Ted Greene Fundamentals PDF

The 5 Main Areas and the
Related Triads and Major7 Chords

Ted Greene, 1973-06-05
Just for clarity sake, here is the text at the top of Ted’s page:
The 5 Main Areas and the Related Triads and Major 7 Chords
Learn all forms according to bass note, string set, and area for best understanding.
Learn diatonic chord scale of all chords with asterik to left of diagram.
[Row 1] Closed Triads

[Row 2] Open Triads
[Row 3, starting on grid #2] Wide Open Triads
[Row 3, starting on grid #9] 4-note Triads
[Row 7, starting on grid #2] Major 7ths
[Row 8, starting on grid #11] 3-note Major 7ths
___________________________________
These three pages have identical chord diagrams. Pages 2 and 3 are copies with additional
comments penned by Ted at a later date.
The first page is the “Clean” original version.
The second page is a copy in which Ted used red ink to indicate the chords’s “Area number”
just to the left of the chord name.
The third page is another copy that Ted added various dots and circles around some of the
stars (asteriks). He wrote that the yellow dots = “chord scale.” This probably meant that this
was an assignement for the student to use this chord form as a starting point for building a
chord scale. I’m not sure how this differs from the instructions at the top of the page which
he wrote, “Learn diatonic chord scale of all chords with asterik....” It might be that the
yellow dots indicate those that are more important and should definitely be done, whereas
the others marked with an asterik alone are of secondardy importance. We don’t know for
sure.
Ted also added red circles or red and green circles around some of the asteriks. We may
never know what he actually was indicating for these, but it is possible that they he was just
targeting certain basic “must-know” forms or favorites.
—Editor’s note
___________________________________
Aeolian Tonality
Ted Greene — 1986, August 3
The Aeolian tonality type seems to be the granddaddy (mammy?) of them all, both
historically and in terms of frequency of usage. Maybe that’s why it was coined “The
Natural Minor” a long time ago. It probably has more range of color and mood within it
than any other minor key type, so let’s see why, by beginning with a look at its Diatonic
Triads:
Key of Gm i ii° bIII iv v bVI bVII

Gm A° Bb Cm Dm Eb F
One thing about Aeolian that’s kind of convenient to remember and deal with is that the
“one, four and five” chords are all minors, just like the tonality itself. We’ve already taken
a little look at the iv chord on the first Dorian page, but let’s look again at the V chord:
Key of Gm:
i iv i i v v i
You may have noticed that the v chord was in Dorian too as one of the diatonic triads, so
this phrase could easily be converted to Dorian by simply changing the iv (Cm) to IV (C).
Try it….
Now transpose this phrase to the keys of Em, C#m and Bbm and play all four keys non-
stop. Also in Dorian.
Reminder: You will be getting so much more out of all this if you force your mind to think
of the chord names and functions (i, iv or v) while you are playing.
There are a variety of ways to give Aeolian more warmth. Before we get to the most
exciting of these let’s see about helping the iv sound even more appealing:
If we write out the Diatonic 7th chords of Aeolian….
i7 ii±7 bIIImaj7 iv7 v7 bVImaj7 bVII7

Gm7 Am7b5 Bbmaj7 Cm7 Dm7 Ebmaj7 F7
Aeolian Tonality Ted Greene, 1986, Aug. 3 — page 2

….and then substitute the iv7 for the iv (and the v7 for the v) at the end of the following
phrase:
If you try the last two chords here as plain minors rather than m7’s, maybe you’ll be able
to better appreciate the beauty of the iv7.
Another beautiful sound on the iv in Aeolian is the “add9”:
key key
of of
Dm Fm
Aeolian.
Try
both
key
of
Am
Dorian
Practice this example until you can play it fluidly and study the logic of each chord move
very carefully.
This next and last phrase for now, is the hardest yet, physically. Pay particular attention to
the sustained notes. Learn it a little at a time, work slowly and carefully and master this
phrase! Remember, we’re doing it for your hands and your ears, not mine, so if you want
to cuss me out, fine…just do the work anyway.
key
of
Gm
or G note
this note may die out
on your particular guitar
Roll the right hand

on this last chord
Dorian Aeolian
Chord Construction (Formulas)
Ted Greene
last update: 1976-05-26
Your musical life will be much easier if you look for systems and ways to
organize large clumps of knowledge into more easily digestible forms. The idea
of chord construction can be simply broken down into 3 main groups of sound
(and one small “odd-ball” group). Each of the 3 main groups has its own
subdivisions and the groups are based on one basic chord type each, namely:
1) The MAJOR chord
2) The MINOR chord
3) The DOMINANT 7th chord
(The smaller group is based on the DIMINISHED 7th chord).
As you might know, chord construction can be, and is most often viewed in
relation to major scales. For instance, any major chord is built by combining the
1, 3, and 5 (Root, 3rd and 5th tones) of its own major scale — like a G major
chord contains the notes G, B, and D which are the 1, 3, and 5 of the G major
scale.
If you are trying to figure out the notes in a chord that doesn’t have a
“normal” major scale (like A# for example), you can relate to its more “normal”
brother (A in this case) and then # or ¨ all the notes accordingly (# in this case).
Example: to find the notes in an A# chord, find the notes of an A chord (A, C#,
and E) and # them. Æ Answer: A#, Cx [this symbol means “double-sharp”] and
E#. Or, another good method is the one given in Elementary Harmony by Robert
Ottman.
Not all notes need be played in most chords. Quite often, the 5th or Root
(sometimes both) are left out; also much less often, the 3rd is omitted. (These
statements refer to the chord voicings used by most guitarists who are involved
with chords.) Also, these thoughts will come into focus as you work with the
chord reference pages, chord progression pages, etc.
With all of this in mind, the following list is given for reference—you
needn’t try to memorize this material now—just keep referring back to it when
you need to.
MAJOR MINOR
Major (triad) — 1,3,5 Minor (triad) — 1,b3,5
Major 6th — 1,3,5,6 m7th — 1,b3,5,b7
Major 7th — 1,3,5,7 m7/11th — 1,b3,5,b7,11
Major /9th — 1,3,5,9 m9th — 1,b3,5,b7,9
Major 9th — 1,3,5,7,9 m11th — 1,b3,5,b7,9,11
Major 6/9th — 1,3,5,6,9 m/9th — 1,b3,5,9
Major 13th — 1,3,5,7,9,13 m7/13th — 1,b3,5,b7,13
Major 7/6th — 1,3,5,7,13 m9/13th — 1,b3,5,b7,9,13
m7/11/13th — 1,b3,5,b7,11,13
Major 6/9#11 — 1,3,5,6,9,#11 m7b5 — 1,b3,b5,b7
Major 7#11 — 1,3,5,7,#11 m7b5/11 — 1,b3,b5,b7,11
Major 9#11 — 1,3,5,7,9,#11 m7+ — 1,b3,#5,b7
Major /9#11 — 1,3,5,9,#11 m7/11+ — 1,b3,#5,b7,11
Major /#11 — 1,3,5,#11
Suspended — 1,4,5 m6 — 1,b3,5,6
2 — 1,2,5 m6/9 — 1,b3,5,6,9
m6/7 — 1,b3,5,6,7
m6/9/7 — 1,b3,5,6,7,9
m6/11 — 1,b3,5,6,11
m6/9/11 — 1,b3,5,6,9,11
m6/9#11 — 1,b3,5,6,#11
Major 7+ — 1,3,#5,7 m7 — 1,b3,5,7
Major 9+ — 1,3,#5,7,9 m9 — 1,b3,5,7,9
DOMINANT
Dominant 7th — 1,3,5,b7
Dominant 7/6th — 1,3,5,b7,13
Dominant 9th — 1,3,5,b7,9
Dominant 13th — 1,3,5,b7,9,13 DIMINISHED
Dominant 7sus — 1,4,5,b7 Diminished 7th — 1,b3,b5,bb7(6)
Dominant 7/6sus — 1,4,5,b7,13 Diminished 7/7th — 1,b3,b5,6,7
Dominant 11th — 1,5,b7,9,11 Diminished 7/9th — 1,b3,b5,6,9
Dominant 13sus — 1,5,b7,9,11,13 Diminished triad — 1,b3,b5
Dominant 13#11th — 1,3,5,b7,9,#11,13
Dominant 9#11th — 1,3,5,b7,9,#11
Dominant 9b5 — 1,3,b5,b7,9
Dominant 7+ — 1,3,#5,b7
Dominant 7b5 — 1,3,b5,b7 9=2 11 = 4 13 = 6
Dominant 7#9 — 1,3, 5,b7,#9
Dominant 7b9 — 1,3, 5,b7,b9
Dominant 7#9+ — 1,3,#5,b7,#9 The major, minor and dominant 7th will be
Dominant 7b9+ — 1,3,#5,b7,b9 referred to as the PARENT chords of the
Dominant 7#9b5 — 1,3,b5,b7,#9 3 FAMILIES of sound.
Dominant 7b9b5 — 1,3,b5,b7,b9
Dominant 13b9 — 1,3,5,b7,b9,13
Dominant 13b9#11 — 1,3,5,b7,b9,#11,13
Dominant 13#9 — 1,3,5,b7,#9,13
Dominant 9+ — 1,3,#5,b7,9
+ — 1,3,#5 Augmented chord can actually have its own
+11b9 — 1,3,#5,b7,b9,11 little family too.
Chord Progressions
Certain chord progressions occur so often in popular songs that they should be committed to memory,
and this should help in the following ways:
1) You will be able to memorize songs faster because you will notice many similarities, and
2) You will be able to use these progressions as substitutes for weaker ones (more on this soon).
Common Progressions
Code:
Capital Roman numerals = major chords
Small Roman numerals = minor chords
Capitals with 7 (like V7) = dominant 7
Small Roman numerals with 7 (like ii7) = minor 7th
7 [or ²7] = major 7
1) ii7 - V7 - I²7 or i7
2) II7 - V7 - I²7 or i7
3) iim7¨5 - V7 - I²7 or i7
4) vi7 - II7 - ii7 - V7 - (I²7)
5) I²7 - vi7 - ii7 - V7 - (I²7)
6) iii7 - vi7 - ii7 - V7 - (I²7)
7) iii7 - VI7 - ii7 - V7 - (I²7)
8) I - VI7 - II7 - V7 - (I)
9) III7 - VI7 - II7 - V7 - (I)
10) iiim7¨5 - VI7 - iim7¨5 - V7 - (I)
Minor7¨5 is sometimes written like so: ±7
11) I - (IV) - viim7(¨5) - III7 - vi
12) I - I7 - IV - iv or ¨VII7
13) I - iii7 - IV - V7
These patterns will often sound very bland without extensions, and most of them will be found in tunes
where the melody is dictating that some extension should be played.
Example:
Key of C Æ Given C - C7 - F - Fm
I I7 IV iv
if the melody was: G A G# | G E Eb D

chord possibilities: C²7 C7/6 C7+ F²9 F²7 B¨11 B¨9
2-19-74
© Ted Greene
The Chromatic Scale

Music as we know it uses the following alphabet to designate the different tones:
Notice that Bb is written under A# (likewise Db/C# and others); this means that they are the same
sound (the reasons for needing to be able to use both symbols will become clear soon—you will
have to take many things on faith at first in the study of music). This alphabet is called the
chromatic scale; notice that there are 12 different sounds in it. Also you just have to accept the
fact that there is no sharp or flat between B and C and between E and F (an explanation would
waste too much space here).
The Major Scale
Before we can talk about major scales we must talk a little about intervals (an interval refers to
the distance or difference in pitch between any two notes). The two most basic type of intervals
are the half step and the whole step. Any two notes which are adjacent (next to each other) in
the chromatic scale are said to be a half step apart (such as A and A#, A# and B, B and C, etc.).
Any two notes which are separated by one note in the chromatic scale are said to be a whole step
apart (such as A and B, Bb and C, B and C#, etc.).
A major scale is a group of consecutive tones from one letter name to its repetition in which all
intervals between adjacent letter names are whole steps except for between 3 and 4 and between
7 and 8, which are half steps.
Example: The A major scale is:
The distance between the first and eighth tones is called an octave. The notes in the scale (also
termed degrees of the scale) are given the following names: 1 = tonic (also root), 2 = supertonic,
3 = mediant, 4 = subdominant, 5 = dominant, 6 = submediant, 7 = leading tone, 8 = octave, tonic,
or root. As you will see, chords are built on the different degrees of a scale and the above names
will apply to these also, except that chords built on 1 and 8 are called tonics exclusively, not
roots or octaves.
Roman numerals are usually used instead of Arabic numbers in music notation when referring to
the degrees of a scale (Example: the subdominant is usually written as IV, not 4).
The major scales are the foundations of most musical theory and must be memorized as soon as
possible. Look at it this way: in learning to speak English you had to just learn the alphabet,
then simple words and how to spell them, then how to use them in sentences, and so on. So it is
with music—first the alphabet (chromatic scale), then the words (major scales, chords, and
others), then the sentences (phrases, songs, etc.).
2-19-74
© Ted Greene
Here are the Major Scales listed in order of the number of sharps or flats.
Before you dig in on the memorizing of the major scales, it would be wise to learn a few short-
cuts. Notice in the sharped keys (those with sharps) that the keys progressively add one more
sharp each time—like the key of G has one sharp, D has two, A has three, and so on. Now,
notice that each key is the 5th of the previous key and that the sharps themselves are each added
in to the scales in the relationship of a 5th.
Example: the key of G has one sharp: F# ; the key of D (which is the 5th of G) has two sharps:
the F# again and the sharp that is a 5th up from it: C#. Now all this may be confusing you a
little, but if you memorize the little wheel
given below, in the long run, you are going
to save a lot of time. This wheel is called
the Cycle of 5ths and also the Cycle of 4ths,
depending on whether you go clockwise or
counterclockwise.
Notice that the flat keys are related to the
cycle of 4ths in the same manner that the
sharp keys are related to the cycle of 5ths.
So memorize the wheel first, then the major
scales—this is the easiest way to go. Don’t
put off learning all this information now or
you will be in a mess of trouble later, trying
to cope with even basic concepts, let alone
advanced ones. Whenever you have free time with your mind, like while eating, driving (but be
careful), etc., you can practice this.
Here are some fingerings of the major scale (listed in the key of A, but transposable to all keys if
you know the Chromatic Scale). Some of these fingerings may not seem important to you now,
but each has a reason for being given—to lay the groundwork for the ability to improvise multi-
line music. After learning them in A, transpose them to all other keys.
Transcribed by David Bishop

1/9/12
Cycles
Ted Greene 1988-08-28
Fascinating little rascals these cycles. They’ve been around in one form or another for hundreds of years.
They are all understandable if we just take a little time to think clearly. Let’s start at the beginning…a
general definition won’t hurt anyone.
CYCLE: Any series of notes, intervals or chords that has 1) a built-in symmetry between adjacent
members and 2) comes “back home” to the same letter name it started on…but normally one octave higher
or lower. This second requirement is sometimes not actually fulfilled…. Example: C G D A would still be
called a cycle of 5ths (each note being the 5th of its prior note…just count up the alphabet:
1 2 3 4 5 1 2 3 45
C D E F G, G A B C D, etc.
even though it does not complete its run by returning home to C [C G D A E B F# (or Gb) Db Ab Eb Bb F
C]. Really C G D A is an incomplete cycle, but musicians, being lovers of abbreviations and short-cuts,
still would often call this a “cycle.”
Unquestionably, the most popular cycles or incomplete cycles in the history of music have been various
forms of the Cycle of 4ths. Try the following chord progressions:
Can you see the cycle at work here in these little examples, incomplete though they may be?
Each chord is built on the note which is the 4th of the previous chord. To put it another way, each chord
moves forward 4 letters (counting itself) of the musical alphabet to reach the next chord.
The most common cycle of 4ths by far is one that uses only the notes of either a major or Aeolian scale to
build chords on. Observe: take say the key of C major, arrange the notes of this scale so that each time,
you’re moving forward a 4th…result Æ C F B E A D G C…now add the diatonic chord qualities, say as
7th chords, and you’ll have Cmaj7, Fmaj7, Bm7b5, Em7, Am7, Dm7, G7, and Cmaj7 again.
Oftentimes this cycle will start from I as just given, but equally often it will be heard in songs, classical
works and who knows what, starting from other degrees of the key, such as IV or iii or vi or ii…. That’s
what was happening in the above little chord progressions….they were in G, starting from iii and vi
respectively.
Take a breather now and then reread everything you have just read…please. Write down your questions.
So, what we have just been talking about is a special form of “cycle 4” that we will call the Diatonic Cycle
of 4ths. Note: the interval between F and B is a 4th, but not a “pure” 4th, rather, it’s an augmented 4th.
This is one of the beauties of the Diatonic Cycle of 4ths which allows it to return to the starting note.
Without it, you get a progression of roots which are harder to make musical and which go on for an awfully
long time before returning home…Great for practicing certain drills, not so great usually if carried out too
far in actual music, without some other interval between successive roots somewhere for relief or variety.
There is a good chance that you may have a lot of interesting questions by now. Let’s talk about them, and
also maybe many of them will be answered on the next page. For now, think and experiment…and keep
studying the works of the--- [scanned page cuts off last sentence, but probably said something like, “great
composers” etc.]
Developing Fingerboard Sense in a Harmonic-Melodic Style
(Harmonized Melody and Melodized Harmony)
The fingerboard is a knowable thing (“Yea, I know it makes no sense”). Seriously, it is. It will
reveal itself to you little by little if you do your part in the relationship. All the knowledge, all the
beauty is just sitting there waiting for anyone who will meet it halfway. While it is true that the more
subtle treasures are generally available only to the very serious and/or curious, the basic, essential
knowledge can become friendly to you (and you to it) in a pretty short period of time.
The main thing at first is to get an overall sense of the neck and where things can be played. The
following examples will try to demonstrate this.
1) Key of Eb. Study these two examples until you can visualize them in your head!
1a) In addition to the above forms which seem to cover the logical alternatives, there are a few subtle
options which can sneak by even those with the best of intentions:
This leaves us with 7 main places to

play these notes…just like the
7 main fingerings of the major scale.
2) Let’s look at another example:
And linking all this together in geographical order:
Study all this very carefully please. Look for the logic and it will all start to fall into place.
A more difficult option:

And this might be attempted on lower strings as well, speaking
of which, the three types of fingerings in the above line could
be done an octave lower on the low strings, right?
“Developing Fingerboard Sense in a Harmonic-Melodic Style” — Ted Greene, 1986-09-20 p. 2
3) Let’s try a short melody harmonized with I to IV in the key of Bb:
“Side-trip”: let’s hear the effect of register (and key change):
As I mentioned before, and I hope you are seeing, the fingerboard is a knowable (noble?) thing.
And if it still seems overwhelming, rest assured that patient study of areas pertaining to harmony and
moving lines will considerably alter this view. And gradually a new kind of “overwhelm” will likely set
in: the overwhelming amount of beautiful things there are to study and bring to life. There is a certain
frustration in this, but compared to not knowing where anything is……
Dorian Tonality
Ted Greene — 1986, August 3
The Dorian tonality is one of the two most widely used minor key colors in American
music covering the last 20 or 30 years. Its charm lies in the fact that it is the brightest and
most optimistic sounding of all minor types, or to put it another way, the least gloomy
without leaving the particular deep kind of warmth that minor key colors are capable of.
Let’s look at the diatonic triads of Dorian for starters:
Key of Gm i ii bIII IV v vi° bVII

Gm Am Bb C Dm E° F
The note that distinguishes Dorian from the Natural minor (Aeolian) is the §6; and this note
shows up in a particularly important chord, the one built from the 4th degree of the scale.
In Aeolian, as in most minor types, the “four chord” ends up being minor, but in Dorian it
turns into a major. Compare the following:
Aeolian iv iv now in Dorian IV IV
As you can see, both colors are beautiful; it’s just that Dorian is brighter.
Please try the following now:
i i IV IV i i IV IV
• Try this phrase substituting iv for IV and compare the effect or mood difference.
• Also transpose this phrase to the keys of Em and C#m (you will have to switch strings
on the last chord in C#m).
Dorian Tonality Ted Greene, 1986, Aug. 3 — page 2

Here is the same phrase but now on the warmer next lower set(s) of strings, and in the very
warm key of Bbm Dorian (in talking about tonality types it is sometimes desirable to refer
to them specifically as in “Bb Dorian” or “Bbm Dorian” [both of which mean the same
thing] instead of just “key of Bbm”…you’ll get a sense for all this as you get more
involved. Anyway, here’s that phrase):
Key of
Bbm
i i IV IV i i IV IV
If you haven’t already done it, please compare the mood difference resulting from the use
of iv in place of IV in your transposed phrases (keys of Em, C#m and Gm).
• Make sure you can play this phrase non-stop through the four assigned keys.
Now for one last phrase in Dorian using the i and the IV:
Key
of
Dm
As usual, compare the darker mood created by using the iv in place of IV throughout this
phrase.
Now transpose this phrase to the keys of Bm, G#m and Fm, and then play the phrase non-
stop through all four keys. We cannot move forward until you are able to do this, so be
patient and do the work. You will not regret it.
Fundamentals
Ted Greene
1977-08-17
Our musical alphabet is called the Chromatic Scale:
A B ¨ B C D¨ D E¨ E F G¨ G A¨ (A B¨ B etc.)
A# C# D# F# G# A#
Enharmonics
Basic Intervals
Whole step: non-adjacent notes, such as A – B, or Eb – F.
Half step: adjacent notes such as A – B¨, or D¨ – D.
An octave is the distance between the 1st and 8th tones of the scale.
The Foundation of musical theory is the Major Scale.

(Scale: a fixed group of notes, usually constructed in an ascending direction, from a given starting note.)
A major scale has, starting from any given note, the following intervals:
whole whole 1/2 whole whole whole 1/2
step step step step step step step
A major scale starting from an A note:

A B C# D E F# G# A
As you might suspect, this is called the A major scale. The 1st and 8th tones are called the root(s) of the
scale. The other tones are numbered according to the order of their appearance — for instance B is called
the 2nd, C# is called the 3rd, D is the 4th of the A scale, and so on.
Here is a list of the commonly used major scales:
CDEFGABC
G A B C D E F# G F G A B¨ C D E F
D E F# G A B C# D B¨ C D E¨ F G A B¨
A B C# E D F# G# A E¨ F G A¨ B¨ C D E¨
E F# G# A B C# D# E A¨ B¨ C D¨ E¨ F G A¨
B C# D# E F# G# A# B D¨ E¨ F G¨ A¨ B¨ C D¨
F# G# A# B C# D# E# F# G¨ A¨ B¨ C¨ D¨ E¨ F G¨
C# D# E# F# G# A# B# C# C¨ D¨ E¨ F¨ G¨ A¨ B¨ C¨
Cycle (circle) of 4ths and 5ths
C
G B# F
F E#
D C A# Bb
4ths
5ths
A D# Eb
E Fb G# Ab
Cb C#
B F# Db
Gb
x = double sharp
9-12-78
© Ted Greene
The Harmonic Minor Scale

Another commonly used minor scale in jazz is the harmonic minor scale. It has an attractive, almost
Middle-Eastern or Spanish-like quality to it.
Definition: The harmonic minor scale is simply a major scale with lowered 3rd and lowered 6th tones.
Examples:
The chord tones in the scale are:
And as usual, various chords built from these chord tones can take the scale. The most common are:
The minor-major 7th, minor-major 9th, and minor add 9th may also have the sharp 5th instead of the
regular 5th.
Actually, there are some other common chords in this (and the other) scales, but they will be discussed in
the chapter on diatonic playing. As a matter of fact, the whole scale will probably prove more useful in
that chapter, because that is its most common usage, so…you needn’t spend much time on this scale for
now. But you can at least learn the fingerings and arpeggios and a few runs. However, I’m going to
leave the runs up to you here—there will be more given.
9-12-78
© Ted Greene

1/9/12
“Harmonic Minor and Melodic Minor Scales” - Ted Greene, 1974-12-03 p.5
Minor Scales (Natural, Harmonic, and Melodic) Applied to Baroque Minor Vocabulary:
i | Ascending and descending: natural and melodic
i7 | Ascending and descending: natural
ii° or ii±7 | Ascending and descending: natural (harmonic)
ii, ii7 | Ascending and descending: melodic
III+, III²7+ | Ascending and descending: melodic, harmonic
III, III²7, III6 | Ascending and descending: natural
iv, iv7, iv6 | Ascending and descending: natural (harmonic)
IV, IV7 | Ascending and descending: melodic
V, V7 | Ascending and descending: melodic and harmonic
V7b9 | Ascending and descending: harmonic and 1/2-whole and whole-1/2 scales
v, v7 | Ascending and descending: natural
VI, VI²7, VI6 | Ascending and descending: natural and harmonic
§vi°, §vi±7 | Ascending and descending: melodic
¨VII, ¨VII7 | Ascending and descending: natural
§vii°, §vii±7 | Ascending and descending: harmonic, melodic
§vii°7 | Ascending and descending: harmonic and embellished arpeggio (1/2 step above
or below — this means 1/2-whole scale and whole-1/2 scale)
All other diminished 7ths treated same as i°7.

“Harmonic Minor and Melodic Minor Scales” - Ted Greene, 1974-12-03 p.6
Altered Chords
I, I7 | Ascending and descending: harmonic and melodic of iv.
I7¨9 | Ascending and descending: harmonic of iv, 1/2-whole, whole-1/2.
(i°) i°7 | Ascending: whole-1/2. Descending: 1/2-whole.
ÏI, ÏI²7, ÏI6 | Ascending and descending: natural, harmonic of iv
ii° or ii±7 | Ascending and descending: melodic minor of iv
II, II7 | Ascending and descending: harmonic and melodic of v
II7¨9 | Ascending and descending: harmonic of v (also whole-1/2, and 1/2-whole)
III7 | VI major scale
§iii° | Ascending and descending: melodic and harmonic of iv

§iii° (§iii±7) | Ascending and descending: melodic minor of v
iii°7 | Ascending and descending: harmonic of iv (also whole-1/2, and 1/2-whole)
iv | Ascending and descending: melodic and harmonic of v
#iv° | Ascending and descending: melodic and harmonic of v
#iv°7 | Ascending and descending: harmonic of v (also whole-1/2, and 1/2-whole)
v°, v±7 | Ascending and descending: natural and harmonic of iv
¨VI7 | ÏI major scale
¨VII²7 | ¨VII major scale
¨vii, ¨vii7 | major scale of VI

Harmony: Basic Chord Types and Their Uses
Major Types:
1) Major chord types are one of the pillars of harmony; the most basic type of major
chord is the major triad itself, which has been in use for hundreds of years in passages
like the following:
Key of F
Key of A
This chord will be discussed soon
A good knowledge of progressions such as these can be obtained through a study of

Baroque and earlier periods of music. As you may also know, major triads form the
basis for much rock, folk, and pop music (ask for demonstration if in doubt on this).
2) Around 100 years or so ago, major 6th chords came into common usage as direct
replacement of the major triad. Here is a “I-IV-V” type example in F:
Here is an example that shifts tonal centers (keys) from D to Gb to Bb:

Harmony: Basic Chord Types and Their Uses – Ted Greene, 1977-10-31 page 2
3) The major added 9th (written: add9 or /9) is another beautiful chord that can replace
a major triad. (Note that when you play a 6th or add9 chord in place of a major chord,
you are not really “replacing” the chord in one sense, but rather enriching it by adding a
6th or a 9th. Also, you may have noticed some “illogic” in the names – if so bring it up
and we will discuss it – I don’t like it either, but we’re stuck with it at least to a certain
extent). Anyway...about those add9’s, try the following:
Variations on above:
4) Major 7ths (²7) are a common “replacement” for major triads:

5) Major 9th (²9) and major 13th (²13) [and major 9/6th (²9/6)] chords are other great
major family sounds:
6) Major 6/9 chords (6/9) are another unique color that can be used instead of the major
triad; notice the kind of oriental sound that they have:
7) One other chord available in the major family is the ²7/6 :
Extra Major Types:

1) Any of the preceding major type of chords may be enriched by the addition of a #11 tone:
2) The 3rd in certain major chords may be replaced with the 2nd or 4th:
3) The 6th and 4th tones may replace (and resolve to) the 5th and 3rd. The resulting
structure is what is known as a 6/4 chord (a real 6/4).
Credit to Spud Murphy for this concept.

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© Ted Greene
INTERVALS
The interval is to music as the atom is to matter—the basic essence of the stuff. All music as we know it
is composed of intervals, which in turn make up scales or melodies, which in turn make up chords, etc.
An understanding and ability to use intervals can be very helpful in (1) grasping the construction of
chords, (2) understanding why we are affected by musical sounds the way we are, (3) communicating
with other musicians who use the universal language of intervals (you might have heard somebody say
something like “Let’s move that whole thing up a minor 3rd,” or if not, you will, so it would be nice to
know what they are talking about), (4) composing quickly and consistently with new, fresh ideas.
The word “interval” refers to the sound resulting when two tones are heard together. Another
common definition is an interval is the distance between two tones, measured by their difference in pitch.
If the two tones are not heard at the same time, but rather one after the other, this is called a melodic
interval; when the tones are heard together as mentioned above, this is called a harmonic interval.
Example:
There are at least three common properties of all intervals: (1) its general name, (2) its specific name, and
(3) its degree of what are known as consonance or dissonance (more on this soon). First, the general
name is found by counting the letters of the musical alphabet involved (normally this is done from the
bottom note up in harmonic intervals, except for special situations, which will be covered later); in a
melodic interval you just mentally join the two notes and analyze as if it were a harmonic interval.
Examples:
Looking at the first example above, and comparing it with the first example on the previous staff, you will
see that some method is necessary to be able to distinguish intervals that have flats and sharps from their
unaltered brothers—in other words, they are both 5ths but how are we to refer to one without referring to
the other if we want to; it is like knowing that three people all have the same last name of Smith and live
in the same house, but suppose you want to refer, in a conversation, to just one of the three; that is why
we have first names—so it is with intervals. We also give them specific names [see Transcriber’s note on
page 5]. One of the most common methods used in giving the specific names to intervals is by assuming
that the bottom note in an interval is the root of a major scale. If the upper note is one of the notes of that
major scale, the interval is called major, unless it is an octave, 5th, 4th or unison (two of the same note) in
which case the term perfect is used.
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© Ted Greene
Example (key of C):
Perfect intervals are so called because these were the only intervals tolerated by the human ear in ancient
days. All other intervals were considered harsh or unpleasant. This seems pretty amazing to us now, that
people couldn’t tolerate 3rd and 6th intervals and others, but it is true, and because of this they named
their only useable intervals (unisons, 4ths, 5ths, and octaves) perfect. Well, gradually mankind’s ears got
more tolerant and they accepted the other listed intervals (which we now call major) and quite a few
others also (soon to come).
Playing with Perfect Intervals
Perfect intervals are the strongest intervals of all. Play the following example of all 5ths and notice the
feeling of solidity, strength given off.
Intervals are also classified by how consonant or dissonant they are. A consonant interval is one
which sounds complete by itself, that is, it does not arouse the feeling that something else has to come
(this is only true out of context of a song or piece of music because in such a context many other factors
contribute to this expectancy).
The consonances are perfect, major 3rds, and major 6ths (also the soon to be discussed minor 3rd and
minor 6th).
A dissonant interval gives a feeling of incompleteness, restlessness (even an outright unpleasant
effect sometimes but not always), and a sense of urgency, a feeling that a consonant interval should
follow.
The dissonances are the major 2nd, major 7th, and the following soon to be discussed intervals:
minor 2nd, minor 7th, and all augmented and diminished intervals. DISSONANCE CREATES MOTION
and INTEREST. The above labels are questionable, as you shall see.
Alternation of Major and Perfect Intervals
(1) If a major interval is made smaller by a half-step (by either lowering the top note or raising the
bottom one) the interval is now called minor; the reverse is true, that is, a minor interval made larger
by a half-step becomes a major.
Examples:
Notice that the chromatic alteration necessary to

make minor intervals must happen on the same
9-1-74 3
© Ted Greene
notes that are originally involved; like C to G♯ sounds the same as C to A♭, but for communication and
musical notation purposes C to A♭ is a minor 6th and C to G♯ is what is called an augmented 5th.
(2) Any major or perfect interval made larger by half-step is called an augmented interval (like the C to
G# mentioned above).
Examples:
The most common augmented intervals that you will encounter

are the augmented 2nd, augmented 4th, augmented 5th, and
augmented 6th.
(3) A minor or perfect interval made smaller by a half-step is called a diminished interval.
Example:
If the bottom note of any interval does not correspond to the root of any major scale (like A♯ for
instance), then mentally remove the accidental (sharp or flat) and figure the interval without it, then add it
back in and change accordingly.
Example:
There is no key of E♯, so mentally remove the sharp from the E, and you have a minor
6th (E to C), then adding the sharp back in, you get a diminished 6th.
Any interval larger than an octave is called a compound interval. They may be thought of as their smaller
counterparts by subtracting seven from whatever the number is.
Example:
The intervals of the 9th, 11th, and 13th are commonly referred to
as they stand, rather than their smaller counterparts, due to chord
building principles to be covered later.
While these intervals can be thought of as the same, their effect is quite different as you will see as
you analyze music more and more.
There will be times in your dealings with music when you will want to (or have to) be able to figure
intervals from the top note down; the quickest way might be to relate to major scales once again.
Example: Suppose you wanted to find out what interval is a perfect 4th below A; what you do is ask
yourself “In what major scale is A a perfect 4th above the root?” The answer is E, that is, A is a perfect
4th above E, therefore E is a perfect 4th below A. Sometimes, you run into a hitch this way though.
Example: Suppose you want to find the note a perfect 4th below E♯; well E♯ is not the 4th of any
common major scale (one that doesn’t include double-sharps or double-flats) so an easier method might
be to count down four tones from E (remove the sharp) including the E—this gives you B . So if
9-1-74 4
© Ted Greene
you know your major scales you say “E is the 4th of B; therefore E♯ would be the 4th of B♯; so the note a
perfect 4th below E♯ is B♯. Sorry that all this is so complicated but it all gets easier with practice like
almost everything else.
Inverting Intervals
This concept is related to the above material. An interval may be inverted by placing the lower note an
octave higher or the upper note an octave lower. The results of interval inversions can be given as
follows:
(1) Perfect intervals remain perfect; major intervals become minor and minor become major; diminished
intervals become augmented and augmented become diminished (examples soon to come).
(2) The numerical sum of any interval and its inversion is nine.
Examples:
It is important to remember that inverted intervals do use the same notes as the original interval—the only
difference is that they have shifted positions. Also notice that a compound interval can’t really be
inverted, you just get the smaller counterpart as discussed above.
Playing with 3rds and 6ths
Major and minor 3rds and 6ths are classified as imperfect consonances. They add beauty in music (to
most ears).
Examples:
RARE OCCURENCES:
Any diminished interval made smaller by a half-step is a doubly-diminished interval; any augmented
interval made larger by a half-step is a doubly-augmented interval.
9-1-74 5
© Ted Greene
(1) Identify these intervals and play them, too. Try to learn to recognize the sounds of different types of
intervals.
Ask yourself if each above interval is consonant or dissonant—the whole issue is pretty controversial and
interesting sometimes.
(2) With F as the lower tone, write the following intervals: perfect 4th, perfect 5th, minor 6th, major 7,
augmented 5th, major 3rd, augmented 4th, perfect octave.
(3) With A as the upper note, play and write the following intervals: major 2nd, minor 3rd, perfect 4th,
augmented 4th, diminished 5th, augmented 5th, augmented 6th, diminished 7th.
Make up similar exercises occasionally or often to help you really learn your intervals.
❧ ❧ ❧
Transcriber’s note: The following abbreviations have been used in the figures for the specific names of
intervals:
Perfect: P
Major: M
Minor: m
Augmented: +
Diminished: °
10/23/11
5-30-76 Ted Greene
LEARNING NAMES OF NOTES ON FINGERBOARD - Page1
Knowing the names of notes on the fingerboard can really speed up your musical progress, especially
if you are progressing in musical theory as well. Two of the biggest benefits of this note - name
knowledge are : 1) Increased ability to memorize scales, chords, etc by a few hundred percent at least,
and 2) Increased ability to see and understand what you are playing (or could be playing) also by a few
hundred percent.
So the question isn't whether to learn the names of the notes on the neck or not, but one of how to do
it, and how much time to spend at it. If you are serious about playing the guitar you've got to do it, it's as
simple as that (even if you're not that serious, it's still worth the time for the above-mentioned reason at
least)
.
There are lots ways to approach the subject - we'll try various ones for variety, but first of all, probably
the most important way, because of the multiple benefits, is to LEARN TO READ MUSIC. It is not
one of the easiest task in the world but thousands upon thousands of musicians will shout the praises of
learning to read music. It is one of the single best things you can do for yourself. I feel so strongly about
it that I've got to say a few more words on the subject.
You play the guitar with at least four parts of your being :
1) your hands, 2) your eyes, 3) your ears, and 4) your mind.
1) As you learn to read music, especially once you get to some challenging stuff, you will be
giving your hands a good workout, increasing their coordination, strength, speed, etc.
2) The original purpose of mentioning note-reading on this page was in context of helping
you see the names of the notes on the neck (so note-reading increases your "eye" - skills,
your visual skills).
3) Thru note-reading, you will come in contact with some great music that would not be
available otherwise, hence, your ears benefit.
4) Naturally, thru note reading, your mind will grow by having to meet new challenges and
because your knowledge of the guitar will be increasing, your mind will also be expanding
in this way.
Now you don't have to be a great note - reader in order to enjoy these benefits (I'm not a great reader
and I don't think I want to be, compared to certain other musical goals I have), but you will reap the
above benefits, even if you become an average reader. So if you haven't begun to read yet, START
TODAY! ; there are not that many good books on the subject for the beginning reading guitarist (there
is quite a bit of material available once you can read at an intermediate level) but some of the better ones
are: 1) Sight to Sound by Leon White (great for single notes) 2) Mel Bay Modern Guitar Method
Vols 1-7, newly available, all 7 vols in one big book, (single notes & chords) 3) Berklee Series for
Guitar by William Leavitt (single notes & chords - good reading material, but disregard much of the
music "theory") The following while being supposedly for the classical guitar, can be effectively applied
to the electric guitar, or steel - string acoustic as well. All of these books deal with single notes & chords
and are generally well organized. 4) Solo Guitar Playing by Fredrick Noad. 5) Aaron Shearer Classic
Guitar Technique Vols 1&2. 6) Mel Bay Classic Guitar Method Vols 1-3.
There is one drawback of 4), 5) and 6) - namely, they don't explore reading in the higher registers
(around the higher frets) very much, if at all. Nevertheless they are very good for lower register reading,
drumming these notes in eventually thru attractive sounding little pieces.
Transcribed by S.Hemsworth
5-31-76 Ted Greene
LEARNING NAMES OF NOTES ON FINGERBOARD - Page 2
Another way of learning the names of the notes on the fingerboard is by ISOLATING ONE NOTE
AT A TIME. For instance, if you tried to find all the A's on the fingerboard, the result would look like
diagram 3). If you were to go over this diagram (with the intent to memorize it) every day for say 5 to 10
minutes, it wouldn't be long before you would know where every A on the guitar was, with ease.
Notice that the A's are on each

string twice (except for the 2nd on
some guitars). I have found it very
helpful to learn the fingerboard by
viewing it ONE STRING AT TIME
and finding whatever letter name I am
working with (A in this case) on each
individual string in both places (if
possible).
I sit the guitar down in my lap so I
won't be tempted to play (or if my
will power seems strong, I just hold it
normally), and using the index finger
of both hands, I find the notes and
"punch" them in the manner of a
typewriter, first in the lower register
(with the left hand index finger),then
in the higher register (with the right
hand index finger).
As weird as it may seem, I can
honestly say that this technique has
helped me. Naturally if you have long
fingernails on the right hand, you
have to modify the angle of your
index finger to a degree. You could try this technique with a different note every few days, and pretty
soon you're going to know that fingerboard, at least as far as letter names go.
Another approach is to work with OCTAVES; notice that there are 4 groups of 2 octaves each in
diagram 3) above. (The angle of these groups is like so :
You may wish to view the neck in this manner because it, like the one string at a time
method, is a fast way to lean any given letter name.
The 1st 2 diagrams above are given for reference, in case you can use them at this
stage of the game.
Summary: Three useful techniques for learning the names of the notes on the fingerboard are :
1) NOTE READING, 2) ONE LETTER NAME - ONE STRING and 3) ONE LETTER NAME BY
MEANS OF OCTAVES.
If you remind yourself occasionally, why it is important to know the names of the notes on the guitar,
it will be easier to force yourself to do at least one of these 3 techniques every day. Try to stick to a
program, and you will get results.
One last technique: 4) PRACTICE 2) or 3) (or even 1) AWAY from the guitar - that is
MENTALLY - this really helps, one you can do it.
Transcribed by S.Hemsworth
Learning the Fingerboard Through the 3 Triad Diagonals
Ted Greene – 1973-11-09, and 1989-08-28
Optional: continue further.
As above, but reverse

the order of diagrams
5 through 8:
Reverse order of
diagrams 5 through 8.
Challenge yourself and see if you

can start high on the neck and do
all these examples in reverse.
_______________________________________
Learning the Fingerboard Through the 3 Triad Diagonals — Ted Greene page 2
Melodic Embellishments or Decoration:

Playing order of
the symbols:
In case you didn’t know, major triads are all over our culture…. For the even moderately well-
rounded musician, the word “indispensable” is not far from the truth.
Some examples of common American sounds in very short chord progressions for now:
Key of Eb:
Also try these 3 chords on the next higher set.
Key of E:
Ideally, one would practice everything in all keys if necessary. The real world being what it is, and the
fact that you don’t have to necessarily become the ultimate master of all musical material to be able to a)
enjoy it, and b) use it fairly readily when called for, combine to create the situation whereby it’s fair to
say: master at least the basics in all keys….the rest is up to you as far as how thorough you wish to be.
_______________________________________
Learning the Fingerboard Through the 3 Minor Triad Diagonals

Ted Greene –1989-08-31
Optional: continue further.
As above, but reverse

the order of diagrams
5 through 8:
Reverse order of diagrams 5 through 8
Challenge yourself and see

if you can start high on the
neck and do all in reverse.
_______________________________________
Melodic Embellishments or Decoration:

Playing order of the
Symbols:
Even though minor chords are of such a “serious” character at times, all that is changed when a) bright or
intense rhythm enters the picture, and b) they are mixed in progressions with certain major (and other)
chords. Have you noticed how “minor key” or at least “starts on vi” our culture has become in the last 5
to 7 years (as of August 1989)? Kind of fascinating…. Can you trace it? And the various “whys” of it?
Anyway, study all the above, and progressions will follow.
Repeat and now add:

© Ted Greene
6-5-73
THE MAJOR SCALE AND THE FOUNDATIONS OF HARMONY
The Chromatic Scale
A Major Scales
The distance between any two notes is called an interval. The main types of intervals are whole steps and half
steps. Any major scale is built in a series of two whole steps, half step, three whole steps, and half step, starting
from any note which is the name of the scale (this first note is called the root). Any two notes that are separated by
one note in the chromatic scale are said to be a whole step apart. Examples: A–B, A#–C, B–C#, C–D, etc.
Any two notes that are adjacent in the chromatic scale are said to be a half step apart. Examples: A–A#, A#–B,
B–C, C–C#, etc.
Using this logic, an A major scale would be as follows (W = whole step; H = half step):
Chords are commonly built by combining notes that are a 3rd apart in a major scale. Any two notes in a
major scale that are separated by one note are said to be a 3rd apart. Examples: In the A major scale, A–C#, B–D,
C#–E, D–F# are all a 3rd apart. (If the number of half steps between a 3rd interval is four, it is referred to as a
major 3rd interval; if the number of half steps between a 3rd interval is three, it is referred to as a minor 3rd.)
The first common chord built from a major scale is derived by combining the first, third, and fifth
tones of the major scale. This is known as a major chord. Notice that there are two 3rd intervals:
between the root and third and between the third and fifth.
There are other common chords built from a major scale; these are usually obtained by taking the
major chord and raising each note up to the next note in the major scale.
Example:
The names of the chords are derived according to the positions of the major and minor 3rds in the chords
(you need not worry about this for now but just accept that these are the chords that you get in the A major scale).
These chords are referred to as the diatonic (major scale) triads. You should practice building the diatonic
triads starting from all of the triads indicated with the asterisk on the “Five Areas Page” in order to get a firm
foundation in harmony.
1/9/12
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© Ted Greene
Minor Scales
The most common minor scales are the harmonic, natural, melodic, dorian, and phrygian. In relation to a
major scale with the same root, they are as follows:
1. Harmonic: 1, 2, b3, 4, 5, b6, 7, 8

2. Natural: 1, 2, b 3, 4, 5, b6, b7, 8
The common ingredient that causes us to classify all of
3. Melodic: 1, 2, b3, 4, 5, 6, 7, 8
these as minor scales is the b3.
4. Dorian: 1, 2, b3, 4, 5, 6, b7, 8
5. Phyrgian: 1, b2, b3, 4, 5, b6, b7, 8
Three of the minor scales contain the same notes as some other major scale. The relationships are as
follows (listed in one key only, but transposable to any key):
A major = F# natural minor = B dorian minor = C# phyrgian minor.
For now the most important to know is the natural minor—you already know the fingerings by
knowing your major scales. In other words, if you know the A major scale, then you know the F# natural
minor—they are the same (they contain the same notes).
Harmonic Minor
The next scale to learn is the harmonic minor; here are five common fingers given in F# minor:
As with any major scales, you must memorize the names of the notes in the minor scales or you will
regret it later and just have to go back and do it anyway (if you are serious about music).
Natural Minor
Here are the Natural Minors:
You should also memorize the harmonic minors by raising the b7 to the §7. Note: when raising a
sharped note, you get a double-sharp (written like so: X).
2-26-74
© Ted Greene
Melodic Minor
The next important minor scale is the melodic minor—here are five common fingerings in F# minor:
You should memorize the melodic minors by raising the ♭6 of the harmonic minor to a §6.

1/9/12
Modern Chords and Extensions
Ted Greene
1974-01-23
In the beginning of harmony, triads were enough to satisfy the ears of most everyone; part of the
reason for this appears to be that people just weren’t aware of or didn’t care for the sound of anything
else. Then 7th type structures began to appear, then 9th's and so on until the beginning of this century [the
20th century] when all the chords that mankind is presently using were added in to the musical
vocabulary. These pages will attempt to illustrate the different types and most common substitutions
currently available:
Major Triad Substitutions
A major triad may be replaced with the following chords unless the major triad is functioning as a dominant
(V) or secondary dominant:
1) 7 (major 7th) Æ some of the most common flavors are listed here on A and D chords:
One important factor in all substitutions is personal taste — this is where experimentation (that is, trial and error)
comes in.
2) 9 (major 9th) Æ some common forms:
3) 13 (major 13th) : 4) /9 (add9) Æ forms:

most common form:
Modern Chords and Extensions—Ted Greene, 1974-01-23 page 2

5) 6/9 (6/9) : 6) 6 (major 6th) :
7) More rarely used are major extensions

with the #11 tone on top.
(Not rare because they don’t sound good,
but rather that they clash with melodies
in songs quite often…so be careful.)
Most common forms:
Minor Triad Substitutions
The most common substitutions for minor triads are the m7 family chords:
1) m7 (minor 7) Æ most common forms are listed on Bm and Em:
2) m7/11 (minor 7/11) :
3) m9 (minor 9) :

4) m11 (minor 11) :
5) Sometimes, especially on ii in minor keys, m7b5 types are used in place of m7’s.
(m7b5’s are also written like so: ±7) Some common forms:
On minor chords that function as a i or iv, the m6 family is often used:
1) m6 (minor 6) listed in F#m or Bm :
2) m6/9 (minor 6/9) :
There is one more important family of minor chords that actually is related to the m6 family as you will see later—
this is the m7 (minor major 7th [§7]) family, but it is not necessary for your substitutions now, so it will be skipped
over for the time being.

Dominant 7th Substitutes

Almost all dominant 7th chords function as V7’s and exert strong “pulls” to chords whose roots are a 4th
higher; there are exceptions to this guideline but generally this is the case; anyway here are the main groups that can
replace any 7th chord according to your own taste:
I. The “Extended” Dominants:
1) 9th — some common forms on E and A: 2) 7/6 :
3) 13th :
II. The “Suspended” Dominants:

These chords often precede the extended dominants or some of the other categories that will be mentioned soon.
1) 7sus (7 suspended 4th) : 2) 11th (11th or 9th suspended 4th) :
3) 7/6 sus (7/6 suspended 4th) : 4) 13 sus (13 suspended 4th) :


III. The “Altered” Dominants:
1) 7+ (7 sharp 5th) : 2) 7b5 (7 flat 5th) :
3) 7b9 (7 flat 9th) :
4) 7#9 (7 sharp 9th) : 5) 7#9+ (7 sharp 9, sharp 5) :
6) 7b9+ (7 flat 9, sharp 5) : 7) 7b9b5 (7 flat 9, flat 5) :
8) 7#9b5 (7 sharp 9, flat 5) : 9) 13b9 (13 flat 9th) :
10) 9+ (9 sharp 5) : 11) 13b9b5 (13 flat 9, flat 5) :


III. The “Melodic Minor” Dominants:
These chords are all related to a melodic minor (1, 2, b3, 4, 5, 6, 7) scale whose root is a 5th higher.
They also have very special uses: use them to replace 7th chords whose roots are a b5th higher (or lower, since
b5th’s are invertible intervals).
Example: in key of A if you were given: A - F#7 - B7 - E7
you might play: A - C13#11 - B13#11 - Bb13#11
Like these chords are related to an E melodic minor scale
1) 13#11 (13 augmented 11th)
2) #11 (augmented 11th) 3) 9b5 (9 flat 5)
There are many “overlaps” in music and this is one of those situations. Also included in the Melodic Minor
Dominants are the previously mentioned 7, 9, 7/6, 13, and 7b5 (or 7#11). In other words these chords have a
double function in the dominant category: 1) replacing 7th's as already covered, and 2) as Melodic Minor
Dominants, being used a b5th above the given chord. However, there are some degrees of the chromatic scale
where ALL melodic minor dominant’s can be used without counting up a b5th.
Here is a chart summing up this section by showing the most common possibilities of substitution the Melodic
Minor Dominants
Suggestions:
Given I7 — count up a b5th and use bV7 Melodic Minor Dominants
Given II7 — use II7 melodic minor dominants or count up a b5th and use bVI7 melodic minor dominants
Given III7 — count up a b5th and use bVII7 melodic minor dominants
Given IV7 — use IV7 melodic minor dominants
Given V7 — count up a b5th and use bII7 melodic minor dominants (or more rarely, use V7 mel. min. dom’s
Given VI7 — count up a b5th and use bIII7 melodic minor dominants
Given bVII7 — use bVII7 melodic minor dominants
Given VII7 — count up a b5th and use IV7 melodic minor dominants
No matter what substitute you do, always remember the essence of a chord progression in Roman Numerals.
Example: A13 – F#7#9+ - B7b9b5 – E13b9 – is still I – VI – II – V and should be thought of as such.
A13 – C13#11 – B13#11 – Bb13#11
Musical Goals and Necessary Areas of Study
The purpose of this sheet is to help me keep track of what your priority items should be, for whatever musical direction you are pursuing.
Vehicles: songs, tunes, the blues, chord progressions, original compositions, improvisation pieces.
Some Goals that I should be able to help you with: (the word jazz is used very broadly here)
Some Areas of Jazz guitar Jazz Solo Solo Jazz guitar Symphonic Song Duos with another Big Studio ?
Study: in a group guitar in jazz symphonic accompanying guitar writing, harmonic Band playing
with a trio guitar guitar a voice or ? accompanying composition instrument, jazz jazz (to a
another (bass, a voice or ? or symphonic guitar degree)
harmonic drums,
instrument or with
(usually just a
keyboard) bass)
Basic concepts of tonality 9 9 9 9 9 9 9 9 9 9 9
Baroque tonality 9 9 9
Classical-Romantic tonality 9 9 9
Hard to say here ………….……….…

Aeolian, Dorian and Phrygian 9 9 9
tonalities
Aeolian major & Mixolydian 9 9 9
tonalities
Phrygian major tonalities 9 9 9
Lydian tonality 9 9 9
Impressionistic & exotic 9 9 9
tonalities:
1) 6/9 & friends
2) 9th pentatonic & friends 9 9 9
3) m6/9 pentatonic & friends 9 9 9
4) mb6/9 – ∆7 #11 and 9 9 9
friends
5) whole-tone tonality 9 9 9
6) melting pot 9 9 9
Pre-Baroque melting pot 9 9 9
(Renaissance, etc.)
Organum 9 9 9
20th Century diatonic major to a degree 9 9 9 9 9 9 9 to a to a
tonality: degree degree
1) Chord scales
2) Harmonic patterns & held-
note sounds
3) SWR & SWB progressions
4) I iii IV V
5) I vi ii V and iii vi ii V
6) Diatonic cycles
7) Diatonic pedals
8) Diatonic contrary sounds
9) Misc.
20th Century modern 9 9 9 9 9 9 9 9 9 9
Likewise ………….…………………
major ?) tonality:
1) Modern chords
2) Modern chord 9 9 9 9 9 9 9 9 9 9
progressions
3) Systematic inversions 9 9 9 9 9 9 9 9 9 9
4) Back-cycling 9 9 9 9 9 9 9 9 9
5) b5th Substitution 9 9 9 9 9 9 9 9 9
6) Comping, rhythm playing 9 9 (9) (9) 9 9 9 9 9 9
7) Melodic comping 9 9 9 9 9 9 9
(“out-front” comping)
8) Walking bass comping 9 9 9 9 9 9
9) Blues progressions 9 9 9 9 9 9 9 9 9 9
10) Chord substitution 9 9 9 9 9 9 9 9 9
11) Single-note playing 9 9 (9) (9) (9) (9) 9 (9) 9 9
12) Textures 9 9 9 9 9 9
13) Harmonics (9) 9 9 9 9 9 9 9
14) Dim. 7th progression 9 9 9 9 9 9 9 9 9
15) Dim. 7th & 7b9 tonality (9) 9 9 9 9 9 9
16) Color chord studies 9 9 9 9 9 9
17) Borrowed chords 9 9 9 9 9 9 9
18) Harmonic analysis 9 9 9 9 9 9 9 9 9 9
19) Modulation studies 9 9 9 9 9 9 9
20) Symmetric progressions 9 9 9 9 9 9
21) Triads & bass in contr. 9 9 9 9 9 9
22) Modern pedals 9 9 9 9 9 9 9 9
23) “Leading tones” 9 9 9 9 9 9 9 9 9 9
24) Moving line progressions 9 9 9 9 9 9 9 9 9 9
25) Chord addition thru chord 9 9 9 9 9 9 9 9
embellishment
Modern Mixolydian tonality 9 9 9 9 9 9 9 9 9 9

Drone tunings 9 9 9 9
20th Century minor tonality 9 9 9 9 9 9 9 9 9 9
Mental practice 9 9 9 9 9 9 9 9 9 9 9
Note reading & names of 9 9 9 9 9 9 9 9 9 9 9
notes on fingerboard
Chord melody style 9 9 9 9 9 9 9 9
Tonality transitions 9 9 9 9 9 9
Stretching exercises 9 9 9 9 9 9 9 9 9 9 9
Composition: form, style, ? ? ? ? ? ? 9 ? ?
meter, rhythm, melody, etc.
Arranging ? ? 9 9 9 9 9 9 9
Rhythmic transitions 9 9 9 9 9 9 9 9 9 9 9
Ear training studies 9 9 9 9 9 9 9 9 9 9 9
Where to use material: intros, “meat,” fills, interludes, modulations or transitions, endings, or ?
Musical Priorities
© Ted Greene, 5-25-1976
Important Questions to Ask Yourself:

1. What do you want to do with music? (musically speaking that is—not “Do you want to become rich and famous
through music?”). Do you want to play in a group? Do you want to play with another harmonic instrument or do
you enjoy carrying the harmonic weight? Or both? Do you want to be able to be self-contained, musically—that
is, to play songs, pieces, etc., all by yourself? Do you want to do this as much as you want to play with others?
Do you want to be able to accompany singers, or your own voice, all by yourself? Or maybe you enjoy working
in other types of duos (like 2 guitars, guitar and flute, etc.)? Or all of the above? Or maybe the only honest
answer you can [come] up with for now is that you’re not sure, but you want to just get a general good knowledge
of the guitar and then see what happens? How about studio playing? Or teaching? Or…?
2. What should you study or work on in order to accomplish your goals? I guess this is where I come in, meaning,
this is one of the main things you are paying me for—the responsibility to decide what you should be doing to get
from point A to point B (or point Z ?). So just relax about this and leave it up to me (although I will listen with an
open mind to any suggestions you might have).
3. Do you want to specialize in any certain musical style(s)? Do some types of sounds appeal to you more than
others? Have your tastes in music ever changed, up to this point in your life? If so, do you think this was due to
exposure to new (to you) kinds of music or, to becoming bored with the kind of music you had been previously
listening to? Or both? (The only honest answer to the “exposure” question must surely be yes, if you think about
it; and the only reason for these thoughts on the matter is to point out that there are many wonderful sounds or
styles that you may not have heard yet, and it would seem like you’d want to keep your ears open, to keep
exposing yourself to more and more types of sounds before you become too gung-ho about one style only. Also
some tastes in life are of the acquired type, so there is that to consider as well. However, after having exposed
your ears quite a bit, don’t feel guilty if you want to specialize in one or two styles—many people do and are
happy and successful.)
4. Which of the following general areas are you interested in (in whichever style(s) you choose to work in)?:
• Improvising (single-note & harmonic)? |
• Composing? |
• Recomposing & Arranging? } These are not all mutually exclusive
• Performing? |
• Interpretation? |
• Other? |
Many schools of thought divide music into 3 main areas: 1. HARMONY, 2. MELODY and 3. RHYTHM.
The most involved, demanding, and (to my way of thinking) important, is harmony (you may wish to challenge
this—fine…let’s discuss it). Harmony, as referred to here, means the science of combining notes or tones. Why
should you study this subject? Basically, because it is the backbone of almost all styles of music, but let’s see
what some of the benefits are:
1. Knowledge of available sounds (which you might not have even known existed and were waiting for you).
2. The ability to expand almost any idea (that is, the ability to make variations on any chord progression, song,
riff, etc.).
3. True understanding of what makes music tick, which speeds up your learning process enormously.
4. The ability to quickly figure out what other musicians are doing on records, radio, etc.
5. The ability to improve your (or others’) musical ideas through:
a. Chord enrichment (adding 9ths, 11ths, etc., to given chords).
b. Chord addition (using “back-cycling”, embellishing chords, etc.).
c. Chord substitution and reharmonization (replacing given chords with interesting substitutes).
d. The addition of moving voices.
e. Melodic embellishment, decoration and variation (melody is part of harmony).
f. Interesting modulations (changes of key).
g. The application of the many beautiful different types of tonalities, and idioms.
h. Being able to express many different moods, feelings, colors.
i. The use of different textures.
As you might gather, much of what I teach and am interested in personally, falls into the domain of harmony. As you
become more and more acquainted with this fine subject, I think you will find it to be thoroughly fascinating.
09-11-72 Ted Greene
REHARMONIZATION & BACK-CYCLING for CHORD MELODY PLAYING

Reharmonization is the process of enriching an existing chord progression or song by applying chord
substitutions, and re-interpreting the chords given.
Before starting the following exercise, it is assumed that you already understand extension
substitution, b5th substitutions, & relative minors & majors, if not, do not undertake this page.
The first song we will use as a model is "Swanee River". Here is the simple chord progression (given in
the key of C):
C | F | C | G || C | F | C G | C || G | C | F | C || C |F |C G |C ||
//// //// //// //// //// //// // // //// //// //// //// //// //// //// // // ////
this symbol will mean end of phrase
There are two basic ways to reharmonize any tune: 1) to start with the basic chords as a guideline and
work them over ; and 2) to chuck them aside and start from scratch. We will use the first method for
now. First, you should try extensions; you might get something like the following:
C7 C6 | F7 | C/9 | G7 || C7 | F7 | C7 G9 | C6 ||
// // //// //// //// //// //// // // ////
G7 G9 | C7 | F6 | C6 || C7 | F/9 | C/9 G7 | C6 ||
// // //// //// //// //// //// // // ////
This would still sound pretty ordinary but a little better than before. By the way, you may have noticed
that major extensions were used on I & IV chords, while dominant 7th extensions were used on V. This
is common procedure but for a more blusey or gospel effect dominant extensions can be used on I and
especially on IV IF YOU DESIRE THIS CHANGE OF TONE COLOR (there are no rules other than
personal taste so experiment).
Before you try any b5th substitutions, it is wise to try back-cycling. Using back-cycling you might end
up with something like this:
C7 Gm7 C7 | F7 G11 | E7#9 Am7 | D7 G7 ||

// / / // // // // // //
C7 Gm7 C9 | F/9 G11 | Em7 Am7 D7 G7 | C6 ||

// / / // // / / / / ////
G7 Dm7 G7 | C7 Gm7 C7 | F7 G9 | C7 G7/6 ||

// / / // / / // // // //
C7 Gm7 C7 | F7 G11 | Em7 Am7 D7 G7 | C6 ||

// / / // // / / / / ////
Now you could go back and try b5th substitutions - like Ab7 for D7 etc. You will find that some songs
do not lend themselves well to the b5th subst. - Experiment. The only real missing ingredients left in this
progression are passing chords. The most common place to put in passing chords that are not covered by
back-cycling is when leading to I, especially from IIm (II + II7 also) or IV. Some of the most common
ways found to be pleasing, of going IV to I are :
F Co | C || ; F D7 |C || ; F Ab7 | C || ;
// // //// // // //// // // ////
F Dm7b5 | C || ; F D9 Dm7b5 | C || ; F Fm | C ||
// // //// // / / //// // // ////
In conclusion, every chord substitution that theoretically may be tried is tempered by the melody of the
song which still takes precedence over the harmony. Transcribed by S. Hemsworth
2-8-75
© Ted Greene
SOME WAYS TO LEARN A SCALE FINGERING

2-9-75
© Ted Greene
WAY TO LEARN ALL SEVEN FINGERINGS IN ALL KEYS (AT LEAST 12) THRU
CYCLE OF 4THS

2/6/12
The Dominant 7th Scale
Play the following runs:
These are examples of typical jazz runs derived from what is known as the DOMINANT
7th SCALE. This scale is very important in jazz (and popular music) because of at least
two reasons:
1) It sounds good (especially the runs derived from it), and
2) It fits beautifully over quite a few of the most commonly used dominant 7th type
chords (more on this real soon).
So, just what is a Dominant 7th scale? Definition: the dominant 7th scale is simply a
major scale with a lowered 7th tone (this tone will be symbolized by the following: b7).
Examples of Dominant 7th scales:
1 2 3 4 5 6 7 8
D Major Scale: D E F# G A B C# D
1 2 3 4 5 6 b7 8
D Dominant 7th Scale: D E F# G A B C D
1 2 3 4 5 6 7 8
Bb Major Scale: Bb C D Eb F G A Bb
1 2 3 4 5 6 b7 8
D Dominant 7th Scale: Bb C D Eb F G Ab Bb
Notice that the term “b7” means that the 7th tone is lowered one half-step, NOT that the
lowered 7th tone always ends up being a “flat” note.  Example: in the above D dominant
7th scale, the b7 is a C (not Cb), because the “regular” 7th in the D major scale is C#, and
when you lower C# by one half-step, you end up with C (not Cb). This logic should be
familiar to you from the earlier section on chord formulas.
Tonality (part 1)
Please feel free to ask questions on any point, or about the meaning of any word, on this sheet (or any
other). Don’t be ashamed – this is part of the learning process – only the fool is afraid to ask questions.
Remember, if you don’t “get” something now, it’ll probably hang you up later. So please, ASK QUESTIONS.
One of the common threads that links almost all types of music that you might hear (like popular, jazz,
classical, blues, rock, folk, etc.) is the concept of Tonality or Key. If you’ve ever played a song, classical piece
or jammed on the blues, the chances are good that you were aware that it was in a certain key. But what does
this mean, to be in a certain key or tonality? How does anybody know what key they’re in (“Hey Egbert, what
key you in?” “Key of A, man, key of A.”)? It’s very hard to give simple answers to these questions, and the
only way you’ll really understand what this is all about is to study music, to analyze music, and then the answers
will appear.
But for now, so we have some working basis, let’s say that the concept of tonality or key has to do with
the idea of one note or sound being the “center of attraction.”
Example: Play this chord progression: A D E A A D E A
Beats per chord: // // // // // // // //
Can you hear that it is in the key of A major (key of A, for short)? Why is it in the key of A, and not D or E?
Because the A major chord is the “center of attraction.”
If all examples were as easy to analyze as this (as far as finding the key), you wouldn’t have to do much
studying. But unfortunately….
In case you are asking yourself at this point, “Do I really want to study all this just about tonalities and
keys?” remember: Virtually all music as we now know it is based on the concept of tonality or key. If you
want to be a musician, and you don’t want to study this concept, it is like wanting to be a farmer but not wanting
to study agriculture….you might as well forget the whole thing—“you ain’t goin’ very far.”
But don’t worry—it won’t be too painful—many have come this road before you and even lived to tell
about it. So, here we go….
Major Key Tonality (Based on the Major Scale)

The Major Scale has been the foundation of musical theory in the Western world for hundreds of years.
One who has a friendly, working relationship with the major scales will progress many, many times faster in
some very important areas like chord building, chord progressions, and true musical understanding (the
knowledge of what sounds work together, and why) than one who does not. Time and time again, I have seen
this to be true; in fact, I personally tried to avoid learning about major scales, and I floundered for years,
especially in the area of retention (the long-term ability to remember). So many facts seemed unrelated or
would slip away too easily because there was no common thread (namely, the major scale) to tie them all
together. But all that has changed now – things make sense, there is order, there is logic, much of the seeming
complexities of music can be easily understood….but you have to have a good foundation to build on.
So now you might be asking, “What is a major scale?” or “What is a scale?” for that matter. OK. A
Scale is a fixed group of notes, almost always constructed in an ascending direction, from a given starting note.
Before we can discuss the major scale in more detail, we must first talk about intervals. The word
Interval, in music, refers to the distance between any 2 notes. Two of the most basic kinds of intervals are the
1/2 step and the whole step. The term 1/2 step refers to the interval between 2 notes that are adjacent (right next
to each other) in the musical alphabet. Examples: A and Bb, Bb and B, B and C, C and C#, etc.
(If you are at all shaky on your musical alphabet, there are 4 easy drills that will sink it in fast – ask for
them if necessary). Back to intervals….
The term whole-step refers to the interval between any 2 notes that are separated by one note in the
musical alphabet. Examples: A and B, Bb and C, B and C#, C and D, etc.
So how does all this relate to the major scale? The next page will explain this, but first, re-read any
point that is not absolutely clear, or you might get lost on page 2.
Tonality (part 1) Ted Greene, 1976-05-28 — page 2

A major scale has, starting from any note, the following intervals between its successive notes:
Whole step, whole step, 1/2 step, whole step, whole step, whole step, 1/2 step.
Example: starting from A:
A B C# D E F# G# A
∨ ∨ ∨ ∨ ∨ ∨ ∨
step step step step step step step
Notice that the notes C#, F# and G# were used rather than Db, Gb and Ab. These is a good reason for
this, but it’s too complicated for now, but the following guideline will produce good results at this stage of the
game: All letters of the musical alphabet must be present in a major scale.
Write out the notes in the D major scale:
Write out the notes in the Bb major scale:
(A fast way to write out a major scale it to write out the “bare” letters first—that is, with no sharps and flats, and
then add the necessary #’s and b’s).
Here is a listing of the common major scales (some are admittedly less common than others). Make it a
point to mentally memorize (physically too—this will be discussed soon) at least one scale per week.
Key Scale Key Scale

C CDEFGABC
G G A B C D E F# G F F G A Bb C D E F
D D E F# G A B C# D Bb Bb C D Eb F G A Bb
A A B C# D E F# G# A Eb Eb F G Ab Bb C D Eb
E E F# G# A B C# D# E Ab Ab Bb C Db Eb F G Ab
B B C# D# E F# G# A# B Db Db Eb F Gb Ab Bb C Db
F# F# G# A# B C# D# E# F# Gb Gb Ab Bb Cb Db Eb F Gb
C# C# D# E# F# G# A# B# C# Cb Cb Db Eb Fb Gb Ab Bb Cb
The notes in major scales are commonly numbered from 1 to 8. The 1st and 8th tones are also called the
Root or Tonic or Keynote (different people use one or more of these 3 terms, but they all mean the same thing).
As you may have guessed, the 1st note of a major scale also “names” the scale. Example: the scale that
starts on the G note is called the G major scale (makes sense, right?).
The distance between the 1st and the 8th notes is called an Octave.
Playing the Major Scale

Depending on what direction(s) you want to go in, musically, you will find it very important—to mildly
important, to be able to fluidly play the major scales. Here are some common diagrams (given in the key of D
only):
As far as emphasis goes, remember your goals — is a command of the major scale necessary (let’s
discuss it again if you’re in doubt as far as your priorities go)?

Chords Built from the Major Scale

1) First of all, in case you’re not aware of it: Every scale has chords inherent in it, or to put it another
way: You can build chords from any scale. How? Well, to start with, the 1st chord in a scale is built
by combining every-other note (non-adjacent notes) in the scale, starting with the 1st note.
Example: Using the D major scale, we will combine every-other note in the scale, starting with the D
note, and stopping after 3 notes are combined, for now. Result: we would have a chord consisting of
the notes D, F# and A. Three-note chords built in this fashion are called Triads.
2) Triads can also be built by combining every-other note in a scale but starting from other notes than the
1st one.
Example: In the D major scale you also have the following triads: E G B, F# A C#, G B D, A C# E, B
D F#, and C# E G.
Don’t go any further if all this is not perfectly clear. Reread whatever you have to and /or ask questions.
Naming of Triads, 3rd Intervals

In order to be able to name the triads in a major scale, we have to talk a little more about intervals.
IMPORTANT: most intervals are classified according to at least 2 characteristics:
1) Their general name, which is found by counting up the alphabet and adding up the number of letters
included.
Examples: C to F is a 4th (because there are 4 letters included Æ C, D, E, F),
C to F# is still a 4th (#’s or b’s don’t matter in the general name),
A to G is a 7th, F to D is a 6th, F# to C is a 5th, Gb to C is a 4th, and so on.
2) Their specific name, which is found by counting the number of whole steps or 1/2 steps between the
notes (there is also another method used to find specific names, and it will be discussed later).
Before you work with examples of this principle, the following should be said: Triads are built in 3rd
intervals. One definition of a triad then is: A 3-note chord built in 3rds. (Notice the term “3rds” used
for the term “3rd intervals” — this kind of slang is common).
Go back and check those triads in the key of D now, and see if you think they are built in 3rds.
Now for the specific names — there are two types of 3rd intervals in all of the commonly used triads, namely,
the Major 3rd and the Minor 3rd. (The major and minor are the specific names.) What is the difference
between the two? It’s in the number of whole or 1/2 steps involved:
1) A Major 3rd has 2 whole steps between the 2 notes involved.

Examples: A to C#, B to D#, C to E, Db to F, D to F#, etc.
2) A Minor 3rd has a step and a half (one whole step and one 1/2 step) between its notes.
Examples: A to C, B to D, C to Eb, Db to Fb
(notice that Db to E would be a 2nd interval, not a 3rd)
D to F, Eb to Gb, F to Ab, G# to B, etc.
Stop now, and reread anything that is not clear to you before you forge on.

There are 4 types of common triads, all of which are distinguished from each other by the types of 3rd intervals
used in their construction:
1) The Major Triad has the following intervals (from the bottom up): a major 3rd and a minor
3rd.
Example: a D major triad has the notes D, F#, A
(D to F# is a major 3rd, and F# to A is a minor 3rd).
Another example: An Ab major triad has the notes Ab, C, Eb
(Ab to C is a major 3rd, and C to Eb is a minor 3rd).
2) The Minor Triad has the following intervals (from the bottom up): a minor 3rd and a major
3rd.
Examples: a D minor triad has the notes D, F, A;
an F minor triad has the notes F, Ab, C;
a B minor triad has the notes B, D, F#.
3) The Diminished Triad has the following intervals (from the bottom up): a minor 3rd and a
minor 3rd.
Examples: a D diminished triad has the notes D, F, Ab;
an F diminished triad has the notes F, Ab, Cb;
a B diminished triad has the notes B, D, F.
4) The Augmented Triad has the following intervals (from the bottom up): a major 3rd and a
major 3rd.
Examples: a D augmented triad has the notes D, F#, A#;
an Ab augmented triad has the notes Ab, C, E;
an F# augmented triad has the notes F#, A#, C x (Å double sharp)
There are common symbols used to identify the different triads:

1) A major triad is written without any symbol other than the letter name itself. Example: if you see a
chord diagram labeled D, it is understood that this is supposed to mean a D major chord.
2) A minor triad is symbolized by a small “m” or the word “min.” Example: Am or Amin.
o o o o
3) A diminished triad is symbolized by a little . Examples: C , B , G , etc.
4) An augmented triad is symbolized by a little +. Examples: C+, B+, G+, etc.
Stop now and review anything that is at all fuzzy. (You are not expected to have all this information memorized
now, but you should at least understand it before moving on). Then fill out the 1st Quiz Page.

Tonality Quiz #1
Try to answer the following questions without referring to your notes (the “Tonality” pages). Exercise your
mind a little. Use your own words if you like, instead of memorized definition, but don’t be ashamed to use the
given definitions….the main thing is to understand the principles, no matter whose words you use to describe
them.
1) What is a scale?
2) What does the word interval refer to?
3) Write ten examples of whole step intervals.
4) Write ten examples of 1/2 step intervals.
5) What is wrong with this supposed major scale? A B Db D E F# G# A
And this one? Bb C D D# F G A Bb
And this one? B C# D# E F G# A# B
6) Write out the following major scales: C, G, D, Ab, Bb and E.
7) What does the word root refer to?
8) What does the word octave refer to?
9) How are chords built from scales?
10) What is a triad? (Give at least 2 definitions)
11) Identify the following intervals by their general name only:

F to C# ________ G to Bb ________ A to D ________ C to F# _________ G to F# _______
Bb to Db ________ D to B ________ Eb to F ________ F# to A# _________ Cb to Ab _______
12) Tell whether the following 3rd intervals are a major or minor:
B to D ________ C to E _______ E to G# _______ Ab to Cb _______ F to A _______
G to Bb _______ Db to F _______ C# to E# _______ Eb to Gb _______ Bb to D _______
A# to C# _______ D# to F# _______ G# to B# _______ Cb to Ebb _______ D to Gb _______
(watch out)
13) Tell what kind of intervals (from the bottom up) are in the different types of triads:
1) major triad:
2) minor triad:
3) diminished triad:
4) augmented triad:
Transcribed by P. Vachon
Tonality (part 2)
Names of the Triads in Major Scales

If you go back to those triads in the D major scale and successfully name them, the following results will appear:
D Em F#m G A Bm C#O
Notice that the first, fourth, and fifth triads are majors; the second, third, and sixth are minors; and the seventh is
a diminished.
The following is a complete list of the triads built from all 15 major scales:
Key of C: C Dm Em F G Am BO
Key of G: G Am Bm C D Em F#O Key of F: F Gm Am Bb C Dm EO
Key of D: D Em F#m G A Bm C#O Key of Bb: Bb Cm Dm Eb F Gm AO
Key of A: A Bm C#m D E F#m G#O Key of Eb: Eb Fm Gm Ab Bb Cm DO
Key of E: E F#m G#m A B C#m D#O Key of Ab: Ab Bbm Cm Db Eb Fm GO
Key of B: B C#m D#m E F# G#m A#O Key of Db: Db Ebm Fm Gb Ab Bbm CO
Key of F#: F# G#m A#m B C# D#m E#O Key of Gb: Gb Abm Bbm Cb Db Ebm FO
O
Key of C#: C# D#m E#m F# G# A#m B# Key of Cb: Cb Dbm Ebm Fb Gb Abm BbO
This list is given only for reference now, so don’t worry about memorizing it…you will memorize much
of the information given so far (and to come) very gradually, as you are exposed to it more and more, and as you
actually find uses for it (never fear…you will—remember: Music is based on tonality and all this information is
going to lead you to the ability to understand and work with the principles of tonality).
You may have noticed that the same chord qualities appear in all the keys above (that is, the 1st, 4th,
and 5th triads are majors in all the keys, and the 2nd, 3rd, and 6th chords are all minors, and the 7th is
diminished). Because of this fact, a kind of commonly accepted musical shorthand has evolved—a shorthand
that uses Roman Numeral symbols to represent the triads regardless of the key. The symbols are as follows:
I ii iii IV V vi viiO Capital Roman numerals indicate Major triads

Small Roman numerals indicate Minor and Diminished triads
(Capital Roman numerals will be used for Augmented triads too)
You will be encountering these symbols more and more as you progress on, and the advantages of being
aware of them will come into clear focus in a short time.
By the way, triads built from scales are also called Diatonic triads (Diatonic means “using only notes of
the scale”). So actually the full titles of the above are the Diatonic Triads of the Major Scale(s) or the
Diatonic (Major Scale) Triads. (In case you are wondering, yes, there are non-diatonic triads, but all in good
time….)
Another term you should be familiar with is Degree. This word in music refers to a note in a scale.
Example: If someone says, “What is the 3rd degree of the Ab major scale?” the answer is C — the third note.
Also, instead of the word ‘degree’, some people use the term Step or Scale-Step. (Note: this use of the word
Step has nothing to do with whole steps and 1/2 steps.) Expect to hear any and all of these terms used—they’re
all common.

Here are some examples of the Diatonic triads in a few keys. Try playing them so you hear what all this stuff
has been about so far:
Sounds such as these are referred to as Diatonic Chord Scales
Fill out Quiz #2 now.


Tonality Quiz #2
1) Triads are built in what kind of intervals?
2) How many of these intervals are “stacked” on each other in a triad?
3) Spell the following triads: (hint: write in the letter names of the 3rd intervals first, and then fill in the
#’s and b’s where necessary).
Example
1) Cm: C Eb G 2) Db 3) G# 4) Fm 5) D+
6) A 7) BbO 8) Dm 9) Eb 10) EO
11) F 12) C# 13) Ab 14) CO 15) E
16) G+ 17) Am 18) B 19) Ebm 20) D#m
21) F#O 22) D 23) Gm 24) C#m 25) A+
26) D# 27) A#m 28) Abm 29) Cb 30) G#m
31) F# 32) Gb 33) G#O 34) Bbm 35) C
36) AO 37) GO 38) C+ 39) Em 40) F#m
41) G 42) Bm 43) DO 44) Bb 45) BO
46) C#O 47) A#O 48) FO 49) B#O 50) E#O
51) D#O 52) B+ 53) F#+ 54) Eb+ 55) Ab+
4) What does the word Quality refer to?
5) What does the word diatonic mean?
6) What is the quality of the 4th triad in a major scale?

The 5th? The 1st? The 2nd? The 3rd?
7) Write out the names of the triads in at least 4 keys:
8) Correct the following examples of diatonic triads in various keys:

Key of Db: Db Ebm Fm G Ab Bbm CO
Key of A: A Bm C#m D E F#O G#m
Key of Eb: Eb Fm Gbm Ab B Cm DbO
Key of F#: F#m Gm A#m Bm C#m D#m Em
9) Write out the spelling (which notes are in the chords) of the diatonic triads in at least 4 keys:
10) Write out the correct Roman Numeral symbols (make corrections) under the following examples:
Key of C: C Dm Em F G Am BO Key of E: E F#m G#m A B C#m D#O

I ii iii iv V VI vii i ii III IV v vi viiO
Key of F: F Gm Am Bb C Dm EO Key of D: D Em F#m G A Bm C#O

I II III IV V VI VII I ii iii iv vO VI VIIO
Tonality (part 3)
Naming of Triads by Relationship of All Notes to the Bass

Another very important way of naming triads (and especially larger chords) is by viewing the intervals
that are formed from the bass note (lowest note) to the other notes.
Examples: 1) In a D triad, there is a 3rd interval between D and F# and a 5th interval between D and A.
A
5th interval F#
D 3rd interval
2) In a Gm triad, there is a 3rd interval between G and Bb and a 5th interval between G and D.
D
5th interval Bb
G 3rd interval
3) In a C° triad, there is a 3rd interval between C and Eb and a 5th interval between C and Gb.
Gb
5th interval Eb
C 3rd interval
Do you see a pattern starting to emerge? If you continued similar studies of the construction of other triads, you
would eventually come to the following conclusion:
All common triads contain a 3rd interval and a 5th interval (in relation to the bass).
As usual: the significance of this thought will become clear as you progress on….patience.
There are 3 common specific types of 5th intervals which are as follows:
1) A Perfect 5th interval has 3 & 1/2 steps between the 2 notes involved:
Example: A to E ( A B C# D# E)
∨ ∨ ∨ ∨
whole whole whole 1/2
More examples: Bb to F, C to G, D to A, Eb to Bb, F# to C#, etc.
2) A Diminished 5th interval has 3 steps between its notes (because there are 3 whole steps in this interval,
it is also called the Tri-Tone).
Example: A to Eb ( A B C# Eb ) Notice that although A to D# would
∨ ∨ ∨ sound the same as A to Eb, it is a
whole whole whole type of 4th interval, not a 5th.
More examples: B to F, C to Gb, D to Ab, E to Bb, F# to C, G to Db, Gb to Dbb, etc.
3) An Augmented 5th interval has 4 steps between its notes.
Examples: A to E# (A to F is a type of 6th interval, not a 5th), Bb to F#,
B to Fx (why not G?), C to G#, Db to A, D# to A#, Eb to B, F to C#, etc.
If we now classify the 4 common triad types by their intervals in relation to their bass notes, the following
appears:
1) A Major Triad has a Major 3rd and a Perfect 5th.
2) A Minor Triad has a Minor 3rd and a Perfect 5th.
3) A Diminished Triad has a Minor 3rd and a Diminished 5th.
4) An Augmented Triad has a Major 3rd and an Augmented 5th.
If you are starting to feel swamped with facts, relax….most of this information is being given for
reference later, or to lay the groundwork so that you understand the origin of the playing material you are going
to be dealing with or are already dealing with. For now, just make sure you understand all this stuff…as
mentioned before, memorization will happen gradually, as you work more and more with the material.

Inversions
The notes in a triad need not be arranged in order. Suppose you encounter a D triad as follows:
This is still a D chord but the notes are scrambled up a little. This chord is called a 1st Inversion.
Before you find out what that means the following must be said: The note that forms a 3rd
interval with the bass note of a triad (speaking about a triad with its notes in regular order now)
is called the 3rd of the triad. Example: F# is the 3rd of D. Likewise, the note that forms the 5th
interval with the bass of a triad is called the 5th of that triad. The bass note of a triad is called the root (just as
scales have roots, every triad is said to have a root). Examples: A is the 5th of Dm, D is the root of Dm.
A 1st Inversion is a triad that has its 3rd in the bass.

A 2nd Inversion is a triad that has its 5th in the bass.
A “Root-position” triad (this term refers to the regular, root in the bass triad and will be used occasionally to
distinguish the regular triad from its inverted brothers—the 1st and 2nd inversions) or an inversion may have
different Voicings of its notes. The word ‘voicing’ refers to the exact arrangement or order of the notes…play
and compare the following voicings of an E major triad (and its inversions).
Did you happen to notice that the same voicing can be played in more than one place on the guitar?
Ask about this phenomenon if you’re not sure.
4 Note, 5 Note, and 6 Note Triads (Triads with Doubled Notes)

Triads often have doubled notes, that is, 2 roots, 2 3rds, and/or 2 5ths. Play and compare the following
examples:

Here are a few examples of some diatonic chord scales using some larger triad sounds:
The X’s are played after the ’s; try and keep as many notes ringing as possible
(in other words, don’t lift anything off to play the X’s).
As you can see, there is a whole beautiful world of sound in just triads. If you are interested in being a
complete musician, then a serious study of triad sounds will be a tremendously beneficial investment of your
time. If you decide to do this though, make sure that it is tune with your musical goals and priorities. For
instance, if you have decided to specialize in jazz, and you want to play in a group, then frankly, triads are not
one of your main priorities at first. However, if you have any classical music in your blood and you want to be
able to play solo guitar, then triads are high on the list of musical tools you will be able to use. (These are just 2
isolated choices out of many. If we haven’t nailed down a musical direction for you yet, now is the time, so let’s
discuss it). Also if you review all the material up to now from time to time it will sink in.
Fill out Quiz #3 now.


Tonality Quiz #3
1) Triads contain what type of intervals in relation to the bass?
2) How many types of common 5th intervals are there?
3) What are they called?
4) How do they differ?
5) Identify the following 5th intervals (give the specific names):

A to Eb _________ C# to G _________ Db to Ab _________ G to D# __________
Bb to F _________ E to B _________ F# to C _________ Ab to E __________
6) Answer true or false: G to Db is a diminished 5th. _________

C to Ab is an augmented 5th. _________ B to F# is a perfect 5th. _________
Cb to Gbb is a diminished 5th. _________ D# to A# is a perfect 5th. _________
Fb to B is a diminished 5th. _________ If you didn’t have to fill
C to Hb is a tormented 11-teenth. _________ out this page you’d be
happier. _______________________
7) What are the 4 types of triads?
8) What intervals does each one have in relation to its root?
9) What is an inversion?
10) Tell which tone is in the bass on the following triads (write either R, 3, or 5 underneath each figure):
C major G minor D dim. Bb major Db augmented

C Bb F F Db
G G D D A
E D Ab Bb F
E minor Ab minor F# major G# minor

E Cb F# D#
B Ab C# B
G# Eb A# G#
11) What is a 1st inversion?
12) What is a 2nd inversion?
13) What does the word voicing refer to?
14) Can the same voicing be played in more than one place on the guitar?
15) Write a very brief summary of the main points discussed in the [three part] pages on Tonality. (Use the
back of this paper if you like.)
Triads
Ted Greene – 1973-03-24
Major Scale = whole, whole, 1/2, whole, whole, whole, 1/2.

1 2 3 4 5 6 7 8 1, 8 is called root or tonic.
Example: A major scale: A B C# D E F# G# A 9 = 2; 11 = 4; 13 = 6
Triad Chord Formulas:

Major – 1, 3, 5 Augmented – 1, 3, #5
Minor – 1, ¨3, 5 Diminished – 1, ¨3, ¨5
Closed Voicing Triads (Close Triads)
Open Voiced Triads (Open Triads)

“Triads” — Ted Greene, 1973-03-24 page 2
7th Chord Triads
Diatonic Major Scale Triads: I ii iii IV V vi vii°

Diatonic Major Scale 7th Chords: I²7 ii7 iii7 IV²7 V7 vi7 vii7¨5
Diatonic Major Scale 9, 11, 13th Chords: I²9, I²13; iim9, iim11; iiim7/11;
IV²9, IV²13(#11); V9, V11, V13; vim9, vim11;
vii extensions are commonly thought of as V7 extensions.
List of Common Extensions
Major Minor Dominant 7th

6th: 1,3,5,6 m6: 1,¨3,5 7th: 1,3,5,¨7
²
7: 1,3,5,7 m6/9: 1,¨3,5,6,9 7/6: 1,3,5,¨7,13
6/9: 1,3,5,6,9 m7: 1,¨3,5,¨7 9: 1,3,5,¨7,9
²
13: 1,3,5,6,7,9 m7/11: 1,¨3,5,¨7,11 13: 1,3,5,¨7,9,13
²
9: 1,3,5,7,9 m9: 1,¨3,5,¨7,9 7sus: 1,4,5,¨7
/9: 1,3,5,9 m11: 1,¨3,5,¨7,9,11 7/6sus: 1,4,5,¨7,13
m²7: 1,¨3,5,7 11(9sus): 1,4,5,¨7,9
Sus: 1,4,5 m²7/9: 1,¨3,5,7,9 13sus: 1,4,5,¨7,9,13
m/9: 1,¨3,5,9 +: 1,3,#5
°
7: 1,¨3,¨5,6
Common Chord Progressions

Do in Major keys (and relative minor keys where possible)
1) I – IV – I 2) I – vi – ii – V – (I)
I–V–I I – vi – IV – V – (I)
I – IV – (I) – V – I iii – vi – ii – V – (I)
I – V – (I) – IV – I III – vi7 – II7 – V7 – (I)
vii – II – ii – V – (I)
3) I – iii – IV – V 4) I – I7 – IV – iv – I
I – I²7 – IV – V vi – iv – I – II – IV – V – I
I – III – IV – I
vi – iii – IV – I
ii – vi – IV – I
I – ii – IV – I
Common 4-Bar (8-Bar) Progressions:

1) I – IV – vii(°) – III – vi – II – ii – V  I
2) I – IV – III – vi – II – ¨VI – ii – V  I
3) I – I7 – IV – iv – iii – VI – ii – V  I
4) #ivm7¨5 – iv7 – iii – ÏII – ¨VI – ÏI – ii – V  I
5) I – iv – iii – VI – ïii – ¨VI – ii – V  I
6) I – IV – #iv – VII – iii – VI – ii – V  I
7) I – IV – vii(°) – III – vi – II – v – I7  IV or IV used for ii
8) I – IV – vii(°) – III – vi – II – ïii – ¨VII  ii
9) I – ¨VII7 – iii – VI – II – ¨VI – ii – V  I
Three Principle Groups of Sounds:

Tonic – I, iii, vi
Subdominant – IV, iv, ii, II
Dominant – V, vii°, ii°, iv, i°
Chord Substitution. You may:

1) You may replace any diatonic triad with its related diatonic 7th chord.
2) Replace any diatonic triad or 7th chord with its related 9th 11th (7/11), or 13 (7/6).  These are
chords that have 11th’s but no 9ths, also 13ths but no 9ths or 11ths. All of these are called
Extensions.
3) To any major triad, add the dominant 7th extensions for a change of color. This does not always
work – experience will teach you when to do or not to do this.
4) A very common practice is that of temporarily treating any major, minor, or dominant 7th type
chord as a tonic and preceding it with its V7 (V), ii7-V7, II7-V7, IV-V7 or iv-V7. These chords
are called Secondary Dominants. When preceding a 7th chord, it is also common, even more
common to use vm7. Example: Precede C7 with Gm7 instead of G7.
5) Substitute iv for ii, v for iii – use extensions of these.
6) In any chord with an unaltered 5th, the 5th may be omitted. In any 9th, 11th, or 13th type of
chord, (and occasionally a 7th type), the root may be omitted.
7) In any chord the 5th may be raised or lowered; however, the most common chords to accept this
alteration are 7ths, 9ths, m7s, and ²7ths. A ¨9 or #9 are sometimes added to dominant 7th type
chords, especially the 7th chord itself. (¨9ths are sometimes added to m7s also.)
8) Any dominant 7th chord serving a non-tonic or subdominant function may be replaced with
another dominant 7th type chord whose root is a b5th higher.
Example: Basic  C E7 Am  C B¨13 Am

// // //// // // ////
A curious relationship is that the extended notes of one equal the altered notes of the other.
Example: compare B¨13 and E7#9+, B¨9 and E7¨9+, etc. Sometimes major7 types or m7 types
are used on the ¨5th principle.
Examples: Basic: C A7 D7 G7  C9 E¨7 A¨²7 G7+

// // // // // // // //
Basic: C Am7 Dm7 G7  Em7 A7 E¨m7 A¨7 Dm7 G7

//// //// //// //// // // // // //// ////
Notice the A7 and A¨7 chords above – it is common to insert 7th chords (or extensions) whose
roots are a 4th higher after m7th type chords – kind of like the reverse of the Secondary Dominant
procedure.
9) It is common to precede any chord with its I°7.
Example: Basic  C F G  C°7 C F°7 F G°7 G7
The other common use of °7s is as 7b9 chords:

Example: Basic  C E¨°7 Dm G7  C D7¨9 Dm7 G7
10) Substitute #ivm7¨5 for I or IV for deceptive progression; also I°7 for I, i for I, ¨VI for I,
ÏII for iii, and many others.
11) Compare  i ¨VII ¨VI V = vi V IV III of key of ÏII.
It is common to mix in chords of the key of the ÏII with the chords of the I key.
Example: in the key of C you might use E¨(²7), Fm(7), Gm(7), A¨(²7), B¨(7), Cm(7), Dm7¨5.
It is also common to use the chord of the key of IV, ¨VII, V, and ¨VI with the I key – experiment.
This whole principle is called the Borrowed Chord Principle.
Examples (in the key of C):
1) C A¨ E¨ G C 4) C C7 F Fm C
2) A¨ E¨ B¨ F C 5) C E¨ Cm Fm A¨ C
3) C Gm C

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The 5 Main Areas and the

Related Triads and Major7 Chords

[Row 1] Closed Triads

The first page is the “Clean” original version.

Key of Gm i ii° bIII iv v bVI bVII

If we write out the Diatonic 7th chords of Aeolian….

i7 ii±7 bIIImaj7 iv7 v7 bVImaj7 bVII7

Roll the right hand

if the melody was: G A G# | G E Eb D

The Chromatic Scale

Transcribed by David Bishop

This leaves us with 7 main places to

2) Let’s look at another example:

And linking all this together in geographical order:

A more difficult option:

3) Let’s try a short melody harmonized with I to IV in the key of Bb:

“Side-trip”: let’s hear the effect of register (and key change):

Let’s look at the diatonic triads of Dorian for starters:

Key of Gm i ii bIII IV v vi° bVII

Aeolian iv iv now in Dorian IV IV

The Foundation of musical theory is the Major Scale.

A major scale starting from an A note:

Here is a list of the commonly used major scales:

The Harmonic Minor Scale

The chord tones in the scale are:

Transcribed by David Bishop

i | Ascending and descending: natural and melodic

i7 | Ascending and descending: natural

ii° or ii±7 | Ascending and descending: natural (harmonic)

ii, ii7 | Ascending and descending: melodic

III+, III²7+ | Ascending and descending: melodic, harmonic

III, III²7, III6 | Ascending and descending: natural

iv, iv7, iv6 | Ascending and descending: natural (harmonic)

IV, IV7 | Ascending and descending: melodic

V, V7 | Ascending and descending: melodic and harmonic

v, v7 | Ascending and descending: natural

VI, VI²7, VI6 | Ascending and descending: natural and harmonic

§vi°, §vi±7 | Ascending and descending: melodic

¨VII, ¨VII7 | Ascending and descending: natural

§vii°, §vii±7 | Ascending and descending: harmonic, melodic

All other diminished 7ths treated same as i°7.

I, I7 | Ascending and descending: harmonic and melodic of iv.

I7¨9 | Ascending and descending: harmonic of iv, 1/2-whole, whole-1/2.

(i°) i°7 | Ascending: whole-1/2. Descending: 1/2-whole.

ÏI, ÏI²7, ÏI6 | Ascending and descending: natural, harmonic of iv

ii° or ii±7 | Ascending and descending: melodic minor of iv

II, II7 | Ascending and descending: harmonic and melodic of v

II7¨9 | Ascending and descending: harmonic of v (also whole-1/2, and 1/2-whole)

III7 | VI major scale

§iii° | Ascending and descending: melodic and harmonic of iv

iii°7 | Ascending and descending: harmonic of iv (also whole-1/2, and 1/2-whole)

iv | Ascending and descending: melodic and harmonic of v

#iv° | Ascending and descending: melodic and harmonic of v

#iv°7 | Ascending and descending: harmonic of v (also whole-1/2, and 1/2-whole)

v°, v±7 | Ascending and descending: natural and harmonic of iv

¨VI7 | ¨II major scale

¨VII²7 | ¨VII major scale

¨vii, ¨vii7 | major scale of VI

This chord will be discussed soon

A good knowledge of progressions such as these can be obtained through a study of

Here is an example that shifts tonal centers (keys) from D to Gb to Bb:

4) Major 7ths (²7) are a common “replacement” for major triads:

7) One other chord available in the major family is the ²7/6 :