Modal Double Stops By
page 1722 Double Stops PartTriad Arc
E form C Mixolydian
œ œœ œœ œœ œœ œœ œ œ œ œ œœ œ
œ œ œ œ
21 C
Ó Ó
&b Ó Ó
5 6 b7 1 2 3 3 4 5 6 b7 1
3 5 6 8 10 12 8 8 8 8 8 8
8 8 8 8 8 8 5 6 8 10 11 13
⁄
œ œ
œ œœ œœ œœ œ œ Ó œœ œœ œœ œœ œ Œ Ó
25
& b Ó Œ Ó
3 4 5 6 b7 1 1 2 3 4 5
5 6 8 10 11 13 8 8 8 8 8
9 9 9 9 9 9 5 7 9 10 12
⁄
œœ œœ œ œ œ œ œœ œœ œ
29
œœ Œ Ó Ó
&b œ œ
Œ Ó œ œ œ Ó
1 2 3 4 5 5 6 b7 1 2 3
5 7 9 10 12 9 9 9 9 9 9
⁄ 10 10 10 10 10 5 7 8 10 12 14
œ
33
&b œ œœ œœ œœ œœ œ
Ó œ œ œœ œœ œœ œ Ó b
Ó œ œ Ó
5 6 b7 1 2 3 3 4 5 6 b7 1
⁄ 5
10
7
10
8
10
10
10
12
10
14
10
10
7
10
8
10
10
10
12
10
13
10
15
bb
37
&b œ œœ œ œ Ó Œ Ó
œ œ œ œ
œ Œ Ó
3 4 5 6 b7 1 1 2 3 4 5
⁄ 7
12
8
12
10
12
12
12
11
12
15
12
10
8
10
10
10
12
10
13
10
15

back to contents Modal
Part 5: Core Melody and Double
Melodic Cells Stops By Triad Arc 3
Double Stops page 1723
E form C Dorian
œ œœ œœ œœ œœ œœ œ œ œ œ œœ œ
œ œ œ œ
C‹
b
41
Ó Ó
&b Ó Ó
5 6 b7 1 2 b3 b3 4 5 6 b7 1
3 5 6 8 10 11 8 8 8 8 8 8
8 8 8 8 8 8 4 6 8 10 11 13
œ œœ œœ œ œ œ œ œ œ œ Œ Ó
b œ œ œ œ Ó œ œ œ œ
45
&b Ó Œ Ó
b3 4 5 6 b7 1 1 2 b3 4 5
4 6 8 10 11 13 8 8 8 8 8
8 8 8 8 8 8 5 7 8 10 12
⁄
b œœ œœ œ œ œœ œœ œœ œœ œ
49
&b œ œœ œ Œ Ó œ Ó
Œ Ó Ó
1 2 b3 4 5 5 6 b7 1 2 b3
5 7 8 10 12 8 8 8 8 87 8
⁄ 10 10 10 10 10 5 7 8 10
b œ bb
53
œœ œ Ó œ œ Ó
&b œ œœ œœ œ œ Ó œ œ œœ œœ œœ œ Ó
5 6 b7 1 2 b3 b3 4 5 6 b7 1
⁄ 5
10
7
10
8
10
10
10
12
10
13
10
10
6
10
8
10
10
10
12
10
13
10
15
b bbb
57
œ Ó Œ Ó
&b œ œœ œœ œœ œœ œ Ó œœ œœ œœ œœ œ Œ Ó
b3 4 5 6 b7 1 1 2 b3 4 5
⁄ 7
11
8
11
10
11
12
11
11
11
15
11
10
8
10
10
10
11
10
13
10
15

4 Modal Double Stops By Triad Arc
E form C Aeolian
œ œ
œ œœ œœ œœ œ œ Ó œ œ œ œ
œ œ œ œ
œœ œ
C‹
b
61
Ó
&b b Ó Ó
5 b6 b7 1 2 b3 b3 4 5 b6 b7 1
3 4 6 8 10 11 8 8 8 8 8 8
8 8 8 8 8 8 4 6 8 9 11 13
œœ œœ œœ œœ œœ œ œ œ œ œ Œ Ó
b œ œ œ œ œ
65
Ó
&b b Ó Œ Ó
b3 4 5 b6 b7 1 1 2 b3 4 5
4 6 8 9 11 13 8 8 8 8 8
8 8 8 8 8 8 5 7 8 10 12
⁄
b œœ œœ œ œ œ œœ œœ œœ œ
69
œœ Œ Ó Ó
&b b œ œ
Œ Ó œ œ Ó
1 2 b3 4 5 5 b6 b7 1 2 b3
5 7 8 10 12 8 8 8 8 8 8
⁄ 10 10 10 10 10 5 6 8 10 12 13
b œœ œœ Ó bbb
73
& b b œ œœ œœ œœ œ œ œ œ œœ œ Ó
Ó œ œ œ œ Ó
5 b6 b7 1 2 b3 b3 4 5 b6 b7 1
⁄ 5
10
6
10
8
10
10
10
12
10
13
10
10
6
10
8
10
10
10
11
10
13
10
15
b bbbb
77
&b b œ œœ œ œ Ó Œ Ó
œ œ œ œ
œ Œ Ó
b3 4 5 b6 b7 1 1 2 b3 4 5
⁄ 7
11
8
11
10
11
11
11
11
11
15
11
10
8
10
10
10
11
10
13
10
15

Modal Double 5
back to contents Part 5: Core Melody and Melodic Cells Stops By Triad Arc Double Stops page 1725
E form C Phrygian
œœ œœ œœ œ œ œ œ œ œ œ œ
œ œ œ Ó œ œ œ œ œ
C‹
b
81
& b bb
Ó
Ó Ó
5 b6 b7 1 b2 b3 b3 4 5 b6 b7 1
3 4 6 8 9 11 8 8 8 8 8 8
8 8 8 8 8 8 4 6 8 9 11 13
œœ œœ œœ œœ œœ œ œ œ œ œ Œ Ó
b œ œ œ œ œ
85
&b bb Ó
Ó Œ Ó
b3 4 5 b6 b7 1 1 b2 b3 4 5
4 6 8 9 11 13 8 8 8 8 8
8 8 8 8 8 8 5 6 8 10 12
⁄
89
& b bb œ œœ œ Œ
Œ
Ó
Ó œ œ Ó
Ó
1 b2 b3 4 5 5 b6 b7 1 b2 b3
5 6 8 10 12 8 8 8 8 8 8
⁄ 10 10 10 10 10 5 6 8 10 11 13
b œœ œœ Ó bbbb
93
& b bb œ œœ œœ œœ Ó
œ œ œ œ
œ œ œ œ
œœ œ ÓÓ
5 b6 b7 1 b2 b3 b3 4 5 b6 b7 1
⁄ 5
10
6
10
8
10
10
10
11
10
13
10
10
6
10
8
10
10
10
11
10
13
10
15
b bbbbb
97
& b bb œ œœ œœ œœ œ œ Ó œ œ œ œ œ Œ Ó
œ œ Ó œ œ œ œ Œ Ó
b3 4 5 b6 b7 1 1 b2 b3 4 5
⁄ 6
11
8
11
10
11
11
11
13
11
15
11
10
8
10
9
10
11
10
13
10
15

E form C Locrian
œ œ
œ œœ œœ œœ œ œ Ó œ œ œ œ œ œ
œ œ œ œ œ
Cdim.
b
101
b
&b b b
Ó
Ó Ó
b5 b6 b7 1 b2 b3 b3 4 b5 b6 b7 1
2 4 6 8 9 11 8 8 8 8 8 8
7 7 7 7 7 7 4 6 7 9 11 13
⁄
œ œ
b b œ œœ œœ œœ œ œ Ó œ œ œ œ
œ œ œ œ
œ Œ Ó
105
b
& bb Ó Œ Ó
b3 4 b5 b6 b7 1 1 b2 b3 4 b5
4 6 7 9 11 13 7 7 7 7 7
8 8 8 8 8 8 5 6 8 10 11
⁄
109
& b bbb œ
œœ œ Œ Ó œ Ó
Œ Ó œ Ó
1 b2 b3 4 b5 b5 b6 b7 1 b2 b3
5 6 8 10 11 8 8 8 8 8 8
⁄ 10 10 10 10 10 4 6 8 10 11 13
b œœ œœ Ó bbbbb
113
& b bbb œ œœ œœ œœ Ó
œ œ œ œ
œ œ œ œ œœ œ ÓÓ
b5 b6 b7 1 b2 b3 b3 4 b5 b6 b7 1
⁄ 4
9
6
9
8
9
10
9
11
9
13
9
10
6
10
8
10
9
10
11
10
13
10
15
b #
117
& b bbb œ œœ œœ œœ œ œ Ó œ œ œ œ œ Œ Ó
œ œ Ó œ œ œ œ Œ Ó
b3 4 b5 b6 b7 1 1 b2 b3 4 b5
⁄ 6
11
8
11
9
11
11
11
13
11
15
11
9
8
9
9
9
11
9
13
9
15

E form C harmonic minor

œ œœ n œœ œœ œœ œœ œ œ œ œ n œœ œ
œ œ œ œ
C‹
b
141
Ó Ó
&b b Ó Ó
5 b6 7 1 2 b3 b3 4 5 b6 7 1
3 4 7 8 10 11 8 8 8 8 8 8
8 8 8 8 8 8 4 6 8 9 12 13
⁄
œ
b œ œœ œœ œœ n œœ œ Ó œ œ œ œ
œ œ œ œ
œ Œ Ó
145
&b b Ó Œ Ó
b3 4 5 b6 7 1 1 2 b3 4 5
4 6 8 9 12 13 8 8 8 8 8
8 8 8 8 8 8 5 7 8 10 12
⁄
b œœ œœ œœ œ œœ nœœ œœ œœ œ
149
œœ Œ Ó Ó
&b b œ Œ Ó œ Ó
1 2 b3 4 5 5 b6 7 1 2 b3
5 7 8 10 12 8 8 8 8 8 8
⁄ 10 10 10 10 10 5 6 9 10 12 13
b œ
153
œœ œ Ó œ œ Ó
&b b œ œœ nœœ œ œ Ó œ œ œœ œœ nœœ œ Ó
5 b6 7 1 2 b3 b3 4 5 b6 7 1
⁄ 5
10
6
10
9
10
10
10
12
10
13
10
10
6
10
8
10
10
10
11
10
14
10
15
b bbbb
157
&b b œ œœ nœ œ Ó Œ Ó
œ œ œ œ
œ Œ Ó
b3 4 5 b6 7 1 1 2 b3 4 5
⁄ 7
11
8
11
10
11
11
11
14
11
15
11
10
8
10
10
10
11
10
13
10
15

Modal Double Stops By Triad ArcMelody and Melodic Cells 9
page 1728 Double Stops Part 5: Core back to contents
E form C Phrygian major (harmonic minor V)

œ œœ œœ œœ œœ n œœ œ œ œ œ œœ œ
b nœ œ œ œ
161 C
&b bb Ó Ó
Ó Ó
5 b6 b7 1 b2 3 3 4 5 b6 b7 1
3 4 6 8 9 12 8 8 8 8 8 8
8 8 8 8 8 8 5 6 8 9 11 13
⁄
œ
b nœ œœ œœ œœ nœœ œ Ó œ œ œ œ
œ œ nœ œ
œ Œ Ó
165
&b bb
Ó Œ Ó
3 4 5 b6 b7 1 1 b2 3 4 5
5 6 8 9 11 13 8 8 8 8 8
9 9 9 9 9 9 5 6 9 10 12
⁄
b œœ nœœ œœ œ n œ œ œœ œœ nœœ œ
169
& b bb œ Œ Ó
œ œ Ó
Œ Ó œ Ó
1 b2 3 4 5 5 b6 b7 1 b2 3
5 6 9 10 12 9 9 9 9 9 9
⁄ 10 10 10 10 10 5 6 8 10 11 14
b œ nœ
173
& b bb œ œœ Ó œ œ Ó
œœ œœ œ œ Ó nœ œ œœ œœ œœ œ Ó
5 b6 b7 1 b2 3 3 4 5 b6 b7 1
⁄ 5
10
6
10
8
10
10
10
11
10
14
10
10
7
10
8
10
10
10
11
10
13
10
15
b #
177
& b bb nœ œœ œœ œ Ó Œ Ó
œœ œœ œ Ó œœ œœ nœœ œœ œ Œ Ó
3 4 5 b6 b7 1 1 b2 3 4 5
⁄ 7
12
8
12
10
12
11
12
13
12
15
12
10
8
10
9
10
12
10
13
10
15

Modal Double Stops By Triad Arc 7
E form C Lydian
œ œ œ œ œ œ œ œœ œ
# œ œœ œœ œ œ œ Ó œ œ œ œ
121 C
Ó
& Ó Ó
5 6 7 1 2 3 3 #4 5 6 7 1
3 5 7 8 10 12 8 8 8 8 8 8
8 8 8 8 8 8 5 7 8 10 12 13
# œ œœ œœ œœ œœ œœ œ œ œ œ œ Œ Ó
œ œ œ œ
125
Ó
& Ó Œ Ó
3 #4 5 6 7 1 1 2 3 #4 5
5 7 8 10 12 13 8 8 8 8 8
9 9 9 9 9 9 5 7 9 11 12
⁄
# œœ œœ œ œ œ œœ œœ œœ œ
129
œœ Œ Ó Ó
& œ œ
Œ Ó œ œ Ó
1 2 3 #4 5 5 6 7 1 2 3
5 7 9 11 12 9 9 9 9 9 9
⁄ 10 10 10 10 10 5 7 9 10 12 14
# œ
133
œœ œ Ó œ œ Ó
& œ œœ œœ œ œ Ó œ œ œœ œœ œœ œ
Ó
5 6 7 1 2 3 3 #4 5 6 7 1
⁄ 5
10
7
10
9
10
10
10
12
10
14
10
10
7
10
9
10
10
10
12
10
14
10
15
# bbb
137
& œ œœ œ œ Ó Œ Ó
œ œ œ œ
œ Œ Ó
3 #4 5 6 7 1 1 2 3 #4 5
⁄ 7
12
9
12
10
12
12
12
13
12
15
12
10
8
10
10
10
12
10
14
10
15

E form C Lydian dominant (melodic minor IV)

œ bœ œ œ œ œ œ b œœ œ
# œ œœ b œœ œ œ œ Ó œ œ œ œ
181 C
Ó
& Ó Ó
5 6 b7 1 b2 3 3 #4 5 6 b7 1
3 5 6 8 9 12 8 8 8 8 8 8
8 8 8 8 8 8 5 7 8 10 11 13
⁄
œ
# œ œœ œœ œœ b œœ œ Ó œœ bœœ œœ œœ œ Œ Ó
185
& Ó Œ Ó
3 #4 5 6 b7 1 1 b2 3 #4 5
5 7 8 10 11 13 8 8 8 8 8
9 9 9 9 9 9 5 6 9 11 12
⁄
# œœ œœ œœ œ œ œ œœ bœœ œ
189
bœ Œ Ó Ó
& œ œ Œ Ó œ œ bœ Ó
1 b2 3 #4 5 5 6 b7 1 b2 3
5 6 9 11 12 9 9 9 9 9 9
⁄ 10 10 10 10 10 5 7 8 10 11 14
# œ
193
œœ bœ Ó œ œ Ó
& œ œœ bœœ œ œ Ó œ œ œœ œœ bœœ œ
Ó
5 6 b7 1 b2 3 3 #4 5 6 b7 1
⁄ 5
10
7
10
8
10
10
10
11
10
14
10
10
7
10
9
10
10
10
12
10
13
10
15
# #
197
& œ œœ bœœ œ Ó Œ Ó
œœ œœ œ Ó œ œ œ œ
œ œ œ œ
œ Œ Ó
3 #4 5 6 b7 1 1 2 3 #4 5
⁄ 7
12
9
12
10
12
12
12
11
12
15
12
10
8
10
10
10
12
12
14
10
15

C form G Ionian (major)

œ œœ
# œ œœ œœ œ œ œ œ œ œœ œ
œ œ œ œ
201 G
& Œ Ó Ó
Œ Ó Ó
1 2 3 4 5 5 6 7 1 2 3
3 5 7 8 10 7 7 7 7 7 7
8 8 8 8 8 3 5 7 8 10 12
# œ œœ œœ œœ œ œ œ œ œ œ œ œ Ó
œ œ œ œ œ
205
& œ œ Ó
Ó Ó
5 6 7 1 2 3 3 4 5 6 7 1
3 5 7 8 10 12 8 8 8 8 8 8
7 7 7 7 7 7 4 5 7 9 11 12
⁄
# œœ œ œ
209
& œ œœ œœ œ œ Ó œ œ œ œ
œ œ œ œ
œ Œ Ó
Ó
3 4 5 6 7 1 1 2 3 4 5
4 5 7 9 11 12 7 7 7 7 7
⁄ 9 9 9 9 9 9 5 7 9 10 12
#
213
œœ œœ œœ œ Œ Ó œ œ œ œ œœ œ Ó
& œ œ Œ Ó œ œ œ œ Ó
1 2 3 4 5 5 6 7 1 2 3
⁄ 5
10
7
10
9
10
10
10
12
10
9
5
9
7
9
9
9
10
9
12
9
14
# n
217
& œ œœ œ œ Ó œ œ œ œ Ó
œœ œœ Ó œœ œ
œ œ œ œ œ œ Ó
5 6 7 1 2 3 3 4 5 6 7 1
⁄ 5
10
7
10
9
10
10
10
12
10
14
10
10
7
10
8
10
10
10
12
10
14
10
15

C form G Mixolydian
œ
œ œœ œœ œœ œ Œ Ó œ œ œ œ
œ œ œ œ
œœ œ Ó
221 G
& Œ Ó Ó
1 2 3 4 5 5 6 b7 1 2 3
3 5 7 8 10 7 7 7 7 7 7
8 8 8 8 8 3 5 6 8 10 12
⁄
œ œ
œ œœ œœ œœ œ œ œ œ
œ œ œ œ œœ œ Ó
225
œ œ Ó
& Ó Ó
5 6 b7 1 2 3 3 4 5 6 b7 1
3 5 6 8 10 12 8 8 8 8 8 8
7 7 7 7 7 7 4 5 7 9 10 12
⁄
œœ œ œ
229
œœ œœ Ó œ œœ œœ œœ œ
& œ œ œ
Ó œ Œ Ó
3 4 5 6 b7 1 1 2 3 4 5
4 5 7 9 10 12 7 7 7 7 7
⁄ 9 9 9 9 9 9 5 7 9 10 12
233
œœ œœ œœ Œ Ó œ œ Ó
& œ œœ Œ Ó œ œ œœ œœ œœ œ
Ó
1 2 3 4 5 5 6 b7 1 2 3
⁄ 5
10
7
10
9
10
10
10
12
10
9
5
9
7
9
8
9
10
9
12
9
14
237
& œ œœ œ œ Ó œ œ œ œ
Ó b
5 6 b7 1 2 3 3 4 5 6 b7 1
⁄ 5
10
7
10
8
10
10
10
12
10
14
10
10
7
10
8
10
10
10
12
10
13
10
15

C form G Dorian
œ
241 G‹
&b Œ Ó Ó
1 2 b3 4 5 5 6 b7 1 2 b3
3 5 6 8 10 6 6 6 6 6 6
8 8 8 8 8 3 5 6 8 10 11
œ œœ œœ œœ œœ œœ Ó œ œ œ œ œœ œ Ó
œ œ œ œ
245
& b Ó Ó
5 6 b7 1 2 b3 b3 4 5 6 b7 1
3 5 6 8 10 11 8 8 8 8 8 8
7 7 7 7 7 7 3 5 7 9 10 12
⁄
œœ œ œ
249
&b œ œ œ
Ó œ Œ Ó
b3 4 5 6 b7 1 1 2 b3 4 5
3 5 7 9 10 12 7 7 7 7 7
⁄ 8 8 8 8 8 8 5 7 8 10 12
253
&b œ œœ œœ œœ Œ Ó œ œ Ó
œœ Œ Ó œ œ œœ œœ œœ œ
Ó
1 2 b3 4 5 5 6 b7 1 2 b3
⁄ 5
10
7
10
8
10
10
10
12
10
8
5
8
7
8
8
8
10
8
12
8
13
bb
257
&b œ œœ œ œ Ó œ œ œ œ
Ó
5 6 b7 1 2 b3 b3 4 5 6 b7 1
⁄ 5
10
7
10
8
10
10
10
12
10
13
10
10
6
10
8
10
10
10
12
10
15
10
15

14 1734 Double Stops
page Modal Double Stops By
PartTriad Arc
C form G Aeolian
œ œœ œœ œœ œœ œ œ œ œ œœ œ Ó
œ œ œ œ
G‹
b
261
Œ Ó
&b Œ Ó Ó
1 2 b3 4 5 5 b6 b7 1 2 b3
3 5 6 8 10 6 6 6 6 6 6
8 8 8 8 8 3 4 6 8 10 11
b œ œœ œœ œœ œ œ œ œ œ œ œœ œ Ó
œ œ œ œ
265
& b œ œ Ó
Ó Ó
5 b6 b7 1 2 b3 b3 4 5 b6 b7 1
3 4 6 8 10 11 8 8 8 8 8 8
7 7 7 7 7 7 3 5 7 8 10 12
⁄
b œœ œ œ
269
&b œ œ œ
Ó œ Œ Ó
b3 4 5 b6 b7 1 1 2 b3 4 5
3 5 7 8 10 12 7 7 7 7 7
⁄ 8 8 8 8 8 8 5 7 8 10 12
b
273
œœ œ Œ Ó Ó
&b œ œœ œœ œ Œ Ó œ
œ œœ œœ œœ œœ œ Ó
1 2 b3 4 5 5 b6 b7 1 2 b3
⁄ 5
10
7
10
8
10
10
10
12
10
8
5
8
6
8
8
8
10
8
12
8
13
b bbb
277
&b œ œœ œ œ Ó œ œ œ œ Ó
5 b6 b7 1 2 b3 b3 4 5 b6 b7 1
⁄ 5
10
6
10
8
10
10
10
12
10
13
10
10
6
10
8
10
10
10
11
10
13
10
15

back to contents Modal
Part 5: Core Melody and Double
Melodic Cells Stops By Triad Arc Double Stops page15
1735
C form G Phrygian
œ
œ œ œ œ
œœ œ Ó
G‹
b
281
&b b Œ Ó Ó
1 b2 b3 4 5 5 b6 b7 1 b2 b3
3 4 6 8 10 6 6 6 6 6 6
8 8 8 8 8 3 4 6 8 9 11
b œ œœ œœ œœ œ œ œ œ œ œ œœ œ Ó
œ œ œ œ
285
b œ œ Ó
& b Ó Ó
5 b6 b7 1 b2 b3 b3 4 5 b6 b7 1
3 4 6 8 9 11 8 8 8 8 8 8
7 7 7 7 7 7 3 5 7 8 10 12
⁄
b œœ œ œ
289
&b b œ œ œ
Ó œ Œ Ó
b3 4 5 b6 b7 1 1 b2 b3 4 5
3 5 7 8 10 12 7 7 7 7 7
⁄ 8 8 8 8 8 8 5 6 8 10 12
b
293
&b b œ œœ œœ œœ Œ Ó œ œ Ó
œœ Œ Ó œ œ œœ œœ œœ œ Ó
1 b2 b3 4 5 5 b6 b7 1 b2 b3
⁄ 5
10
6
10
8
10
10
10
12
10
8
5
8
6
8
8
8
10
8
11
8
13
b bbbb
297
&b b œ œœ œ œ Ó œ œ œ œ
Ó
5 b6 b7 1 b2 b3 b3 4 5 b6 b7 1
⁄ 5
10
6
10
8
10
10
10
11
10
13
10
10
6
10
8
10
10
10
11
10
13
10
15

C form G Locrian
œ œ œ œ
G‹
b
301
&b bb Œ Ó Ó
Œ Ó Ó
1 b2 b3 4 b5 b5 b6 b7 1 b2 b3
3 4 6 8 9 6 6 6 6 6 6
8 8 8 8 8 2 4 6 8 9 11
b b œ œœ œœ œœ œ œ œ œ œ œ œœ œ Ó
œ œ œ œ
305
b œ œ Ó
& b Ó Ó
b5 b6 b7 1 b2 b3 b3 4 b5 b6 b7 1
2 4 6 8 9 11 8 8 8 8 8 8
6 6 6 6 6 6 3 5 6 8 10 12
⁄
b œœ œœ œ
309
& b bb œ œœ œœ œ Ó œ œœ œœ œœ œ Œ Ó
Ó œ
b3 4 b5 b6 b7 1 1 b2 b3 4 b5
3 5 6 8 10 12 6 6 6 6 6
⁄ 8 8 8 8 8 8 5 6 8 10 11
b
313
& b bb œ œœ œœ œ Œ Ó œ œ Ó
œœ œ Œ Ó œ œ œœ œœ œœ œ Ó
1 b2 b3 4 b5 b5 b6 b7 1 b2 b3
⁄ 5
10
6
10
8
10
10
10
11
10
8
4
8
6
8
8
8
10
8
11
8
13
bb ##
317
&b b œ œœ œœ œ Ó œ œ œ œ
Ó
œ œ œ œ œ Ó
b5 b6 b7 1 b2 b3 b3 4 b5 b6 b7 1
⁄ 4
9
6
9
8
9
10
9
11
9
13
9
10
6
10
8
10
9
10
11
10
13
10
15

C form G Phrygian major (harmonic minor V)

œ
b œ œœ n œœ œœ œ Œ Ó n œ œ œœ œœ n œœ œ
œ œ
361 G
Ó
&b b Œ Ó Ó
1 b2 3 4 5 5 b6 b7 1 b2 3
3 4 7 8 10 7 7 7 7 7 7
8 8 8 8 8 3 4 6 8 9 12
b œ œœ œœ œœ œœ n œœ Ó œ œ œ œ œœ œ Ó
nœ œ œ œ
365
b
& b Ó Ó
5 b6 b7 1 b2 3 3 4 5 b6 b7 1
3 4 6 8 9 12 8 8 8 8 8 8
7 7 7 7 7 7 4 5 7 8 10 12
⁄
b œœ œ œ
369
œœ œœ Ó œ œœ nœœ œœ œ
& b b nœ nœ œ
Ó œ Œ Ó
3 4 5 b6 b7 1 1 b2 3 4 5
4 5 7 8 10 12 7 7 7 7 7
⁄ 9 9 9 9 9 9 5 6 9 10 12
b
373
œœ œ Œ Ó Ó
&b b œ œœ nœœ œ Œ Ó
n œ
œ œ
œ œœ œœ nœœ œ
Ó
1 b2 3 4 5 5 b6 b7 1 b2 3
⁄ 5
10
6
10
9
10
10
10
12
10
9
5
9
6
9
8
9
10
9
11
9
14
b ##
377
&b b œ œœ œ nœ Ó œ œ œ œ
Ó
œœ œœ œ œ Ó nœ œ œ œ œœ œ Ó
5 b6 b7 1 b2 3 3 4 5 b6 b7 1
⁄ 5
10
6
10
8
10
10
10
11
10
14
10
10
7
10
8
10
10
10
11
10
13
10
15

C form G Lydian
œ œœ
## œ œœ œœ œ œ œ œ œ
œ œ œ œ
œœ œ Ó
321 G
Œ Ó
& Œ Ó Ó
1 2 3 #4 5 5 6 7 1 2 3
3 5 7 9 10 7 7 7 7 7 7
8 8 8 8 8 3 5 7 8 10 12
## œ œœ œœ œœ œœ œœ Ó œ œ œ œ œœ œ Ó
œ œ œ œ
325
& Ó Ó
5 6 7 1 2 3 3 #4 5 6 7 1
3 5 7 8 10 12 8 8 8 8 8 8
7 7 7 7 7 7 4 6 7 9 11 12
⁄
## œ œœ œ œ
329
œœ œœ œ œ Ó œ œœ œœ œœ œ Œ Ó
& Ó œ
3 #4 5 6 7 1 1 2 3 #4 5
4 6 7 9 11 12 7 7 7 7 7
⁄ 9 9 9 9 9 9 5 7 9 11 12
#
333
œ Œ Ó Ó
&#œ œœ œœ œœ œ Œ Ó œ
œ œœ œœ œœ œœ œ Ó
1 2 3 #4 5 5 6 7 1 2 3
⁄ 5
10
7
10
9
10
11
10
12
10
9
5
9
7
9
9
9
10
9
12
9
14
#
bb
337
&#œ œœ œ œ Ó œ œ œ œ
Ó
5 6 7 1 2 3 3 #4 5 6 7 1
⁄ 5
10
7
10
9
10
10
10
12
10
14
10
10
7
10
9
10
10
10
12
10
14
10
15

C form G Lydian dominant (melodic minor IV)

œ œ
## œ œœ œœ œ œ Œ œ œ œ œ œœ œ
œ œ nœ œ
381 G
Ó Ó
& Œ Ó Ó
1 2 3 #4 5 5 6 b7 1 2 3
3 5 7 9 10 7 7 7 7 7 7
8 8 8 8 8 3 5 6 8 10 12
## œ œœ nœœ œœ œœ œœ Ó œ œ œ œ nœœ œ Ó
œ œ œ œ
385
& Ó Ó
5 6 b7 1 2 3 3 #4 5 6 b7 1
3 5 6 8 10 12 8 8 8 8 8 8
7 7 7 7 7 7 4 6 7 9 10 12
⁄
# œœ nœ œ
389
&#œ œœ œœ œ œ Ó œ œ œ œ
œ œ œ œ
œ Œ Ó
Ó
3 #4 5 6 b7 1 1 2 3 #4 5
4 6 7 9 10 12 7 7 7 7 7
⁄ 9 9 9 9 9 9 5 7 9 11 12
#
393
&#œ œœ œœ œœ œœ Œ Ó œ œ œ œ œœ œ Ó
Œ Ó œ œ nœ œ Ó
1 2 3 #4 5 5 6 b7 1 2 3
⁄ 5
10
7
10
9
10
11
10
12
10
9
5
9
7
9
8
9
10
9
12
9
14
#
397
&#œ œœ œ œ Ó œ œ œ œ nœœ œ Ó b
œœ nœœ œ œ Ó œ œ œ œ Ó
5 6 b7 1 2 3 3 #4 5 6 b7 1
⁄ 5
10
7
10
8
10
10
10
12
10
14
10
10
7
10
9
10
10
10
12
10
13
10
15

A/G form F Ionian (major)

œ œ
401
œ œœ œœ œœ
F
œ œ Ó œ œ œ œ œ
œ œ œ œ Œ Ó
&b Ó Œ Ó
3 4 5 6 7 1 1 2 3 4 5
5 6 8 10 12 13 8 8 8 8 8
10 10 10 10 10 10 6 8 10 11 13
œ œ œ œ
405
Œ Ó Ó
&b Œ Ó Ó
1 2 3 4 5 5 6 7 1 2 3
6 8 10 11 13 10 10 10 10 10 10
10 10 10 10 10 5 7 9 10 12 14
⁄
œœ œ œ œ œ œ œ œœ œ
œœ œœ
409
Ó œ œ œ œ Ó
&b œ œ œ
Ó Ó
5 6 7 1 2 3 3 4 5 6 7 1
5 7 9 10 12 14 10 10 10 10 10 10
⁄ 10 10 10 10 10 10 7 8 10 12 14 15
œ œ
413
œœ œœ œœ Ó Œ Ó
&b œ œ œ Ó œœ œœ œœ œœ œ
Œ Ó
3 4 5 6 7 1 1 2 3 4 5
⁄ 7
12
8
12
10
12
12
12
14
12
15
12
10
8
10
10
10
12
10
13
10
15
bb
417
&b œ œœ œœ œœ œ Œ Ó œ œ œ œ œœ œ Ó
œ Œ Ó œ œ œ œ Ó
1 2 3 4 5 5 6 7 1 2 3
⁄ 8
13
10
13
12
13
13
13
15
13
12
8
12
10
12
12
12
13
12
15
12
17

A/G form F Mixolydian

œ œœ œœ œœ œœ œœ œ œ œ œ œ
b œ œ œ œ
421 F
Ó Œ Ó
&b Ó Œ Ó
3 4 5 6 b7 1 1 2 3 4 5
5 6 8 10 11 13 8 8 8 8 8
10 10 10 10 10 10 6 8 10 11 13
⁄
œ
b œ œœ œœ œœ œ Œ Ó œ œ œ œ
œ œ œ œ
œœ œ Ó
425
&b Œ Ó Ó
1 2 3 4 5 5 6 b7 1 2 3
6 8 10 11 13 10 10 10 10 10 10
10 10 10 10 10 5 7 8 10 12 14
⁄
œœ œ œ œ œ
b œœ œœ œœ œœ œ
429
&b œ œœ œ œ Ó œ œ Ó
Ó Ó
5 6 b7 1 2 3 3 4 5 6 b7 1
5 7 8 10 12 14 10 10 10 10 10 10
⁄ 10 10 10 10 10 10 7 8 10 12 13 15
b œ œ
433
œœ œœ Ó œ Œ Ó
&b œ œœ œ œ Ó œ œœ œœ œœ œ
Œ Ó
3 4 5 6 b7 1 1 2 3 4 5
⁄ 7
12
8
12
10
12
12
12
13
12
15
12
10
8
10
10
10
12
10
13
10
15
b bbb
437
&b œ œœ œœ œœ œ Œ Ó œ œ œ œ œœ œ Ó
1 2 3 4 5 5 6 b7 1 2 3
⁄ 8
13
10
13
12
13
13
13
15
13
12
8
12
10
12
11
12
13
12
15
12
17

A/G form F Dorian

œœ œœ œœ œ œ œ œ œ œ œ
œ œ œ Ó œ œ œ œ
F‹
b
441
&b b Œ Ó
Ó Œ Ó
b3 4 5 6 b7 1 1 2 b3 4 5
4 6 8 10 11 13 8 8 8 8 8
9 9 9 9 9 9 6 8 9 11 13
b œ œ œ œ
445
Œ Ó
&b b Œ Ó Ó
1 2 b3 4 5 5 6 b7 1 2 b3
6 8 9 11 13 9 9 9 9 9 9
10 10 10 10 10 5 7 8 10 12 13
⁄
œœ œ œ œ œ
449
œœ Ó Ó
&b b œ œ œ
Ó œ œ
Ó
5 6 b7 1 2 b3 b3 4 5 6 b7 1
5 7 8 10 12 13 10 10 10 10 10 10
⁄ 10 10 10 10 10 10 6 8 10 12 13 15
b œœ œ
453
&b b œ œœ œœ œœ œ Ó œ œœ œœ œœ œ Œ Ó
Ó œ Œ Ó
b3 4 5 6 b7 1 1 2 b3 4 5
⁄ 6
11
8
11
10
11
12
11
13
11
15
11
10
8
10
10
10
11
10
13
10
15
b bbbb
457
&b b œ œœ œœ œœ œ Œ Ó œ œ œ œ œœ œ Ó
1 2 b3 4 5 5 6 b7 1 2 b3
⁄ 8
13
10
13
11
13
13
13
15
13
11
8
11
10
11
11
11
13
11
15
11
16

A/G form F Aeolian

œ œ
œ œœ œœ œœ œ œ Ó œœ œœ œœ œœ œ Œ Ó
F‹
b
461
& b bb Ó Œ Ó
b3 4 5 b6 b7 1 1 2 b3 4 5
4 6 8 9 11 13 8 8 8 8 8
9 9 9 9 9 9 6 8 9 11 13
⁄
œœ œœ œœ œ œ œ œ œ œ œ
b œ œ Œ Ó œ œ œ œ œ
465
&b bb Ó
Œ Ó Ó
1 2 b3 4 5 5 b6 b7 1 2 b3
6 8 9 11 13 9 9 9 9 9 9
10 10 10 10 10 5 6 8 10 12 13
⁄
œœ œ œ œ œ
469
& b bb œ
œœ œ œ Ó œ œ Ó
Ó Ó
5 b6 b7 1 2 b3 b3 4 5 b6 b7 1
5 6 8 10 12 13 10 10 10 10 10 10
⁄ 10 10 10 10 10 10 6 8 10 11 13 15
b œœ œ
473
& b bb œ œœ
œœ Ó œ Œ Ó
œœ œ Ó œ œœ œœ œœ œ
Œ Ó
b3 4 5 b6 b7 1 1 2 b3 4 5
⁄ 6
11
8
11
10
11
11
11
13
11
15
11
10
8
10
10
10
11
10
13
10
15
bb bbbbb
477
&b b œ œœ œœ œœ œœ Œ Ó œ œ œ œ œœ œ Ó
1 2 b3 4 5 5 b6 b7 1 2 b3
⁄ 8
13
10
13
11
13
13
13
15
13
11
8
11
9
11
11
11
13
11
15
11
16

A/G form F Phrygian

œ œœ œœ œœ œœ œœ
œœ œœ œœ œœ œ Œ Ó
F‹
b
481
& b bbb
Ó
Ó Œ Ó
b3 4 5 b6 b7 1 1 b2 b3 4 5
4 6 8 9 11 13 8 8 8 8 8
9 9 9 9 9 9 6 7 9 11 13
⁄
œœ œœ œœ œ œ œ œ œ œœ œ
b œ œ Œ Ó œ œ œ œ
485
b
&b b b Ó
Œ Ó Ó
1 b2 b3 4 5 5 b6 b7 1 b2 b3
6 7 9 11 13 9 9 9 9 9 9
10 10 10 10 10 5 6 8 10 11 13
⁄
œœ œœ œ œ œ
489
& b bbb œ
œœ œ Ó œ œ Ó
Ó Ó
5 b6 b7 1 b2 b3 b3 4 5 b6 b7 1
5 6 8 10 11 13 10 10 10 10 10 10
⁄ 10 10 10 10 10 10 6 8 10 11 13 15
b œ œ
493
& b bbb œ œœ œœ Ó œ Œ Ó
œœ œ œ Ó œ œœ œœ œœ œ
Œ Ó
b3 4 5 b6 b7 1 1 b2 b3 4 5
⁄ 6
11
8
11
10
11
11
11
13
11
15
11
10
8
10
9
10
11
10
13
10
15
b bbbbbb
497
& b bbb œ œœ œœ œœ œœ Œ Ó œ œ œ œ œœ œ Ó
1 b2 b3 4 5 5 b6 b7 1 b2 b3
⁄ 8
13
10
13
11
13
13
13
15
13
11
8
11
9
11
11
11
13
11
14
11
16

A/G form F Locrian

œ œ
501
b œ œœ œœ œœ
F
œ œ Ó œ œ œ œ œ
œ œ œ œ
& b bbbb Ó
Œ Ó
Œ Ó
b3 4 b5 b6 b7 1 1 b2 b3 4 b5
4 6 7 9 11 13 7 7 7 7 7
9 9 9 9 9 9 6 7 9 11 12
⁄
œ œœ œœ œœ œ œ œ œ œ œ
b œ œ œ œ œ œ œ
505
b
& b b bb
Œ Ó Ó
Œ Ó Ó
1 b2 b3 4 b5 b5 b6 b7 1 b2 b3
6 7 9 11 12 9 9 9 9 9 9
10 10 10 10 10 4 6 8 10 11 13
⁄
œœ œ œ œ œ
509
& b bbbb œ
œœ œ œ Ó œ œ Ó
Ó Ó
b5 b6 b7 1 b2 b3 b3 4 b5 b6 b7 1
4 6 8 10 11 13 10 10 10 10 10 10
⁄ 9 9 9 9 9 9 6 8 9 11 13 15
b œœ œ
513
& b bbbb œ œœ
œœ Ó Œ Ó
œœ œ Ó œœ œœ œœ œœ œ
Œ Ó
b3 4 b5 b6 b7 1 1 b2 b3 4 b5
⁄ 6
11
8
11
9
11
11
11
13
11
15
11
9
8
9
9
9
11
9
13
9
14
b nnnnnn
517
& b bbbb œ œœ œœ œœ œ
œ
Œ
Œ
Ó
Ó œ œ œ œ œœ œ Ó
œ œ œ œ Ó
1 b2 b3 4 b5 b5 b6 b7 1 b2 b3
⁄ 7
12
7
12
7
14
7
16
7
18
9
6
9
7
9
9
9
12
9
12
9
14

A/G form F harmonic minor

œ œœ œœ œœ n œœ œœ œ œ œ œ œ
œ œ œ œ
b
541 F
& b bb
Ó Œ Ó
Ó Œ Ó
b3 4 5 b6 7 1 1 2 b3 4 5
4 6 8 9 12 13 8 8 8 8 8
9 9 9 9 9 9 6 8 9 11 13
⁄
œ
b œ œœ œœ œœ œ Œ Ó œ œ œ œ œœ œ
œ œ nœ œ
545
&b bb Ó
Œ Ó Ó
1 2 b3 4 5 5 b6 7 1 2 b3
6 8 9 11 13 9 9 9 9 9 9
10 10 10 10 10 5 6 9 10 12 13
⁄
œœ œ œ œ œ
b œœ nœœ œœ œœ nœœ œ
549
& b bb œ œ œ Ó
Ó œ œ Ó
Ó
5 b6 7 1 2 b3 b3 4 5 b6 7 1
8 9
5 6 9 10 10 10 10 10 10 10
⁄ 10 10 10 10 10 10 6 8 10 11 14 15
b nœ œ
553
& b bb œ œœ œœ Ó œ Œ Ó
œœ œ œ Ó œ œœ œœ œœ œ
Œ Ó
b3 4 5 b6 7 1 1 2 b3 4 5
⁄ 6
11
8
11
10
11
11
11
14
11
15
11
10
8
10
10
10
11
10
13
10
15
b bbbbb
557
& b bb œ œœ œœ œœ œ
œ
Œ
Œ
Ó
Ó œ œ œ œ
œ œ nœ œ œœ œ Ó
Ó
1 2 b3 4 5 5 b6 7 1 2 b3
⁄ 8
13
10
13
11
13
13
13
15
13
11
8
11
9
11
12
11
13
11
15
11
16

A/G form F Phrygian major (harmonic minor V)

œ
n œ œœ œœ œœ n œœ œ œ œ œ œ œ
œ œ nœ œ
b
561 F
& b bbb
Ó Œ Ó
Ó Œ Ó
3 4 5 b6 b7 1 1 b2 3 4 5
5 6 8 9 11 13 8 8 8 8 8
10 10 10 10 10 10 6 7 10 11 13
œ œœ n œœ œœ œœ n œ œ œœ œœ n œœ œ
b
565
b
&b b b
Œ Ó œ œ Ó
Œ Ó Ó
1 b2 3 4 5 5 b6 b7 1 b2 3
6 7 10 11 13 10 10 10 10 10 10
10 10 10 10 10 5 6 8 10 11 14
⁄
œœ œ nœ œ
b œœ œœ œœ œœ œœ œ
569
& b bbb œ
œœ œ œ Ó nœ Ó
Ó Ó
5 b6 b7 1 b2 3 3 4 5 b6 b7 1
5 6 8 10 11 14 10 10 10 10 10 10
⁄ 10 10 10 10 10 10 7 8 10 11 13 15
b œ œ
573
& b bbb nœ œœ œœ Ó Œ Ó
œœ nœ œ Ó œœ œœ nœœ œœ œ
Œ Ó
3 4 5 b6 b7 1 1 b2 3 4 5
⁄ 7
12
8
12
10
12
11
12
13
12
15
12
10
8
10
9
10
12
10
13
10
15
bb nnnnn
577
&b b b œ œœ nœœ œœ œ Œ Ó n œ œ œœ œœ nœœ œ Ó

œ Œ Ó œ œ Ó
1 b2 3 4 5 5 b6 b7 1 b2 3
⁄ 8
13
9
13
12
13
13
13
15
13
12
8
12
9
12
11
12
13
12
14
12
17

A/G form F Lydian

œ œœ œœ œœ œœ œœ œ œ œ œ œ
œ œ œ œ
521 F
& Ó Œ Ó
Ó Œ Ó
3 #4 5 6 7 1 1 2 3 #4 5
5 7 8 10 12 13 8 8 8 8 8
10 10 10 10 10 10 6 8 10 12 13
⁄
œ
525
& Œ Ó Ó
1 2 3 #4 5 5 6 7 1 2 3
6 8 10 12 13 10 10 10 10 10 10
10 10 10 10 10 5 7 9 10 12 14
⁄
œœ œ œ œ œ
œœ œœ œœ œœ œ
529
œœ Ó Ó
& œ œ œ
Ó œ œ
Ó
5 6 7 1 2 3 3 #4 5 6 7 1
5 7 9 10 12 14 10 10 10 10 10 10
⁄ 10 10 10 10 10 10 7 9 10 12 14 15
œ œ
533
œœ œœ Ó Œ Ó
& œ œœ œ œ Ó œœ œœ œœ œœ œ
Œ Ó
3 #4 5 6 7 1 1 2 3 #4 5
⁄ 7
12
9
12
10
12
12
12
14
12
15
12
10
8
10
10
10
12
10
14
10
15
bbbb
537
& œ œœ œœ œœ œ Œ Ó œ œ œ œ œœ œ Ó
1 2 3 #4 5 5 6 7 1 2 3
⁄ 8
13
10
13
12
13
14
13
15
13
12
8
12
10
12
12
12
13
12
15
12
17

A/G form F Lydian dominant (melodic minor IV)

bœ œ
581
œ œœ œœ œœ œ œ Ó
F œ œ œ œ
œ œ œ œ
œ
& Œ Ó
Ó Œ Ó
3 #4 5 6 b7 1 1 2 3 #4 5
5 7 8 10 11 13 8 8 8 8 8
10 10 10 10 10 10 6 8 10 12 13
œ œ bœ œ
585
Œ Ó
& Œ Ó Ó
1 2 3 #4 5 5 6 b7 1 2 3
6 8 10 12 13 10 10 10 10 10 10
10 10 10 10 10 5 7 8 10 12 14
⁄
œœ œ œ œ œ
œœ bœœ œœ œœ bœœ œ
589
Ó Ó
& œ œ œ
Ó œ œ Ó
5 6 b7 1 2 3 3 #4 5 6 b7 1
5 7 8 10 12 14 10 10 10 10 10 10
⁄ 10 10 10 10 10 10 7 9 10 12 13 15
bœœ œ
593
œœ œœ Ó Œ Ó
& œ œœ œ Ó œœ œœ œœ œœ œ
Œ Ó
3 #4 5 6 b7 1 1 2 3 #4 5
⁄ 7
12
9
12
10
12
12
12
13
12
15
12
10
8
10
10
10
12
10
14
10
15
597
& œ œœ œœ œœ œœ Œ Ó œ œ œ œ œœ œ Ó
Œ Ó œ œ bœ œ Ó
1 2 3 #4 5 5 6 b7 1 2 3
⁄ 8
13
10
13
12
13
14
13
15
13
12
8
12
10
12
11
12
13
12
15
12
17

PARALLEL THIRDS AND SIXTHS

Fingering Heptatonic Thirds and Sixths
Thirds as Subsets of Major Scale-Tone Chords
Bending Thirds

JAZZ BLUES DOUBLE STOPS

Jazz piano is a great resource for jazz blues double stops. Great artists to “borrow” from include Cedar
Walton, Gene Harris, Keith Jarrett, Oscar Peterson and Vince Guaraldi. Especially Oscar Peterson!
George Benson and Pat MethenyJazz are twoBlues
of manyDouble
guitarists who have borrowed from these jazz pianists.
Stops
œœ œœ œœ bœœ œœ œ œ b œœ œœ œœ œœ bœœ œœ œ œ b œœ œœ œœ œœbœœ œœ œ œ œ

root flat seven E form sixth
& bœ nœ bœ nœ bœ œ œ œ
1 1 1 1 1 1 1 4 2 1 2 2 2 2 2 4 4 1 1 1 4 4 4 4
4 3 1 4 3 1 2 3 3 3 3 1 1 4 1 3 3 3 3 2 3 1 1 3 1
3 3 3 3 3 3 3 6 5 3 6 5 3
6 5 3 6 6 6 6 6 6 6 6 5 5 5 5 5 5 5 5 5
6 5 3 4 7 6 5 4 7 6 5 3 2
⁄ 8 5 2
bfifth
œ œ bœ œ œ œ œ œ œ
œ bœ œ œ œ œ œ œ bœ œ œ œ œ œœ œœ œœ œœ œœ bœœ œœ bœœ nœœ
œ œ œ œ
4 third flat third root
& œ œ œ œ œ œ œ œ œ œ œ œ œ b œ
4 3 2 1 2 1 2 1 1 2 2 1 4 3 1 1 4 3 1 1 1 1 4 4 1 4 3 1 2
1 1 1 1 3 3 3 3 1 1 4 2 2 2 2 1 1 1 1 2 3 3 3 3 3 3 3 3 3
6 5 4 3 3 3
3 3 3 3 6 5 6 3 3 3 3 6 5 3 6 5 3 2 1 6 5 3
7 7 7 5 3 2 4 4 4 4 3 3 3 3 3 3 3 6 5 3 4
⁄ 5 5 5 5 5 5 5 5 5
D form
b œœ œœ œœ œ œœ b œœ œœ b œœ n œœ œ œ œ œ œ flatœ seven
flat third root
œ œ œ œ bsixth
œœ œ œ
œ œœbœœ œœ bœœ œœ œ
9
œ œ b œ œ b œ nœ œ b œ œ b œ nœ
& œ œ
2 2 2 2 4 4 4 1 2 3 3 3 3 3 2 2 2 2 2 2 2 1 1 1 1 1 1
4 3 1 3 3 3 3 3 3 2 1 1 2 4 3 2 1 4 1 1 1 4 3 2 1 4 3 1 3
3 10 9 8 6 7 6 5
6 5 3 8 8 8 8 8 8 8 8 8 8 6 6 6 6 6 5 5 8 5 5 5 5 5 5
3 3 3 3 7 6 5 7 6 5 4 7 6 5
⁄ 8 9 8 8 7 5
7
bfifth
œ œ bœ œ œ œ
œ œ œ œ œ œ œ bœœ œœ œ bœœ œœ œœ œœ bœœ œœ œ
13 flat third root
œœ bœœ œœ bœ œ
& œ œ
2 1 4 4 2 1 3 3 3 4 1 1 2 1 1 3 2 1
3 3 3 3 3 3 3 4 2 1 3 3 3 3 3 3 3 1 1 1 1 3 1
6 5
9 8 6 5 8 6 5 3 2 1
7 7 7 7 7 7 7 7 7 7 3
⁄ 8 7 5 8 8 8 8 8 8 5 5
C form
œœ b œœ œœ b œœ n œœ œ œ œ œ œ œ œ flatœ seventh
bœ
œ œ œ bœ œ bœ nœ œ œ œœ b œœ œœ œœ b œœ œœ œœ œœbœœ œœ œ œ œ
root sixth
16
& bœ œ œ œ
3 2 1 1 2 2 2 2 2 2 2 2 4 2 1 4 3 1 4 3 1 1 1 1 2 2 2
1 1 1 3 3 4 3 1 1 4 1 3 3 3 3 3 3 3 2 2 2 4 3 2 1 1 3 1
10 9 8 6 7 10 9 8
8 8 8 8 8 8 8 8 8 8 8 8 11 10 8 11 10 8
10 9 7 6 10 10 10 10 10 10 9 9 9 9 9 9 9 9 9
⁄ 10 8 9 12 11 10 8 7
10 7

2 Jazz Blues Double Stops
bœ œ bœ œ œ œ œ
œ œ œ œœ bœœ œœ œ nœœ œœ œœ œœ œœ bœœ œœ œœ œœ bœœ œœ œ œœ œœ œ bœ œ bœ nœ
fifth third flat third
19
& œ œ œ
œ
4 4 3 2 2 1 2 1 1 1 1 1 1 3 3 1 3 4 3 1 1 1 1 4 2 1 4 4 1 2
1 1 1 1 3 3 3 4 2 1 4 3 2 2 2 2 2 2 2 2 2 4 3 3 3 3 3 3 3 3
11 10 9 8 6 5 6 8 8
7 7 7 7 7 7 7 7 7 7 7 7 10 9 7 10 9 7 6 5 10 9 7
⁄ 10 8 7 5 9 9 9 9 9 8 8 8 8 8 8 8
10
11 10 8 9
10 10 10 10 10 10 10
A form
œœ b œœ œœ œœ œ œ b œ œ
fifth
œ œ œ œ flatœ thirdœ œ œ b œ œ
third
24
œœ œ œ œ œ b œ œ œ œ œ œ œœ œœ œœ œ
& œ œ œ œ œ
1 1 1 1 2 1 4 3 1 4 4 4 1 4 4 3 1 1 1 2 2 2 2
4 2 1 3 3 3 3 3 3 1 3 3 3 1 2 2 2 2 2 3 1 1 3
10 10 10 10 15 13 12 10 15 13 12 10 9 8
13 11 10 11 10 12 12 12 12 11 11 11 11 11 11 11 11 11 11
12 13 12 10 12 10 9
⁄ 12 12 12 12 12 12
œœ b œœ œ b œœ n œœ œ bœ œ bœ nœ
œœ bœœ œœ bœœ nœœ b œœ œœ œ œœ bœœ œœ bœ
root flat seventh
œ
sixth
œ œ œ œ œ
27
&
1 4 3 1 3 1 4 4 2 3 1 1 1 1 1 3 2 1 1 1
2 2 2 2 2 1 1 1 1 1 3 2 1 4 4 1 1 3 4 3 2 4
10 10
14 13 11 12 14 13 11 12
12 12 12 12 12 10 10 10 10 10 10 10 10 10 10 15 14 12 9 9 9
⁄ 12 11 10
13 14
14 14 14 12 11 10
13
G form
œ œ œ œ œ
œ bœ œ bœ nœ œ œ œ œ œ œ œ
root
œœ b œœ œœ b œœ n œœ
flat seventh
œ b œœ œœ b œœ
œsixth
œ œ œ bœ œ bœ nœ
31
&
4 4 4 4 4 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 3
3 2 1 3 2 4 3 1 4s 4 2 3 3 2 1 3 4 4 3 2 2
15 15 15 15 15 13 13 13 13 13 12 12 12 12
15 14 13 12 15 14 13 11 15 14 13 11
15 12 12 12 12 12 12 12 16
⁄ 15 14 12
16 15 13 14
œœ œœ œœ œ œ œ œ œ œ third
b œœ œ œœ œ œ œ œ bœ œ bœ œ œ b œ œœ œœ œœ
fifth flat
sixth
œ
35
& œ b œ œ bœ œ
4 3 1 1 1 1 2 4 1 1 4 4 3 2 4 1 1 4
3 3 3 4 3 2 1 3 3 3 3 1 1 1 1 3 3 3 3
15 13 12 15 13 12 10
15 15 3 15 15 15 15 15 11 11 11 11
15 14 12 15 14 13 12
⁄ 14 14 14 14
17
14
16
14
15
14
13
15 12

Slow 12 Bar Double Stop Blues
Jazz Double Stops on 12 Bar Blues
œ bœ œ œ œ œ
G7 C7 G7
12 œ j œœ œ œ j œ œ œ œ œ
œ œ œ œ œbœbœj œ œ J œ œ œ œ œ œœœbœœ œœ œœbœ œœ #œj œœ œœbœœnœœbœœ#œj nœœ œœ œœbœœnœœ œœ
Æ
& 8 ÆJ J
# œ œ œ œ
œ œœ J
1 1 1 1 1 1 1 1 1 3 4 4 1 3 1 3 1 1 4 4 4 2 2 2 2 2 2 2 2 2 2 2
2S 3 4 3 1 1 3 1 4 1 3 1 3 3 3 3 3 3 3 3 2 3 1 2 1 41 3S 3 1 1 4 3 3 3 1 1 4
3 3 3 3 3 3 3 3 3 56 5 3 5 3
56 5 3 35 3 5 5 5 5 5 5 5 5 5 5 5 6 6 6 6 6 6 6 6 6 6 6
⁄
34 6 35 3 7 6 5 2 3 2 67 7 6 5 67 7 7 6 5
5 5 2 8 8
œ ÆJ œœ œœ œœ œœ œœœbœœ œœ œ ™™
œ bC7
jœ œ œ jœ œ œ jœ œ œ œœ œ œ œœ œœbœœ œœ œ œœ œ œ œ
4
œ
#œœ œ œ œœ œ œ œœ œ œ Æœ œ bœ bœ œ œ œ œ
& J J œœ
5 56 6 5 3 3 3 3 3 3 3 3 3
6 6 6 6 6 6 6 6 6 6 5 5 5 5 5 5 5 5 5 3 5 5 5 3 5 5
⁄
67 7 7 67 7 7 67 7 7 67 7 6 5 3 6 5 3 5 3 2 3 2
5 2
œ œj œœ œœ œœ œjœœ œœbœœ jœœ œ œ œ œ œ œ J œ œn œ œ œ œ œ œ œ™

œ œ #Æœ œ œ nœ œ
7 G7 D7
& ÆJ J
# œ œ b œ œ œ ÆJ
# œ œ œ œ œ#œ œ œ J
3 3 3 3 3 3 3 3 3 3 3 3 3 3 45 5 3 3 1
56 5 3 35 3 2 2 2 3 3 3 3 3 6 3 1 3 3
⁄
34 6 35 3 34 4 5 5
5
bC7œœ œœ œ œ œ
bœ œ bœ ‰ nœœ bœœ œœ œœ ™ n˙ ™
G7 C7 G7 D7(#9)
œ œ œ œ jœ œ jœ œ ™
10
#Æœ œ œ œ œ œbœ œ œ œ œ œ œ
œ
œ œ
& œ œ J J J #Æœ
J #œ œ
6 3 3 3 3 3 3 3 3
5 5 3 3 3 3 3 5 5 5 5 3 6
⁄
6 5 3 6 5 3 34 5 4 4 35 5 35 3 34 5
5 5 5 5 4 4
©2010 Jim Gleason. All Righths Reserved.

HARMONIC CLUSTERS AND TONAL LAYERS

Traditionally, double stops are played with single upper and lower neighbors, primarily using common
pentatonic scales. By conceiving an area of the fretboard with chord tone subsets of any of four seven-
tone scales, many structures can be devises.
In taking this wider view, we will include the following:
• the major and minor arcs

• modes of major, harmonic minor and melodic minor scales
• a pedal point on one string with movement neighboring tones ascending on an adjacent string
to the next chord tone (optionally farther on to the fourth if the chord tone is a major third)
• parallel thirds, fourths and sixths
See Tonal Layers/Harmonic Clusters.

54
Cluster Playing
With Thirds
And Triads
• What Is Cluster Playing?
• Advantages Over Horns, Keyboards and Vocalists
• Memorizing Linear Triads and Linear Thirds
• Using Secondary Roots and Neighbors

page 1756 Cluster Playing with Triads and Thirds Part 5: Core Melody and Melodic Cells back to contents
WHAT IS CLUSTER PLAYING?
ADVANTAGES OVER HORNS, KEYBOARDS AND VOCALISTS
MEMORIZING LINEAR TRIADS AND LINEAR THIRDS
USING SECONDARY ROOTS AND NEIGHBORS

back to contents Part 5: Core Melody and Melodic Cells Cluster Playing with Triads and Thirds page 1757








55
Chromaticized
Arpeggios
• Preview Chromaticized Arpeggios

• Chromaticizing Fundamentals
• Linear Chromatics
• Encircling Chromatics
• Every-Other Chromatics
• Skip Chromatics
• Looped Chromatics
• Free Form Chromatics
• Chromaticizing Full-Tertian Arpeggios
• Chromatic Drift
page q1766 Preview Chromaticized Arpeggios
= 140 Chromaticized Arpeggios Part 5: Core MelodyOn Cm9
and Melodic Cells back to contents
b 12
& b b 8 PREVIEW
∑ ∑
CHROMATICIZED∑ ∑
ARPEGGIOS
Here are some examples of the chromaticizing melodic cells we’ll be getting into.
three-note linear chromatics - suitable for slow blues
œ#œ œ#œ n œ œ œ # œ œ b œ œ œ n œ b œ œ bœ œ œ
& b b ™™ œ#œ œbœ ™™ œ™ Œ ™ Ó™
b œ
C‹9
œ ∑ 4
4
3 4 1 1 3 4 1 2 3 4 1 2 3 2 1 4 3 2 1 4 3 1 1 4 3
™ 8 9 10 9 8
™
™ 10 ™
8 9 10 11 11 10 9 8
⁄
7 8 10 11 11 10 8 7
11 11 10
Every-Other Chromatics
below fifth and ninth
œ #œ œ œ œ # œ œ b œ œ œ œ bœ œ
b 4 ™™ œ œ œ ™™ œ
C‹9
&b b 4 ∑ Œ Ó
™ ™
3 1 3 4 1 4 1 2 3 2 1 4 1 4 3 1 3
8 9 10 9 8
™ 10 ™
8 11 11 8
⁄
8 10 11 11 10 8
10
below third and seventh

œ #œ n œ œ œ œ nœ bœ œ
b ™™ œ #œ œ œ œ œ bœ ™™ œ
C‹9
&b b ∑ Œ Ó
3 4 1 1 1 2 3 4 3 4 3 2 1 1 1 4 3
™ 10
™
™ 10 ™
8 9 10 11 11 10 9 8
⁄
7 8 8 7
11 11 10
Four-Note Linear Chromatics With Doubled Notes

œ#œ œ œ#œn œ œ n œ œ # œ œ b œ œ n œ b œ œ n œ b œ œbœ œnœbœ œ œbœ
& b b ™™ œ œ#œ ™™ œ Œ Ó
b œ nœ
C‹9
œ
3 3 4 1 1 2 3 4 1 1 2 3 4 1 2 3 4 3 2 4 4 4 3 2 1 4 3 2 1 1 4 4 3
™ 7 8 9 10 9 8 7
™
™ 10 10 11 ™
8 8 9 10 11 11 11 10 9 8
⁄
7 8 9 10 11 11 10 9 8 8
12 11 10
Four-Note Linear Chromatics With Turnbacks

œ#œ œ œ #œn œ œ n œ œ # œ œ b œ œ n œ b œ œn œ b œ œbœ œ
& b b ™™ œ #œ œ
b œ œ nœ nœbœ œ œbœ ™™ œ Œ
C‹9
Ó
3 1 4 1 1 2 3 4 1 4 2 3 4 1 1 2 3 2 1 4 4 1 3 2 1 4 3 2 1 3 1 4 3
™ 7 8 9 10 9 8
™
™ 10 ™
8 11 9 10 11 12 11 8 10 9 8
⁄
8 7 8 9 10 11 11 10 9 8 7
11 10 11 10

back to contents Part 5: Core Melody and Melodic Cells Chromaticized Arpeggios page 1767
2 Preview Chromaticized Arpeggios And 1235 On Cm9
Encircling Chromatics
œ œ#œn œ œ#œn œ œ œ œ # œ œ œ b œ œ n œ œ n œ b œ #œ œbœ œ
& b b ™™ œ#œ
b œ œ œ œbœnœ ™™ œ
C‹9
œ Œ Ó
3 4 1 3 1 3 4 3 1 2 3 1 4 1 2 4 3 2 1 3 4 3 2 4 1 4 3 1 1 4 4 2 3
™ 8 8 9 11 10 9 8
™
™ 10 11 ™
10 8 9 10 11 10 11 10 9 8
⁄
7 10 8 10 11 11 11 10 7 8
12 11 9 10

page 1768 Chromaticized Arpeggios Part 5: Core Melody and Melodic Cells back to contents
CHROMATICIZING FUNDAMENTALS
Melodic cells that chromaticize arpeggios usually involve three ascending or descending chromatics.
They insert chromatics below chord tones.
Chord Tones on the Beat

You don’t always have to have a chord tone on the beat. However, if you are well-practiced at playing
melodic cells that do place chord tones on the beat, you will find it much easier to play freely and
abstractly. Then you won’t have to take so much care in putting chord tones on the beat since you have
practiced melodic cells that put them on the beat by default.
Three-Note Melodic Cells

A melodic cell is a short lick or theme, usually of two to six notes. See the chapter Melodic Cells. More
often, melodic cells use chord tones of the current chord on the beat. The melodic cells in the followiing
sections “Three-Note Cells With Ascending Chromatics” and “Three-Note Cells With Descending
Chromatics” use chord tones on the beat (shown with a diamond) and chromatics leading either up to
(ascending) or down from (descending) each chord tone. The chord tones on the beat could be thought
of as target tones.
Three-Note Cells with Ascending Chromatics

When ascending, arpeggio-chromaticizing melodic cells ascend to a target chord tone with two
chromatics immediately below the chord tone. In the first two bars below, the notes of a Dm9 arpeggio
are shown on the second string. Seeing the notes chromaticized by playing two consecutive frets before
each chord tone is easier to see on a single string. Next, in bars five through eight, the fingering is shown
as it would typically be played, in a single position. Notice also that as in bars nine and ten, the rhythmic
may vary, as long as the chord tones remain on the beat.

backq =to65contents Part 5: Coretwo
Melodychromatics
and Melodic Cells below each chord tone
Chromaticized Arpeggios page 1769
‚ ‚ œ ‚ nœ #œ ‚
° 4‚ ‚ ‚ ‚ #œ œ ‚ œ #œ ‚ # œ
D‹9 D‹9
&4 Œ Ó Œ Ó
3 3 3 3
3 6 10 13 17 3 4 5 6 8 9 10 11 12 13 15 16 17
¢⁄
‚ ‚ chromatics
‚ n œ # œtwo ‚
‚ n œ # œ chord
° ‚ ‚ ‚ ‚ ‚#œ œ ‚ œ#œ
‚#œ œ œ ‚ œ#œ ‚ # œ œeach
below tone
5
‚ #œ
D‹9 D‹9 D‹9
& Œ Ó q = 65
Œ Ó Œ Ó
‚ ‚ nœ #œ
°3 441 ‚1 ‚ 3‚ 4 1œ #2œ 3‚ # œ œ
4‚ 1 2 3 4 1 2 3
3 4 1 1 3 4 1 2 3 ‚
3 3
œ
3
‚ #œ
D‹9 D‹9
12 &4 3
10 11 12
Œ Ó 10 11 12
10 13 10 11 12 13 10 11 12 13 3
¢⁄
10 9 10 12 13 9 10 12 13 3 3 3
12 12 13 12 13
3 6 10 13 17 3 4 5 6 8 9 10 11 12 13 15 1
¢⁄
° ‚ #œ œ ‚ # œ œ ‚
11 D‹9
& are okay with ascending Œ

skips 3 two ° ‚ ‚ ‚ ‚
chromatics ‚ œ #œ ‚ # œ œ ‚nœ#œ ‚ ‚ œ#œ ‚#
œ œ
5
‚ ‚ #œ ‚ #œ
D‹9 D‹9 D‹9
3 chromatics below Œ Óeach chord tone Œ Ó
q = 65 3 4 1 1 2
Within the range of a 11sixth,
3 &
4
12 its
13 okay to skip around, playing two chromatics before each chord tone,
‚ ‚ œ ‚ n œ # œ ‚
° ¢⁄4 ‚ up
3 3 3
‚ to‚it. In the example ‚ # œ

3
‚ œ # œ
9 10
ascending below, there are two ascending chromatics before the flatted
3 4 1third
‚ # œ œ
D‹9
12 13 D‹9 1 3 4 1
Œ Ófollowed 12 Œ Ó seventh of 10
3 4 1 1 3 4 1 2 3 4 1 2 3
of&the4 Dm9 arpeggio (the “F” note), 10 13 by two ascending chromatics
12 before
10 11 12 13
10 11 the flatted
‚ arpeggio ‚⁄ b œ ‚ b œ
° 3 6 n ‚ 10‚ 13‚ Œ 17Ó ¢
‚ œ œ
‚ œ b œ ‚ b œ3œ 4 5 6 8 9 10 11 12 13‚ œ15b œ16‚ b œ17 œ
10 3 12 13 9 10 12
3D‹9 13 3 9 10 12 13
the12Dm9 D‹9
(the “C” note).
D‹9 12
The listener can
3 understand this. 12 13
‚nœbœ ‚ Œ Ó ‚nœbœ ‚ Œ Ó
&
¢⁄ ° 3 ‚ #3œ œ 3 ‚ # œ3 œ ‚
11 D‹9
& Œ3 3 2 1 4 33 2 1 3 4 3 1 31 4 3
‚ n œ63# œ5 4‚ 3 ‚ n10œ #9 œ ‚
° ‚ 17‚ 13‚ 10‚ 6 3 17 16 15 13312 ‚11
‚ œ# œ # 10 œ9‚ 8
œ ‚ 13 12 ‚11#10
œ #œ œ œ
12 11 10
Œ Ó ‚#œ œ 3 4 1 1 112 123 Œ 134 Ó ‚ #œ œ

5 D‹9 D‹9 D‹9
¢⁄
13 12 Œ Ó
&
13 12
¢ ⁄
9 10
3 123 13 3 3
3 4 1 1 3 4 1 2 3 4 1 2 3
3 4 1 1 3 4 1 2 3 4 1 2 3
12 10 11 12 10 11 12
‚ ‚
‚bœ œ ‚ œbœ ‚ b œ œ 12‚ œ13b œ
10 13 10 11 12 13 10 11 12 13
¢⁄
D‹9 D‹9 D‹9
° ‚ b œ œ n‚ ‚ ‚
10 9 10 12 13 9 10 12 13
‚ nœb œ
12 12
‚ ‚
12 13
Three-Note Œ Ó
& Cells with Descending Chromatics Œ Ó
° ‚ #œ œ ‚
11 D‹9
# œ œ ‚ 3 3 3 3 3 3
When Œ
& descending, arpeggio-chromaticizing melodic cells descend from a target chord tone12with
3 2 1 4 3 2 1
11 10 two
17 13 10 6 3 17 16 15 13 12 11 10 9 8 6 5 4 3 13 12 11 10
4¢⁄
chromatics
3 immediately
3 below the chord tone. They are easiest to hear if they then descend to the next
3 4 1 1 2 3
lower chord tone. Of11 course
12 13the rhythm may vary (as in the last two bars below), as long as the chord
¢ ⁄ 12are13on the beat, as shown earlier with ascending chromatics.

9 10
tones
‚ ‚
D‹9
‚bœ œ ‚ œbœ
D‹9
‚bœ œ ‚ œbœ
D‹9
° n‚ ‚ ‚ b œ œ ‚nœbœ ‚ ‚ b œ œ ‚nœbœ ‚
12
‚ Œ Ó Œ Ó Œ Ó
&
3 3 3 3 3 3 3 3
3 2 1 4 3 2 1 4 3 1 1 4 3
12 11 10
17 13 10 6 3 17 16 15 13 12 11 10 9 8 6 5 4 3 13 12 11 10
¢⁄
©2016 Jim Gleason. All Rights Reserved. 13 12 10 9
13 12

skips are not okay with descending chromatics

With descending chromatics follow a chord tone, it is best if you then proceed to the next lower chord
tone. The second chromatic tone below your target tone on the beat is the third note of a four-note cell.
If that tone happens to be a chord tone, you can skip from it to another chord tone as the fourth note.
Making a Four-Note Cell by Inserting a Note in a Three-Note Cell

inserting a chord tone or neighbor tone
The inserted notes in these chromaticized arpeggio melodic cells will most often be triad chord tones of
the current chord. In the case of encircling chromatics, the fourth note in the cell is a neighboring tone.
The “inserted” note works best when it is a tone of the triad based on the current chord that is within
two triad tones above or below the target chord tone.
before or after the first note of the three-note cell

Any three-note cell can be elaborated by inserting a triad tone of the current chord before or after the
first note of the cell.
With a four-note linear chromatic cell applied to a minor third, the second note is an inserted note and
same target chord tone that will occur on the next beat.
after the last note of the three-note cell

Any three-note cell can be elaborated by inserting a triad tone of the current chord before or after the
last note of the cell. Also, a neighboring tone can be inserted at this point, making encircling chromatics.
With descending encircling chromatics, it is preferred that the lower neighbor tone (the fourth note in
the cell) is a lower chromatic embellishment. Lower chromatic embellishments are a half step (one fret)
below the note they precede.
in-between the two chromatic tones

Two chromatic tones are used to lead up to or down from a chord tone. In either case, the two chromatics
can be interrupted with a triad tone of the current chord, within the range of a fifth.
four-note free form chromatic cells

Four-note free form chromatic cells will include all of these possibilities. Memorizing sequenced instances
of the specific categories like linear chromatics, encircling chromatics or every-other chromatics will
give you quick access to your memory of the cells, rather than having to construct each cell on the spot.
Though it is very efficient to memorize categories of cells (i.e. linear chromatics) in sequences, playing

them on each chord tone as you ascend or descend, you don’t want you improv to sound like an exercise.
Take care to not play more than two of the same type of cell in improvisation, usually. Also, employ
interesting melodic rhythm.
Resolved Versus Unresolved Cells

If the last note of a cell is a tone of the current chord, it is “resolved” and is more flexible in rhythmically
displacing the melodic cell. If the last note is not a tone of the current chord, it is more important that
it is not on the beat, especially at slower melodic rates (notes per minute)where the dissonance would
be more apparent. Every-other chromatics are resolved four-note cells where the fourth note is a chord
tone. In fragment patterns, 1-2-3-5 and 1-3-4-5 are resolved four-note cells (not chromatic) for the
chord “1-3-5”.

LINEAR CHROMATICS
Four-Note Linear Chromatics with Doubled Notes
ascending one chord tone to another, major third
Play the lower chord tone and ascend all the chromatic notes through to the chord tone up a major
third. This next higher chord tone is the fifth note and can begin another ascending chromaticized
major or minor third, as needed by the arpeggio
ascending one chord tone to another, minor third

(1) Play a chord tone twice (there must be another chord tone a third above). Call this first
note the initial chord tone (play it twice).
(2) Ascend two chromatic tones about the initial chord tone.
(3) Play the higher chord tone. This next higher chord tone is the fifth can begin another
ascending or descending chromaticized major or minor third, as needed by the arpeggio
descending one chord tone to another, major third

Play the upper chord tone and descend all the chromatic notes through to the chord tone down a
major third. This next lower chord tone is the fifth note and can begin another ascending or descending
chromaticized major or minor third, as needed by the arpeggio.
descending one chord tone to another, minor third

(1) Play a chord tone (there must be another chord tone a third below). Call this first note
the initial chord tone.
(2) Play the chord tone a third lower.
(3) Play two chromatic tones immediately below the initial chord tone (in descending order).
(4) Play the chord tone a third lower (again). This next lower chord tone can begin another
ascending or descending chromaticized major or minor third, as needed by the arpeggio.

Four-Note Linear Chromatics with Turnbacks

ascending one chord tone to another, major third
Play the lower chord tone and ascend all the chromatic notes through to the chord tone up a major
third.
ascending one chord tone to another, minor third

(1) Play a chord tone (there must be another chord tone a third above). Call this first note
(2) Play the chord tone a third higher.
(3) Ascend two chromatic tones immediately above the initial chord tone.
(4) Play the higher chord tone..
(5) Treating the “higher chord tone” as another starting point, repeat steps 1-4.
descending one chord tone to another, major third

Play the upper chord tone and descend all the chromatic notes through to the chord tone down a major
third.
descending one chord tone to another, minor third

(2) Play the chord tone a third lower.
(3) Play two chromatic tones immediately below the initial chord tone (in descending order).
(4) Play the chord tone a third lower (again). Call this the target tone.
(5) Treating the target as another starting point, repeat steps 1-4.

ENCIRCLING CHROMATICS
Four-Note Chromatic Encircling
A lower chromatic embellishment is the use of a note a half step below a chord tone to lead up to that
tone. They are usually preferred to lower scale tone neighbors of a whole step. Upper chromatic embel-
lishments are rarely used. I do use upper chromatic embellishments on diminished sevenths, resourcing
the diminished scale.
ascending one chord tone to another

(1) Play a chord tone (there must be another chord tone a third above). Call this first note
(2) Play two chromatic tones immediately below the chord tone a third above the initial chord
tone, in ascending order. Call the note a third above the initial chord tone the higher chord
tone. The resolution to the higher chord tone will be delayed (read on).
(3) Play the scale tone above the higher chord tone.
(4) Play the higher chord tone. Call this the target tone.
(5) Treating the target tone as another starting point, repeat steps 1-4.
descending one chord tone to another

(2) Play two chromatic tones immediately below the initial chord tone, in descending order.
(3) Call the note a third below the initial chord tone the lower chord tone. The resolution to
the lower chord tone will be delayed (read on). Play the chromatic tone immediately below the
lower chord tone. This is a lower chromatic embellishment to the lower chord tone.
(4) Play the lower chord tone. Now call this lower chord tone the target tone.
(5) Treating the target tone as another starting point, repeat steps 1-4.

EVERY-OTHER CHROMATICS

SKIP CHROMATICS
Skip chromatics are inspired by the skips used in funk and jazz saxophone improv. Sax players don’t
have a linear graphic layout to play from like fretboard players and keyboard players. They have to think
by note name. They think the names of the notes in a chord and whimsically jump from one chord tone
to another.
Where fretboard and keyboard players have complicated graphic patterns to play skips, sax players (and
other horn players) find it easier for to use skips because they just think a note name and the fingers
respond, having memorized the fingering to where it is second nature. They don’t have to think the
fingering for each note consciously.
So, to get that sound with skips, we guitar players have to think differnently. Skip chromatics is a chro-
maticizing strategy and employs skips for the guitarist. This strategy would work with lesser ease for
keyboard players. Guitarists would find skip chromatics easier, since they use a more repeating sets
of fingering patterns for scales and arpeggios, due to the chromatic transposing ability of the guitar,
changing key by moving everything up or down so many frets and playing the same pattern.
Descending Version
Though ascending and descending both sound good, I prefer the descending version. This may be
because of the more recognizable skip in the high range in the descending version (the fourth note in
each four-note skip chromatic melodic cell).

LOOPED CHROMATICS

FREE FORM CHROMATICS

Chord tone range: low third, low fifth, tertian to upper limit 2 or 3.
Choose three of four consecutive chord tones, numbered 1-2-3-4, as with fragment patterns. Indicate
order numerically, such as “1-3-2”.
“ac” indicates two ascending chromatics precede the tone indicated by the number after it. “dc” indicates
two ascending chromatics follow the tone indicated by the number before it.
If a 4 note cell and its target tone (5 tones altogether) is retrograde-able, it is shown with the ascending
version, then the descending version; where the fifth character is a shared target note such as “13dc2ac31”
(sharing “2”).
On Am, in A Aeolian, “13dc2ac31” starting on A would be A-E-Eb-D-C-D#-E-A.

Starting on the low third, it would be C-A-Ab-G-E-G-G#-A-C (low C).
Starting on the low fifth, it would be E-C-B-Bb-A-A#-B-C-E (low E).
Starting on the (“high”) third, it would be C-G-Gb-F-E-F-F#-G-C.
Descending chromatics best resolve to the next lower chord tone (without a skip). They start with a
chord tone and are best followed by the next lower chord tone. Conversely, ascending chromatic pairs
need to resolve to a chord tone but don’t necessarily need to be preceded by the next lower chord tone.

CHROMATICIZING FULL-TERTIAN ARPEGGIOS

Most arpeggios are built with every-other scale tone, called thirds. A continuous sequence of every
other scale tone is termed tertian, Greek for made of thirds. Notice that every-other scale tone of the
scale at the left below creates the “full-tertian” sequence at the right.
In each major scale fingering, there are two sets of “every other note”. Beginning on the lowest scale
tone (by pitch) and playing every other note, you’ll create the “lowest full-tertian arpeggio”. The notes
you skipped constitute the “next lowest full-tertian arpeggio”. All of the scale tone triads, sevenths and
larger chords built in thirds are part of these full-tertian arpeggios. You have to sort out which full-
tertian arpeggio and the part of it you will use in playing on a particular chord.
Default Major Scale Fingerings and Full-Tertian Arpeggios

fingering 2 fingering 6 fingering 3 fingering 7 fingering 4/5
C IX F X Bb X Eb X Ab IX
parent major
(1)(1) 11 1 111 1 11 1 11 11 11 1 1
scale by
111111 2 2 22 22 22 111
finger number
3333 3 333 33 222 11
444444 2
333333 44 44 444 44
444333
4 44 4 4
44 4
parent major IX IX X X IX
scale by (7) (3) 5 3 62 5 73 73 62 7 4
6 6
scale number 736
251462 4 4 14 14 51
3 2 736 73 514 25
362573 1 1 514 25 251462 7
4 14 7 625136
73 4
7
lowest full tertian IX IX X X IX

(3) 6 5 6 3 2 3 7 6 7 4
2 1 2 4 1 4 5 3
3 2 7 6 3 1 2
6 57 1 1 5 4 5 2 1 2 7
4 4 7 6 5 6
3 4
next-lowest full IX VIII X X X

tertian (7) 2 13 6 57 3 2 7 6
5 46 4 4 1 1 5 4 5
7 6 7 3 7
3 2 3 4 5 1 2 5 46 2 13
1
7 7

Chromaticizing arpeggios usually involves cells that move from one chord tone to another, commonly
following the sequence root, third, fifth, seventh, ninth, eleventh, thirteenth or the reverse order.
Chromaticizing cells may, of course, be a smaller version of the thirteenth, such as a ninth chord using
root through ninth. They don’t usually involve the two chromatics below the root.
major scale fingering 2 lowest full-tertian arpeggio
q = 100
Chromaticized Full-Tertian Arpeggios
Bb Major Scale Fingering 2, Lowest Full Tertian Arpeggio
this contains Cm15 and its subsets Ebma13#11, Gm11, Bbma9 and Dm7
œ œœœ
° bb ™4 œœ
lowest full-tertian arpeggio
œœ
chromaticized lowest full-tertian arpeggio
™
& 4 œœ œ œ œ œ œ ™™ Œ Ó ™™12
8 œ # œ œbœ œ#œ œ#œ œ œ nœ#œ
œ œ
™ ™ ™
1 4 3 1 4 3 3 1 4 1 3 3 4 1 3 4 1 1 2 3 4 1 2 3 4 1 1 3 4
8 11 8
™ ™ ™
10 10
¢⁄
10 10
8 12 12 8 7 8 10 11
10 10 6 8 9 10 11
8 11 8 8 9 10 11
n œ # œ œ b œ œ b œ n œ n œ b œ œ b œ nœ
° bb œ œnœnœ œ#œ œ œ n œ œnœbœ nœbœ œbœ
œbœ œbœnœbœ ™™ Ó™ 44
5
& nœbœ
˙™
1 1 2 3 1 2 3 4 1 2 2 3 4 3 2 1 1 4 3 2 1 3 2 1 1 4 3 1 1 4 3 2 1 4 3 2 1
7 8 9 10 11 10 9 8 7
™
™
8 9 10 11 11 10 9 8
¢⁄
7 8 9 10 10 9 8 7
11 10 8 7
11 10 9 8
11 10 9 8
Bb Major Scale Fingering 2, Next-Lowest Full Tertian Arpeggio

major scale fingering 2 next-lowest full-tertian arpeggio
this contains Bbma9 and Dm7 in the bass and F13 in the mid to high range with its subsets Am11b5b9, Cm9 and Ebma7
° bb ™4 œ œœœ
next-lowest full-tertian arpeggio
œœ
chromaticized next-lowest full-tertian arp.
œ œ œ ™™ ™™12
œœ
9
& ™4 œ œ œ Œ Ó 8 œ œ#œ œ œ nœ
œ œ œ œ œ # œ œ œ nœ
1 3 1 4 3 1 1 4 3 4 1 1 3 4 1 3 1 1 1 2 3 4 1 1 3 4 1 1 2
™ 6 10 6
™ ™
™ ™ ™
8 8
¢⁄
8 8
10 10 7 8 9
8 12 12 8 7 8 10 11
6 10 10 6 8 9 10 11
œb œnœ œ œb œ
° b nœ#œ œbœ œ#œnœ#œ œ b œ n œ # œ nœbœnœ œnœbœ œ ™ Ó™ bb 4
13
&b nœbœnœbœ œ ™ b ˙ ™ b 4
nœbœnœbœnœ œ
3 4 1 1 3 4 1 2 3 4 1 2 3 2 1 4 3 2 1 4 3 1 1 4 3 2 1 1 4 3 1 1 4 3 2 1 1
8 9 10 9 8
™
™
7 8 9 10 11 11 10 9 8
¢⁄
7 8 10 11 10 8 7
10 11 11 10 9 8 7
11 10 8 7
11 10 9 8 6

1 1 2 3 1 2 3 4 1 2 2 3 4 3 2 1 1 4 3 2 1 3 2 1 1 4 3 1 1 4 3 2 1 4 3 2 1
7 8 9 10 11 10 9 8 7
™
™
8 9 10 11 11 10 9 8
⁄
back to ¢contents
7 8 9 10 10 9 8 7
11 10 8 7
Part 5: Core Melody and Melodic Cells Chromaticized
11 10 9 8 Arpeggios
11 10 9 8
page 1781
Bb Major Scale Fingering 2, Next-Lowest Full Tertian Arpeggio

this contains Bbma9 and Dm7 in the bass and F13 in the mid to high range with its subsets Am11b5b9, Cm9 and Ebma7
° bb ™4 œ œœœœ
next-lowest full-tertian arpeggio
œ
chromaticized next-lowest full-tertian arp.
œ ™ ™™12
9
& ™4 œ œœ
œ œœ
œœ ™ Œ Ó 8 œ # œ œ œ nœ œ œ#œ œ œ nœ
œ œ œ
1 3 1 4 3 1 1 4 3 4 1 1 3 4 1 3 1 1 1 2 3 4 1 1 3 4 1 1 2
™ 6 10 6
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major scale fingering 6 lowest full-tertian arpeggio
2
Chromaticized Full-Tertian Arpeggios
Eb Major Scale Fingering 6, Lowest Full Tertian Arpeggio

is contains Cm11 and its subsets Ebma9 and Gm7 in the low range.
In the mid to high range, it contains Bb11 and its subset Dm7.
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7 8 9 10 11 10 9 8 7
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Eb Major Scale Fingering 6, Next-Lowest Full Tertian Arpeggio

this contains Bb13 and its subsets Dm11b5b9, Fm13, Abma9#11, Cm9 and Ebma7.
° b ™4
Eb major scale
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page 1782 Chromaticized Arpeggios
8
7 10 10 7
8
Part 5: Core Melody and Melodic Cells 7 back to contents
8 10 11
10 10 6 8 9 10 11
8 11 8 8 9 10 11
b œ œfingering
majorœscale bœnœ 6
° b œ œnœnœ#œ œb œ œ n œ n œ # œ n œ b œ n œ #œnœnext-lowest full-tertian arpeggio
nœnœbœ nœbœ œ ™™ Ó™ 44
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1 1 2 3 4 1 2 4 1 1 2 3 4 3 2 1 1 4 3 2 1 3 2 1 1 4 3 1 1 4 3 2 1 4 3 2 1
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7 8 9 10 11 10 9 8 7
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Eb Major Scale Fingering 6, Next-Lowest Full Tertian Arpeggio

this contains Bb13 and its subsets Dm11b5b9, Fm13, Abma9#11, Cm9 and Ebma7.
° b ™4 œœ œœœœ
Eb major scale
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6 10 10 6 8 9 10 11
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CHROMATIC DRIFT




56
Theme and
Variation
• Harmonic Theme and Variation
• Rhythmic Theme and Variation (in another chapter)
• Fixed Themes
• Melodic Curve Exercises
• Youtube Theme and Variation Song Links

page 1788 Theme and Variation Part 5: Core Melody and Melodic Cells back to contents
HARMONIC THEME AND VARIATION

Themes that are modified to fit each chord, changing versions of numbered tones and/or subsituting
adjacent scale tones to cause matching.
The Melodic Curve

A melodic curve has two components: pitch and time. To conceive a melodic curve, imagine a phrase
written in standard music notation with all of the elements of notation omitted except the oval note
heads and the relative spacing of the notes verically and horizontally. Now imagine an alternate system
of notation on grid paper, where each grid space horizontally represents a half a beat (or some regular
part of a beat) and the each grid space vertically represents a half step (an interval of one fret).
Harmonic Variation
First imagine harmonic variation by playing a melodic line on one chord, then applying it to another
chord. Usually, the notes that were chord tones of the first chord should also be chord tones it the appli-
cation of the melodic curve on the second chord.
The character of each chord needs to be established appropriately. When a theme played previously
on a C major chord is nearly identical with its application to an A minor chord, it can help to change
the scale to A harmonic minor to dramatize the sadness of the minor chord. When given the option of
using a major sixth or major seventh on a major chord in a swing blues tune, you would probably choose
the sixth, since the sixth chord is more common to that style than a major seventh chord.
Retaining The Range Of Pitch Or Not

It is generally easiest to hear melodies using harmonic variation when the phrases for each chord retain
a given range of pitch. It can be interesting to jump around in range also, yet that requires a more
obvious statement of each chord, since the listener is being distracted by the changes of range.
Two or Three Significant Parts

The listener can only process two or three significant musical parts at once. If you overburden the
listener with too many different rhythmic or harmonic ideas at once, they won’t understand your music
and probably won’t like it.
some parts are just background

Some musical parts don’t require the attention of the listener and are part of the textural background.
These parts tend to be more regular and just “keep time”.

back to contents Part 5: Core Melody and Melodic Cells Theme and Variation page 1789
notable parts need to be distinctly the same or distinctly different

Musical parts that stand out to the listener should be few in number. If there are more than two or three
notable parts, some of them should be made similar enough to be considered a single idea to lessen the
number of different notable ideas.
RHYTHMIC THEME AND VARIATION

(in the chapter on Rhythmic Themes and Layers)
FIXED THEMES
Fixed themes are repeated without variation at regular intervals of time or in a pattern in time so the
listener expects them, even though they may be dissonant against some of the chords.
Listeners know this. They have heard many songs where a theme is repeated in a regular or patterned
manner in a song and expect it to repeat. The chords played along with such themes don’t necessarily
always harmonize perfectly. Sometimes, if you were to listen to a few beats of the music out of context
(by themselves) they would sound horrible.

MELODIC CURVE EXERCISES

The melodic curve or melodic line conceptually represents rhythm horizontally and pitch vertically on a
timeline. Melodic curves are shown below with black and grey squares. The black squares are triad
chord tones and the grey squares are scale tones.
Melodic Curve Examples Represented Graphically

original horizontal vertical dual
example inversion inversion inversion
1-3-5-8-7-8-5-8 8-5-8-7-8-5-3-1 8-5-3-1-2-1-3-1 1-3-1-2-1-3-5-8

3-5-1-3-2-3-1-3 3-1-3-2-3-1-5-3 3-1-5-3-4-3-5-3 3-5-3-4-3-5-1-3

5-1-3-5-4-5-3-5 5-3-5-4-5-3-1-5 5-3-1-5-6-5-1-5 5-1-5-6-5-1-3-5

back to contents Part 5: Three
Core Melody
Stringand Melodic Dominant
Secondary Cells Theme
Arpeggios, Strings 5, 4 and 3 and Variation page 1791
13587858
The Original 1-3-5-8-7-8-5-8- Example applied to the Secondary Dominant
Chord Cycle discussed below:Lowest Scale Tone "1"
° ™
C E7b9 Am
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5 4 5 5 5 4 5 5 4 4 4 4 4 4 5 4 5 5 5 4 5 5
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7 5 7 7 7 5 7 7 5 3 5 5 5 3 5 5 3 7 5 7 3 7 3 7 5 7 3 7
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5 5 3 3 5 5
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7 5 7 7 7 5 7 7 4 7 5 7 4 7 4 7 5 7 4 7
4 7 7 4 7 7 5 5 4 7 5 7 4 7 4 7 5 7 4 7
5 5 5 5 2 6 2 6
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25 Em G7
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5 4 5 5 4 4 4 5 4 5 5 4 7 5 7 4 7
5 5 6 7 6 7 7 5
3 7 2 7 3 7 5 3

1-3-5-8-6-5-4-3 3-4-5-6-8-5-3-1
3-5-1-3-2-1-6-5 5-6-1-2-3-1-5-3
5-1-3-5-4-3-2-1 1-2-3-4-5-3-1-5



These exercises are to be played within a range of nine or ten scale tones of a heptatonic scale, such as
the major scale. A nine-note scale can be played within the range of a scale fingered on three consecutive
strings. Some heptatonic scale-tone triads will need to have a tenth note added to the scale in order to
play a four-note version of the triad (which doubles one of the notes an octave apart).
A melodic curve should be applied to each chord in a chord progression, retaining the same range of
notes. This will cause some chords to have their root as the lowest tone (root position), some chords the
third (first inversion). and some chords the fifth as the lowest tone (second inversion).
The chords will be primarily treated as triads, but seventh and ninth chords can be implied by occa-
sionally substituting the seventh for the root and incorporating a ninth in place of a scale tone (where
possible).
Learn to construct each chord in both the formula and scale tone methods. In the formula method,the
root of the chord is scale tone “1” of a major scale and the remaining notes of the chord are expressed
with numbers in relation to that major scale. Common chord formulas are “1-3-5” for major, “1-b3-5”
for minor and “1-b3-b5” for diminished.
In the scale-tone method of triad chord construction, a chord is built on each step of the major scale
from the number cycle 1-3-5-7-2-4-6-1-3-5, etc. Scale tone triads for C major are: C (1-3-5), Dm
(2-4-6), Em (3-5-7), F (4-6-1), G (5-7-2) Am (6-1-3) and B diminished (7-2-4).
The Secondary Dominant Chord Cycle

Apply a melodic curve implied by the graphics below to each chord in the secondary dominant chord
cycle. The repeating pattern for the cycle is:
• up a scale-tone third to a dominant seventh (or altered dominant seventh with option sharp
or flat five, optional sharp or flat nine).
• up a perfect fourth to a scale tone triad (or altered scale tone chord, usually preferring to
retain the triad part of the quality.

One exception, the seventh letter of the scale will be represented with b VII major, after which the steps
are continued. b VII would go up a third to II7.
In the key of C, the secondary dominant cycle would be: C-E7-Am-C7-F-A7-Dm-F7-Bb-D7-G-B7-
Em-G7, then repeat.
Represent seventh chords with their triad basis (1-3,-5) and substitute the b7 for a root only if the root
can still be represented at least once. Learn to alter major scale tone chords to make dominant sevenths
on every step of a major scale and be aware of the changes that makes in the major scale.
Conforming Modes To the Relative Major and Minor System

To practice establishing temporary or permanent keys on each step of the major scale, each of the chords
that follow a seventh chord in the Secondary Dominant Chord Cycle is standardized to a relative major
or relative minor scale (major or Aeolian). This means melodies for major chords will use a major scale
on their root and minor chords will use Aeolian mode (also called natural minor). Aeolian mode places
a tone center on the sixth step of a major scale, so D Aeolian has the same notes as the F major scale and
B Aeolian has the same notes as the D major scale. We usually make an exception with scale tone five
and leave it in Mixolydian mode, since that mode has been well-established in blues, jazz and rock. So a
Secondary Dominant Cycle for C major, would use the C major scale for a G major chord, but the scale
would use the mode name “G Mixolydian”.
For scale tone seven, use a major chord on flat seven. Use a major scale on the root of the chord on flat
seven. In Secondary Dominant Cycle for C major, the seventh step would be a Bb major chord with a
Bb major scale.

YOUTUBE THEME AND VARIATION SONG LINKS

Categories
rhythmic
Themes that fit to the chords by phrasing them to align notes with chord tones...or sub-phrases are
played repeatedly with different relationships to the beat each time.
harmonic
Themes that are modified to fit each chord, changing versions of numbered tones and/or subsituting
adjacent scale tones to cause matching.
fixed
Fixed themes are repeated without variation at regular intervals of time or in a pattern in time so the
listener expects them, even though they may be dissonant against some of the chords.
Links oo Songs in Progressive Order
linked title category comments
C Jam Blues C fixed recording flat the two most basic tones, 5 and 1
cool, out of tune 0:43-0:57 harmonies added to harmonize with each
chord
My Little Suede Eb harmonic major triad and lower neighbor, mostly 1235 of Eb
Shoes
In the Mood Ab harmonic 0:10-0:40 triads on each chord, I, IV and V
fixed 0:40-0:58 tones 5 3 b5, then IVma7 arpeggio
Dizzy Miss Lizzy A fixed eight note theme
Bag’s Groove F fixed all minor pentatonic
Sonnymoon for Two F fixed all minor pentatonic
Chitlins Con Carne C harmonic fixed on I and IV, second theme for V
S.K.J. Db fixed starts at 0:26; all minor pentatonic

Blues by Five Bb harmonic listen for the single note melody on the piano in the
head without the added harmonies
four bar theme transposes to IV during the IV chord
(bars 5-6), then back to I in bar 7
Mr. P.C. C harmonic four bar theme transposes to IV during the IV chord
(bars 5-6), then back to I in bar 7
It Don’t Mean F#m harmonic bars 1-4 use a theme with descending minor bassline
a Thing rhythmic bars 5-8 use a repeated three-beat theme in 4/4
Naptown Blues F fixed theme emphsizes b7 during IV, which is dissonant

but acceptable because of the strong repetition
Night Train Bb harmonic major pentatonic theme on I, repeat on IV7 with key
b3
One for Daddy-O Bb harmonic ascend minor 6/11, descend minor 7/11 pentatonics
Satin Doll C harmonic theme of two notes in bars 1-2 and 3-4,
5-6 begin with a theme of two notes finishes with
another pair of notes and a final note
Things Ain’t What D harmonic I6, then IV6 arpeggio tones in the same range
They Used to Be repeated key tone 1, b7 5 figure on II V
Star Cycle F harmonic comping theme in key of I then in keys of VI and IV

main melody starts in I Mixolydian continues in same
range in VI Mixolydian (during VI7 chord), finishing
during IV7 on a key tone 2, common to all three keys
No Blues F harmonic minor pentatonic with natural 3 on the I and VI, key
b3 on bar two IV7; focus on key b5 in bars 5-6 IV7;
focus on key 2 in bar 9-10 II V
Tenor Madness Bb harmonic Ima6/9 on I, Im6/9 on IV; Ima6/9 on V in bar 12

IIm7 IIm(ma7) IIm7 IIm6 on II V
Comin’ Home Baby F harmonic theme modified to contrast I and IV, secondary theme
for V
Thelonius F# harmonic Dorian

West Coast Blues Bb harmonic I7 theme repeated on bVII

Im7 variation of I7 theme for IV9
I Mixolydian theme emphasizing Vm7 in bar 9
I Dorian theme emphasizing IVm9 tones in bar 10
Gibson Creek Bb harmonic Mixolydian focusing on swing-sounding sixth

Shuffle
Day Tripper E harmonic guitar/bass theme in each key, I and IV

vocal theme almost fixed, slight harmonic variation
Blues in the Closet Ab harmonic minor pentatonic theme with major third during the I
IIm and V chords; harmony in thirds second time
Gee I Wish Bb harmonic head is almost fixed

solos uses much harmonic theme and variation
Hideaway E harmonic theme and variation throughout themes and solos
The Stumble E harmonic Im6/9 pentatonic on IV, Im7/11 on I and V, sixths in

E Dorian and E Mixolydian on I VIm IIm V
Green Onions F harmonic theme and variation throughout themes and solos
Blue Monk Bb harmonic four-note theme with variation and elaboration
Now’s the Time F fixed embellishements with harmonic variation
Blue Wind E harmonic (intro in A) 0:28-0:52, Mixolydian theme and varia-

tion
Let Boots G harmonic minor pentatonic with natural 3, Mixolydian
Well You Needn’t F harmonic four sets of eight bars (AABA):

the “A” sections are based on pairs of four-note cells;
the “B” section is based on one four note cell of eighth
notes with the second eighth on the first or third beat
You Know What D harmonic I Mixolydian theme

I Mean IV Mixolydian in sixths and licks in IVm7/11
licks in Vm7/11 on V chord
Satch Boogie A harmonic based on minor pentatonic
I Know a Little A harmonic first 12 bar is mainly major pentatonic
Don’t Give It Up harmonic built with major triads and minor pentatonic scale
Hot Cha Bb harmonic thirds, relative major and minor pentatonic
Highlander Boogie A harmonic major pentatonic and Mixolydian with chromatics
Guitar Boogie Shuffle E harmonic theme and variation throughout themes and solos
Honky Tonk part 1 Eb harmonic (fretted in E, tuned down) major pentatonic, minor
Honky Tonk part 2 pentatonic, Mixolydian, Dorian, thirds and sixths
theme and variation throughout themes and solos
Bessie’s Blues Eb harmonic repeated architecture and elaboration
All Blues G harmonic ostinato bass through I and IV, secondary melody
through V and bVI
Footprints C harmonic theme in quartal harmony
True Blues C harmonic top-voice leading with minor pentatonic for bars 1-8
single note theme in I ma6/9 during VI to IIm (8-9)
single note theme in Im7/11 with major third in V to I (10-11)
In a Mellow Tone Ab fixed variation especially in the chordal responses the

single-note themes
One for My Baby F harmonic Mixolydian theme in key of I, Mixolydian theme in

key of IV, secondary theme for II V

Straight No Chaser Bb harmonic & rhythmic crafty variation in phrasing and changing scale to fit
the chords
Ornithology B harmonic bars 1-2: theme 1 and variation, completion in 5-6

bars 7-10 theme 2 and variation, ending with repeated
fixed triplet and four-note turnaround cells
Don’t Get Around Db harmonic variation especially in the chordal responses the
Much Anymore single-note themes
Riviera Paradise Eb harmonic (fretted in E, tuned down) 0:28-0:43 bIIIma7 theme

on Im7 to IV9
0:43-0:59 key of bVI: IVma7 theme on IVma7 to V9
1:00 -1:08 key of bV: IVma7 theme on IVma7 to V9,
then IIm V7alt Im7 cadence in original key
Billie’s Bounce F rhythmic rhythmic variation on a theme in bars 1-4 and 11-12
secondary themes in bars 5-10.
Joy Spring F harmonic 32 bars

first 8: theme and variation in original key
second 8: variation on same theme key of bII
third 8: four two-bar recaps in II, I, bVII and bII
fourth 8: theme and variation in original key
harmonic arpeggio theme and variation
Rule of Thumb Eb harmonic (fretted in E, tuned down, out of tune) three four-bar
chord solo style phrases

57
Harmonic
Scalar Pulse
• Fundamental Melodic Principles
• Target Tones and Setup Tones
• Principles of Scalar Pulse
• Outline of Procedures
• Scalar Eighth Notes without Transitions
• Transistions to the Next Octave of the Same Chord
• Using Triplets
• Using Sixteenth Notes
• Scalar Voice Leading

page 1802 Harmonic Scalar Pulse Part 5: Core Melody and Melodic Cells back to contents
FUNDAMENTAL MELODIC PRINCIPLES

When you establish a musical architechture, even a somewhat complex one, a listener (even a non-musi-
cian) comes to expect its repetition and variation. “Music lives in the imagination” (Aaron Copeland).
Music expresses relationships between scales and chords, so use a scale

that includes all the notes of each chord and draw attention to the chord
tones by putting them on the beat.
Relate to the Scale

Melody is constructed from a scale that includes all or most of the notes in the chords involved.
Play the C major scale in eighth notes against an accompaniment chord progression made with chords
of the C major scale, such as Dm7 G7 Cma7 Am7 (repeating, one bar per chord, ending on Cma7).
Relate to the Chord Tones

To show the relationship to the chord, chord tones are played on emphasized pulses which by default
are on the beat. This brings attention to the chord tones and shows a relationship to them. This can
also be done with an appogiatura (leaning tone), where a non-chordal tone is played on the beat, then
immediately resolved to the nearest chord tone by the interval of a scale step.
A pleasing added or changed chord tone. A note played during a chord may not be in the written, spoken
or originally conceived version of the chord, but if it is a pleasing addition or change to the chord, it
may be added. Functionally, it doesn’t matter at first if you know the name of the chord it produces, its
enough that it sounds good.
A phrase can also predict the sound of the chord immediately after it. For example, in the last two
beats of a bar on E7, you may play a phrase that clearly emphasises tones of the Am chord beginning
the next bar.
So, the three exceptional types of notes that can be emphasized during a chord that are not in the
chord are:
1. an appogiatura or leaning tone, where a non-chordal tone is played on the beat then resolved to the nearest
chord tone immediately afterward
2. an added (or changed) chord tone
3. notes that anticipate the next chord

back to contents Part 5: Core Melody and Melodic Cells Harmonic Scalar Pulse page 1803
Use Chord Tone Preferences

The root, third or fifth usually work best to begin a chord. The seventh is usually obscure and weak to
begin a chord. If the ninth (or rarely the thirteenth) is prominent in the arrangement it can be used to
begin a chord.
Avoid Redundancy
To avoid redundancy, it is preferred that the last note played on one chord is not the same as the first
note played on the next chord. This keeps things moving.
Key Scale, Chord Scale and Parent Scale

A key scale is the appropriate scale for the current chord group that is named after the key. Most tones
in the chord group should be in the key scale.
A chord scale is the appropriate scale for the current chord, named after the chord root. All tones of the
chord should be in the chord scale.
A parent scale is the major scale (or major sharp five, major flat three or major flat six) which is the origin
of a key scale or chord scale. A “I” chord would always have the same chord scale and key scale.
The chord scales for groups of chords are commonly modes of the same parent scale.
Using the key scale concept retains your focus on the eventual target chord that the key is named after
for both you and the listener. By continually thinking in terms of one major scale, you’ll be able to more
effectively retain the sense of key. The examples in this study are therefore shown in relation to the C
major parent scale. The key is C major or A minor (“A” is relative minor or “C”). During the VII-III-VI
part of the chord progression, the key is VI minor (A minor).
Scales are shown with formula numbers, which are scale tone numbers in relation to the major scale
named after the tone center (in this case, “C”). Arpeggios and chord fingerings are shown with finger
numbers on the grid, formula numbers below.

TARGET TONES AND SETUP TONES

A setup tone is the last note played before a target tone (chord tone). It usually progresses to the target
tone up or down a scale step. The scale can be a seven tone scale or pentatonic scale, as long as the
interval from the setup tone to the target tone is a minor third or less. A setup tone can also be the fifth
of the target tone chord (usually approaching from below).
An upper neighboring tone is a scale tone immediately above a chord tone in pitch. A lower neighboring
tone is a scale tone immediately below a chord tone in pitch. Upper and lower neighbors must be the
interval of a minor third (three frets, inclusive) above or below the target tone, so pentatonic scales can
be used for upper and lower neighboring tones except not where the interval is over a minor third.
So, a target tone is a chord tone which is preceded by a setup tone. A lower neighbor can be the seventh
(or b7) of the target tone, the next lower tone in a seven tone scale, or the sixth (as in a 6/9 type penta-
tonic scale), where the chord quality permits (I, IV, V and IIm chords). An upper neighbor can be the
minor third (b 3) of the target tone chord.
If the target chord tone is a chord root (has the same letter name as the chord), the fifth of the target
tone may be used as a setup tone to approach the target tone from below.
Chromatic setup tones may approach a target tone from (a half step or one fret) below a target tone. They
may also approach from above target tone if they are filling in the interval between a upper scale tone
neighbor and the target tone. Of course a scale tone may be a half step (one fret) above a target tone, in
which case it doesn’t need to be called “chromatic”.
Setup tones and target tones are notably used in bass lines. It is typical for bass lines to use chord tones
more frequently and setup tones are critical in making the transistions.
Skip to a Target Tone Neighbor

The scalar movement of a second between the last tone of the current chord and the first tone of the
next can be replaced by a skip to a neighbor of the target tone. This is usually more effective if the skip
is less than an octave.
Scalar Encircling
When the melody skips to a target tone neighbor that passes the target tone then moves to the target
tone, it could be said that you are “encircling” the target tone. You can encircle by ascending to an upper
neighboring tone of the target tone, then resolve down to the target tone. You can also encircle by
descending to a lower neighboring tone of the target tone, then resolve up to the target tone.

Applicable to Odd-Numbered Tones of the Chord Scale

These proceedures are primarily applicable to scale-tone chords constructed in thirds, such as seventh
and ninth chords. In terms of the chord scale for the current chord, these are odd-numbered tones: “1,
3, 5, 7, 9, 11 or 13”. You would play eighth notes through the range of the scale from which the chord
was constructed, moving from one scale tone to another. You may change direction at any time.
Odd and Even Numbers

In terms of the current chord scale, many tones of the next chord will be even-numbered. Once you
begin playing on the next chord, the tones are re-numbered in terms of its chord scale. When you
descend from the root of a chord, the root needs to be numbered “8”, instead of “1”. When you ascend
to the next higher octave of a chord root, it also needs to be numbered “8”, instead of “1”.
PRINCIPLES OF SCALAR PULSE

Triads, seventh and ninth chords can be constructed from every other note of a scale (1-3-5-7-9 from
the root). A chord is constructed through a range of notes in a scale. The range of notes for a chord
constructed with “1”, “3”, and “5” is scale tones “1” through “5”.
When beginning with a chord tone on the beat and playing the scale without
skips in eighth notes through the range of the scale from which the chord
was constructed, a chord tone will occur on every beat.
If you have to skip to stay on a chord, make the skip small. The root, third
or fifth (sometimes ninth) usually work best to begin a chord. Skip to any
chord tone during a chord, but use the odd-number version of it’s name.
Approach the target tone by a scale step (except for fifth up to root).
You may change direction at any time in a melody, but should first practice the preliminary exercises
shown below.

OUTLINE OF PROCEDURES
Choosing A Fretboard Area That Accommodates Chord and Scale Tones
Chords
Scales
Arpeggios
Triad Arpeggios
Seventh Arpeggios
Ninth Arpeggios
Arpeggios With Scalar Setup Tones
One, Two, Three or Four Setup Tones
Arpeggios With Cell Setup(s). Irresolved cells want a target, resolved cells don’t.
One, Two, Three or Four Setup Tones
Scalar Eighth Notes Without Transistions
Transitions To The Next Octave Of The Same Chord
Using Triplets
Using Sixteenth Notes
Chord Change Transistions
Scale Tone Voice Leading
Choosing a Fretboard Area

Choose a fretboard area that accommodates the chord and scale tones. For each major or minor chord,
there are three regions that are best. See Note Sets, Structures and Design/Triad Arcs. For all styles,
become familiar with Triad Chord and Arpeggio Fingering, Open Position Major Scales and Triad
Arpeggios and Major Scale-Tone Triads. For jazz and blues, become intimately familiar with default
ninth arpeggios and full-tertian arpeggios (both in the Default Scales, Chords and Arpeggios chapter).
Chords
First, play chord fingerings in the position you will be studying. Play chords that will help you memorize
many of the available chord tones. Barre chords cover many chord tones, learn a few fingerings for the
same chord, if possible to become aware of more available chord tones.

Scales
Scales without attention to chord tones on the beat. If necessary, play in quarter notes, then in eighth
notes.
Chord Scale Awareness
Key Scale Awareness
Simultaneous Chord Scale And Key Scale Awareness
Arpeggios
triads
seventh chords
two octave ninth arpeggios

Thses exercises are not applicable to triads, but can be applicable to seventh chords when it is sylistically
appropriate (jazz or other colorful styles) to melodically add the ninth to the seventh chord. Ninth
arpeggios can be ascended and descended much like seventh arpeggios. When you ascend to ninth, you
can take the option of descending to the root (“8”, a scale step below the ninth) and begin ascending
another octave from that root. For this purpose, practice ninth arpeggios in an overlapping fashion, as
described below.
Choose a position and play ninth arpeggios for each chord in the song (unless restricted to a seventh
chord by the chord type such as diminished seventh). Practice an arpeggio for each chord in the chord
progression repeatedly until you memorize it.
When you can play two complete octaves of each ninth arpeggio in-position, ascend from the low
octave root to the ninth, descend one scale step to the higher octave root and ascend the second octave
of the ninth arpeggio. Fingering range solutions:
• If you can’t reach the low octave root, play that note up an octave.
• If you can’t reach the high octave ninth, substitute the root for it.

“Overlapping” Ninth Arpeggios. Play strict arpeggio tones over chord changes with two bars of 4/4
time for each chord. III7b9 VIm9 IIm9 V9 Ima9 IVma9 in any key would be great. In G, this is B7b9
Em9 Am9 D9 Gma9 Cma9.
t t t t t t
! t t !t t t t t t t t t t
Em9
Ä 44 !t t t t t
B7b9
t t t t
t !t
t t t
â 44
8 7 10 7
7 10 10 7 7 8 8 7
0 0 7 9 9 7
7 10 9 9 10 7 9 9
9 7 10 10
7 11
t t t t t t
! t t t t t t t t t
Am9 D9
Ä t t t t t t t t t t t
t t t t t t
â
7 5 8 5
8 8 5 7 7 5
9 9 5 7 7 5
7 10 10 7 9 4 7 7 4
10 7 7 5
8 5 8
! t t t t t t t t t t t
t t t t t t t t
Gma9 Cma9
Ä t t t t t t t t t
t t t t æ
â ææ
7 10 7
7 10 7 8 8
7 7 7 9 9 7
9 9 7 7 9 10 10 9
10 10 9 9 7 10
10 7 10 8
Arpegios with Setup Tones

Upper and Lower Neighbors With Bend Options
Two-Note Scalar Setups With Bend Options
Three-Note Scalar Setups With Bend Options
Four-Note Scalar Setups With Bend Options
Arpeggios with Cell Setups

Three-Note Cell Setups With Bend Options
Four-Note Cell Setups With Bend Options


SCALAR EIGHTH NOTES WITHOUT TRANSISTIONS

Linear Scalar Eighth Notes
Triads, seventh and ninth chords can be constructed from every other note of a scale (1-3-5-7-9 from
the root). A chord is constructed through a range of notes in a scale. The range of notes for a chord
constructed with “1”, “3”, and “5” is scale tones “1” through “5”. When beginning with a chord tone on the
beat and playing the scale in eighth notes through the range of the scale from which the chord was constructed,
a chord tone will occur on every beat. Remember, you may change direction at any time.
Systematically practice linear examples ascending from the root, then descending from the highest
chord tone, then with changes of direction, then learn to make transistions to descend from the root,
ascend into the next octave and change chords.
Ascending from the root to the ninth in eighth notes, chord tones 1-3-5-7-9 will occur on the beat.
Descending from the ninth to the root in eighth notes, chord tones 9-7-5-3-1 will occur on the beat.
Within the range of the chord, you may change direction on an upper neighbor at the top of a chord
(1-2-3-4-5-6-7-8-9-10-9), or on a lower neighbor at the bottom of a chord (5-4-3-2-1-7-1), or on any
other tone (within the range of the chord).
A Linear Scale within the Range of Each Arpeggio

Use chord changes with two bars of 4/4 time for each chord. Eighth notes each chord from the root up to the
highest odd-numbered chord tone and back. Start on the root and ascend or start on the ninth and descend.
Stay within the range of the arpeggio. You are likely to have intervals over a scale step at the chord change.
Linear ascent on the scale means playing the notes in forward numerical or alphabetic order without skipping,
such as “C-D-E-F-G-A-B-C” or “1-2-3-4-5-6-7-1”. Linear descent on the scale means playing the notes in
reverse numerical or alphabetic order without skipping, such as “C-B-A-G-F-E-D-C” or “1-7-6-5-4-3-2-1”. The
non-chordal tones during your linear ascent or descent on the scale are passing tones.
During a chord constructed with tones “1, 3, and 5” of a scale,“2” would be a passing tone between “1 “ and “3”. “4”
would be a passing tone between “3 “ and “5”. “6” and “7” would be passing tones ascending from “5 “ to “1”.

Linear Ascent And Descent Through Chord Scales.
! !4 t t t
Em9
ÄÄ 4 44 t !t t t t t t t t t t t t t t t t !t t t t t t t t t t t t t t t t t t t t t t t t t t t t
B7b9
t t t
B7b9 Em9
t t t !t t t t t !t t t t t
â â 44 4
4
7
7 9 7 9 7
7 9 10 9 7 7 9 10 7 9 9 7 10 9 7
7 9 10 7 9 10 9 7 10 9 7 7 9 10 7 9 10 10 9 7 10 9
7 8 11 7 9 10 10 9 7 11 8 7 9 10 10 9
7 8 11 11 8
! ! Am9 t t t t t t t t t t t t t t t t t t t t t D9t
Am9 D9
t
ÄÄ t t t t t t t t t t t t tt t t tt t t t t
t t t t t t t t t t tt t t t t
t t t
ââ
7 8 7
7 8 10 7 8 7 10 8 7
7 9 7 8 10 10 8 7 9 7 9 7
7 9 10 7 9 9 7 9 7 10 9 7 7 9
7 9 10 10 9 7 10 9 7
10 8 10
7 9 10 7 9
10 9 7 7 9 10
10 8 10
! ! Gma9 t t t t t t t t t t t t t t t t t t t t t t Cma9
Gma9 Cma9
ÄÄ t t t t t t t t t t t tt t t tt t t t t t
t t t t t t tt t tt tt tt tt t t æ æ
t
ââ ææ æ
7
7 8 10 7 10 8 7
æ
7 9 7 8 10 10 8 7 9 7 7
7 9 10 7 9 9 7 10 7 10 9 9 7
10 7 9 10 10 10 9 9 10 9 7 7 9 10 7
10 10 9 7 10 8 7 8 10 7 9 10
10 8 7 8 10
Upper and Lower Neighboring Tones for the Root and Highest
Chord Tones (Only)
lower neighboring seventh
A lower neighboring scale tone may be used before the chord root. An upper neighboring scale tone
may be used before the highest tone in the chord. You may descend to the neighboring tone below the
root and ascend to the neighboring tone above the ninth, then in each case, change direction.


! t t t t t t t
Em9
Ä 44 t t t !t t t t
B7b9
t t
t t t t !t t
t t t t t t t t
â 44 6 7 9 10
7 9 10
8
10 9 7
7 5 7 9 10
7 9 10
7 9
7 8 7
9 7
7 5 7 8
! t t t t t t t t t t t t t t t
t t t t t t t
Am9 D9
t
Ä t t t t t t t
â
7 8 7
7 8 10 10 8 7
7 9 7 9 9 7
7 7 9 10 7 9 10 10
10 7 9 10
10 8 10
t t t t t t t t t t t t t t t
!
t t t t t t t
t t t t t t t t
Gma9 Cma9
Ä æ
â ææ
7 7 8 10 12 10 8 7
7 8 10 10 8 7 7 8 10
7 9 7 9
7 9 10 10 9 10
10 9 10
lower neighboring sixth

The lower neighbor may be the seventh of the scale, or a sixth, where the sixth is a major sixth (such as
and “A” note as a sixth for a “C” root). Below, the lower neighbors are the sixth of the root which they
preceed. In the major scale this occurs with the chords constructed on major scale tones one, four, five
(on which major chord are constructed) and on scale tone two. In the G major scale example shown
below, this would be for the chords Am9, D9, Gma9 and Cma9.
! t t t t t t t t t t t t t t t t
t t t t t t
Am9 D9
t
Ä t t t t t t t
â
7 8 7
7 8 10 10 8 7
7 9 7 9 9 7
7 7 9 10 7 9 10 10
9 7 9 10
10 7 10
!
t t t t t t t
t t t t t t t t
Gma9 Cma9
Ä æ
â ææ
7 7 8 10 12 10 8 7
7 8 10 10 8 7 7 8 10
7 9 7 9
7 9 10 10 7 10
10 7 10

upper neighbor to the highest chord tone

Practice descending the arpeggios as well as ascending. This example descends each arpeggio from the
ninth with an upper neighboring tone:
! t t t t t t t
B7b9 Em9
Ä 44 t !t t t t t t t !t t t t t t t t t t
t t t t t
â 44 5 8 5
9 7 5
9 7 6 6
7 8 7 5
7 5
9 7 5
9 7 5 7 9
5
8 7 5 7 8
Am9 D9
Ä t t t t t t t t t t t t t t t
â
7 8 7
10 8 7 7
9 7 9 9 7
10 9 7 7 9 10 10 9 7
10 10 9 7 7 9
10 8 10
Cma9
Gma9
Ä t t t t t t t t t t t t t t t æ
â ææ
7
10 10 8 7
9 7 7 9 7
10 9 7 7 9 10 9 7
10 9 10 10 9 7 7
10 8 7 8 10

A Stepwise Scale within the Range of Each Arpeggio

with Change of Direction
Play eighth notes on each chord, beginning with a chord tone on the beat. Use stepwise motion only,
no skips (except the lower neighbor sixth, as mentioned in the previous step). Start on any chord tone
and ascend or descend withing the range of the arpeggio.
You may change direction at any time, but stay within the range of the arpeggio. When changing
direction on a non-chordal tone, the non-chordal tone becomes a neighboring tone. Remember, the non-
chordal tones during your linear ascent or descent are passing tones.
You are likely to have interval skips at the chord change. Those will be dealt with in the steps that follow.
! t t t t t t t t t t t t t t t t t t t t t t t t
Em9
Ä 44 t t t t !t t t t
B7b9
â 44
7 8 7 7 8 7
7 8 10 10 8 7 8 7 8 10 10 8 7
8 8 9 9 7 9 9 7
9 7 9 10 10
t t t t t t t t t t t t t t
! t tD9 t t t t t t t t t
t t t t t t t
Am9
â
7 8 7 7 8 10 8 7
7 8 7 8 10 10 7 7 8 10 10 8 7
7 9 9 7 9 9
7 9 10 9 10
! t t t t t t t t t t t t t t t t
t t t t t t t t
Gma9 Cma9
Ä t t t t t t t t æ
â ææ
7 8 10 8 7
7 7 8 10 10
9 7 9 7 7 7 9 7 9
10 10 9 10 9 7 9 7 7 10 9 10
10
Ninth Chords with Three Common Tones

Use chord changes with one or more bars of 4/4 time for each chord. Use scale tone ninth chords. Any
part of IIIm7b9 VIm9 IIm9 V9 Ima9 IVma9 will work, such as B7b9#9n3 Em9 Am9 D9 Gma9 Cma9
of G major(IIm7b9 = III7b 9#9 no third).
At the chord change, make sure you are playing with the range of chord tones common to the current
and next chord. In the VIm9 IIm9 V9 Ima9 IVma9 chord progression, the root, third and fifth of each
chord become the fifth, seventh and ninth of the next.
No transistion will be necessary at the chord change. Venture into the non-contiguous part of each
arpeggio (the part not common to both chords) as long as you get back to the contiguous area (common
to both chords) at the chord change.
B7b9#9 no third (= Bm7b9)
! t t t t t t t t
Em9
t t t t t t
Am9
Ä 44 t
D9
t t
â 44
7 8 10 12 10 8 7 7
10 10 8 10 8 7 7
9 7 9 9 7 7 9 7 7
10 9 10 10 10 9 7
10
!
Gma9 Cma9
Ä t t t t t t t t t t t t t t t t æ
â 7
10 9 10
7
10 9 7 ææ
10 8 7 8 10 8 7 5
Similarly, scale-tone seventh chords have two tones in common with one another when their root pro-
gression is in fourths. Scale-tone eleventh chords have four notes in common with root progression in
fourths and such thirteenth chords have five in common.
Inserting Consecutive Arpeggio Tones

Passages of arpeggios constructed in thirds may replace stepwise passages. Three consecutive arpeggio
tones (or any odd number of them) followed by stepwise scalar movement will also keep arpeggio tones
on the beat. Consecutive arpeggio tones cause chord tones on the offbeat, in addition to on the beat.
When you play a chord tone on the offbeat, be sure to play another chord tone on the following beat.
Skips are allowed within the arpeggio, which can be used to approach another octave of the same chord.
! 4 t t !t t t t t t t t !t t t t t t t t t t t t t t t t
B7b9 Em9
Ä 4 t
t t t
â 44
8 7
7 10 10 8 7 10 7 7
8 9 8 7 9 7 7
9 9 9 9 10 9 7 9
7 10 10 7 7
! t t t t t t t t t t t t t t t t t t
Am9
t t t t t t t t
D9
Ä t t t t
â
7
8 10 8 7 8
9 9 7 9 9 7
7 10 10 7 7 7 10 10 9 7 10 7
9 10 9
10 10 10
t t t t t t t t t t t t
! t t t t t t t Jim Gleason.
t t©2003 t t Reserved.
t t t
Gma9
t
Cma9
t t
All Rights
Ä t æ
â ææ
7 10 8 7 7
7 10 8 7 7 8 10 8 7 8
7 9 7 7 9 9
9 10 9 10 10 10
10 10 10

Pentatonic Scales With Chromatics Substituted

for Five Tones of a Seven-Tone Scale
Five-note pentatonic figures (including a chromatic tone) which chromaticize a triad can be substituted
for four consecutive scale tones of a major scale (or other appropriate seven tone scale).
With major pentatonic (1-2-3-5-6 of major), the numbered toness 1-2-#2-3-5 (5-3-b3-2-1) can be
substituted for 1-2-3-4-5 (major or Mixolydian) or for 1-2-3-#4-5 (Lydian). This puts the “b3” on the
beat and darkens the mood slightly. This is used on the D9, Gma9 and Cma9 in the example below.
With minor pentatonic (1-b3-4-5-b7 of major), 1-b3-4-#4-5 can be substituted for 1-2-b3-4-5 (Dorian,
Aeolian or harmonic minor) or for 1-b2-b3-4-5 (Phrygian). Use this in ascending form only for now.
We will need to use a special chromatic treatment later in descending. This is used on Em9 and Am9
in the example below.
With dominant 7/11 pentatonic (1-3-4-5-b7 of major), 1-3-4-#4-5 can be usually be substituted for
1-2-3-4-5 of Mixolydian D9 as shown in the example below. 1-3-4-#4-5 can usually also substitute
for 1-b2-3-4-5 of Phrygian major, as used on the B7b 9 chord in the example below.
NEEDS EXAMPLE
The fifth, seventh and ninth of the VIm7, IIm7 and V7 chords each constitute a minor triad. Each of
those triads can be chromaticized, as with the examples above.

TRANSITIONS TO THE
NEXT OCTAVE OF THE SAME CHORD
You should go back over melodic figures you have constructed with the previous steps and apply them to two
octaves by using transitions shown in this section.
Omitting a Scale Tone Between the Fifth and Root of a Triad

On minor chords in modes with a flat seventh, ascend from scale tone five to one omitting the sixth and
playing only the flat seventh in moving between the fifth and root. On major chords in modes with a
flat seventh, omit the sixth or seventh in moving between the fifth and root. On major chords in modes
with a major seventh, usually omit the seventh in moving between the fifth and root.
Consecutive Tones of a Triad or Seventh Chord

to Move into the Next Octave
Consecutive arpeggio tones can be used to move into the next octave. Once you are in the next octave
higher or lower, be sure to play the last consecutive chord tone on the beat, then move to a neighboring
scale tone on the offbeat.
Moving Down from the Root

Moving down melodically from the root (while on a single chord) requires a transition similar to that
moving to another chord. A setup tone is needed to move down to the seventh. Replace stepwise
movement down to the seventh with the interval of a third or a chromatic, (only when the chord tone is
a flatted seventh).
Using Consecutive Upper Chord Tones

to Move into the Next Higher Octave
Arpeggio tones greater than an octave (the ninth, eleventh and thirteenth) are stepwise neighbors to the
lower arpeggio tones of the same chord in the next higher octave. Conversely, the lower arpeggio tones
of a chord are the stepwise neighbors of the tones greater than an octave for the same chord in the next
lower octave.
Transistions to these arpeggio tones of the same chord in another octave are similar to transistions to
the notes of another chord, in that the tones not in one chord are in the other.

Acsending an arpeggio constructed with odd-numbered tones larger than an octave skips the even-
numbered tones eight, ten, etc., which begin the upper octave of the same chord. The note an octave
(eight) above the lower arpeggio’s root is the root of the upper arpeggio. The note a tenth above the
lower arpeggio’s root is the third of the upper arpeggio. The twelfth above the lower root is the fifth of
the upper and the fourteenth of the lower root is the seventh of the upper.
Odd-Even Transistions by Rhythm

When a the current chord tones are odd-numbered tones of its chord scale, the target tone for the next
chord is often an even-numbered to of the scale of the current chord. When this is the case, a transis-
tion needs to be made. Once the transistion is made, a new chord scale is considered for the new chord
where the even-numbered note is then re-assigned an odd number.
When you approach the root of the current chord in the upper octave, it is virtually treated as a new
chord, in that its root is “8”, and is not an odd-numbered tone. Therefore, a transistion from odd to even
needs to be made.
Change The Rhythm On The Last Beat

Use a single note on the last beat of the current chord.
One of the following sets of three notes:
an eighth and two sixteenths

two sixteenths and an eighth
a sixteenth, an eighth and a sixteenth
a triplet.
Odd-Even Transistions by Fragment Pattern

Beginning on an odd-numbered chord tone, play four sixteenths with a “1-3-4-5” or “1-2-3-5” fragment
pattern to transition to even-numbered tones.

USING TRIPLETS
Scalar eighth note triplets would include a chord tone on the first of every two beats. They should be
started on the first and/or third beats, since those are metrically stronger accents by default. Triplets
can be made to align chord tones on the be by filling in thirds chromatically or by using two setup tones.
Major thirds have four half steps, a triplet bridging a major third must involve one whole step.
In ascending and descending a minor ninth chord with triplets and inserted chromatics, use a chromatic
scale from the root to ninth except omit the major third and major seventh. With a Mixolydian ninth
chord, omit the major second and minor seventh. With a Phrygian major ninth chord (7b9) omit the
major second. With a major ninth chord, omit the minor second and omit the minor sixth or minor
seventh.
USING SIXTEENTH NOTES

Most of the principles outlined for scalar eighths may be used in “double time” with scalar sixteenths.
Beat units of scalar sixteenths may be combined with scalar eighths.
SCALAR VOICE LEADING

(preceeding a chord root from it’s fifth is also included)
Root progression refers to the change from the letter name of one chord to the letter name of the next
chord. Each chord tone listed in the at the top of the columns in the diagrams below (root, third, fifth,
seventh and ninth) will have specified possible movements shown below it. See Voice Leading.
Scale-Tone Ninth Chords with Root Progression up A Fourth

(equals down a fifth)
chord root progresses up a fourth
The root and third of the arpeggio representing the current chord will each move to the root of the
arpeggio representing the next chord (root up a fourth and third up a scale tone). The fifth, seventh and
ninth of the current chord arpeggio can each move up or down a scale tone and either way will arrive on
an arpeggio tone of the next chord.

chord root progresses down a fifth

The root, third and fifth of the current chord are respectively the same tones as the fifth, seventh and
ninth of the chord whose letter name is down a fifth. The seventh and ninth of the current chord are
out of range of the arpeggio for the next chord whose root is down a fifth (from the root of the current
chord).
root progression root third fifth seventh ninth

up a fourth up a fourth up a scale tone up or down a scale tone
down a fifth common tone out of range out of range
Scale-Tone Ninth Chords With Root Progression Down A Fourth

(equals up a Fifth)
chord root progresses up a fifth
The root and third of the arpeggio representing the current chord are out of range of the arpeggio for the
next chord whose root is up a fifth (from the root of the current chord). The fifth, seventh and ninth of
the current chord are respectively the same tones as the root, third and fifth of the chord whose letter
name is up a fifth.
chord root progresses down a fourth

The root, third and fifth of the current chord arpeggio can each move up or down a scale tone and either
way will arrive on an arpeggio tone of the next chord. The seventh of the current chord becomes the
third of the next chord. The ninth of the current chord can move down a fifth to the root of the next
chord.
root progression root third fifth seventh ninth

up a fifth out ot range out of range common tone
down a fourth up or down a scale tone common tone down a fifth
Other Voice Leading

In making a transition to the next chord root down a third, the movement can be from the root of the
original chord down a fourth, then up a step to the new root.












58
Improv Level 5:
Core Melody
and Melodic
Cells
• S

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CONTENTS

Part 5 - Core Melody and Melodic Cells

©1998-2018 Jim Gleason. All Rights Reserved.

©1998-2018 Jim Gleason. All Rights Reserved.

©2014-2017 Jim Gleason. All Rights Reserved.

DUALITY TONES AND CORE MELODY

Duality Tones as the Chord Tone Part of a Scale

Core Melody is Typically Two Notes per Bar

Great Improvisers Use Core Melody

©1998-2017 Jim Gleason. All Rights Reserved.

©1998-2017 Jim Gleason. All Rights Reserved.

CHORD TONES IN PENTATONIC SCALES

how to use the tables of diagrams on the following pages

©1998-2017 Jim Gleason. All Rights Reserved.

finding commonality: grey backed notes in bold black

Intro To Pentatonic And Chord Commonality In C major, V position

pentatonic, major scale, arpeggios and common tones

©1998-2017 Jim Gleason. All Rights Reserved.

the pentatonic scale

E form m711 pentatonic G form ma69 pentatonic

the major scale

I major II minor III minor IV major V major VI minor

©1998-2017 Jim Gleason. All Rights Reserved.

I major II minor III minor IV major V major VI minor

I major II minor III minor IV major V major VI minor

pentatonic and chord commonality: core melodic tones

I major II minor III minor IV major V major VI minor

©1998-2017 Jim Gleason. All Rights Reserved.

Applying to the Full Fretboard in All Keys

©1998-2017 Jim Gleason. All Rights Reserved.

Twenty Fingerings to Memorize

©1998-2017 Jim Gleason. All Rights Reserved.

Pentatonic Fingering 1 Chord Commonality

G Form I major and E form VI minor

G Form IV major and E form II minor

G Form V major and E form III minor

©1998-2017 Jim Gleason. All Rights Reserved.

Pentatonic Fingering 2 Chord Commonality

E form I major and D form VI minor

E Form IV major and D form II minor

E Form V major and D form III minor

©1998-2017 Jim Gleason. All Rights Reserved.

Pentatonic Fingering 3 Chord Commonality

D Form I major and C form VI minor

36257 3 36 25 7 3 362 5 7 3 36257 3 3625 73 36257 3

D Form IV major and C form II minor

D Form V major and C form III minor

©1998-2017 Jim Gleason. All Rights Reserved.

Pentatonic Fingering 4 Chord Commonality

C Form I major and A form VI minor

C Form IV major and A form II minor

C Form V major and A form III minor

©1998-2017 Jim Gleason. All Rights Reserved.

Pentatonic Fingering 5 Chord Commonality

A Form I major and G form VI minor

A Form IV major and G form II minor

A Form V major and G form III minor

3625 73 36 25 73 362573 362573 3625 73 36 2 5 7 3