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m= Root C1 = Invisible Root FORM | Gmaj Gmaj7 G7 Gmajé6 Xi Xi ¢ 1X} am L FORM II Cmaj Cmaj7 C7-A C7-B Cmajé6 | HI 1 HT Ig 4 10) e+ He gi ‘3rd Fret Xt ret x FORM Il Bmaj Bmaj7 B7 Bmaj6 x T xT | E ? 10; }O- [| rrr Po) FORM IV Emaj Emaj7 E7 Emaj6 x 1X) lol 4 Hi Or {0} 10; x xl x FORM V Fmaj Fmaj7 F7 Fmaj6 x Tle é f 19 10; 4 He HH LI le CHORD SECTION FORM VI Bbmaj Bbmaj7 Bb7 Bbmaj6 [ 4] i lal I Ae 1 c | P lal Ms id n Pry al FORM VII Gmaj Gmaj7 G7 Gmaj6 XI | ia i eC 1 lo! FORM VIII Cmaj Cmaj7 C7 Cmajé T | x} o- a Ht ™ : HOO Ab7 Abmaj6 Abmaj Abmaj7 i “0 Tx Ebmaj Ebmaj7 El o FORM | Gm Gm/maj7 Gm7 Gm6 cH tf | | | 6 | FORM II cm Cm/maj7 Cm7 Ccmé x! FORM III Bm Bm/maj7 Bm7 Bm6 x | 7 he x) “tH re et md ey a ‘o ‘o FORM IV Em Em/maj7 Em7 Em6 x x; Ki ‘Cel x a 9 K FORM V Fm Fm/maj7 Fm7 Fm6 na - 7 Le et ! I CAC le <>< FORM VI CHORD SECTION Bbm Bbm/maj7 Bbm7 Bbm6 K Teh 1@; }__ | |_| Ix i IX eo FORM VII Gm Gm/maj7 Gm7 ane TA HE 1 e e FORM VII cm Cm/maj7 Cm7 Cm6 | \O; 1Or 10; 2 “e Hey x x x FORM IX Abm Abm/maj7 Abm7 Abmé6 r 10) 1, {ty ei lol tol x] x! x! FORM X Ebm Ebm/maj7 Ebm7 Ebm6 A E TT Pi o CI MCC FORM | Gmaj7 Gmaj9 Gmg Gmaj6/9 x XI XI io le FORM Il Cmaj7 Cmaj9 Cmg9 Cmaj6/9 To 57 6 10; JHE ETC e o FORM Ill Bmaj7 Bmaj9 Bmg Bmaj6/9 Xi T x a Xi oF [ f Hel CoH es CCeeer ri FORM IV Emaj7 Emaj9 Emg Emaj6/9 eo 2 rt AEC 10} (Or Xx a l af By FORM V Fmaj7 Fmaj9 Fm Fmaj6/9 7 C] ll Ne f | ie + | 4 to} f Co H Hi is Cle ig LU Lig lo! FORM VI CHORD SECTION Bbmaj7 Bbmaj9 Bbmg Bmajé6/9 H Ae onl ix] ‘OF ‘ih Fret x FORM VII Gmaj7 Gmaj9 Gmg Gmaj6/9 Xj LT Ix |_| Ht H ° FORM VIII Cmaj7 Cmaj9 cmg Cmajé6/9 HH 0" 0, jo fi a leer FORM IX Abmaj7 Abmaj9 Abmg9 Abmaj6/9 A lo] TJ (Or tig tt Cet 1x x" FORM X Ebmaj7 Ebmaj9 Ebm9 Ebmaj6/9 3 I Oo, Hi cl 10) t e+} lo} eH [ LUT | FORM | m G7 G9 G7(b9) 7 G7(#9) A oe ai io oo o--+ ol” _ ee FORM II C7 x cg Keon C7(#9) rm BH Hee eH a1 fe | toe i *e) eo FORM Ill B7 Bg B7(b9) B7(#9) x 7 a ‘ol ‘ol fe e eo Te { lo! la FORM IV —7 EQ E7(b9) E7(#9) 0; o7 He 6 pi Cea hal +— _ EHH He x! Xan Fret FORM V F7 1m F7(b9) F7(#9) meal L a eS Poe oe HE Pee Cl lg 111 ig LE jg ~~ xx >< FORM VI CHORD SECTION Bb7 e Bb9 9; Bb7(b9) Bb7(#9) oO 1 ae rHeH eo] x e e FORM VII G7 G9 G7(b9) G7(#9) ete a c eo Hot Hee aH a el “9 1 J FORM VIII c7 cg C7(b9) C7(#9) LT ol me Hor Oy et 7 FORM IX Ab7 Ab9 Ab7(b9) Ab7 (#9) ores re Zl r | See FORM X Eb7 cn Eb7(b9) Eb7(#9) o 1 ru o or es er 4 Co Te He HH {TT F | Ho 1 T lg HH CLT FORM Il C7 c H LL] L rT TT E eet H ee ERerH FORM III rn roe Ty Poor Lr lel Sree eR CCeee Cog Te KCCocet t FORM IV —7 & Le 7 Foo Co TEE) |r A HPA Eo EH FORM V F7 Fo ee Ao ea cl Perce HaCHTe EH Hy CH FORM VI ‘CHORD SECTION Bb7 Bb° I f FORM VII G7 @ 1 oo lal le FORM VIII C7 Co CACC le} lo} > OO Eo FORM IX Ab7 Ab® Oo Aa 1@r- +—t x | aml FORM X Eb7 Eb? Souue/acranee x! 1 | FORM | G7 G7(b5) G7(#5) Het 1 e in FORM Il-A FORM II-B C7(b5) C7(#5) C7(b5) C7(#5) Lit A lel lo Tel FORM Ill B7 B7(b5) B7(#5) foo CC pict | eH I FORM IV E7 E7(b5) E7(#5) ea 4 hl m , 70-7 eo e WOLEL FORM F7 F7(b5) F7(#5) L Y LT ae TELS [ | : IT lg or LO FORM VI CHORD SECTION Bb7 Bb7(b5) Bb7(#5) Ha ec H i “ Cl M em er FORM VII G7 G7(b5) G7(#5) , Ht of 1) E + FORM VIII c7 C7(b5) C7(#5) x x | 0} 1} 10; - mr ‘o ‘oO FORM IX Ab7 Ab7(b5) Ab7(#5) H T lo dese la} 170 TTT x x x FORM X Eb7 Eb7(b5) Eb7(#5) 2 P+ x} FORM | Gmaj7 Gmaj7(#5) Gmaj7(b5) Gmi7(b5) e 2 o- FORM II Cmaj7 Cmaj7(#5) Cmaj7(b5) Cm7(b5) 1% I 10; x x! FORM III Bmaj7 Bmaj7(#5) Bmaj7(b5) Bm7(b5) x x x} H ha ld FORM IV Emaj7 Emaj7(#5) Emaj7(b5) Em7(b5) i! il HE Cl o} [| mu H a 10 a 10) 10} x x FORM V Fmaj7 Fmaj7(#5) Fmaj7(b5) Fm7(b5) x XI IL 1 (Or 10; | | CHORD SECTION FORM VI Bbmaj7 Bbmaj7(#5) Bbmaj7(b§ Bbm7(b5} ©, 4 ry [8] os lo i xh 12} erry coy FORM VII Gmaj7 i Small) Gmaj7(bs) gomntbs) | | e [| E H FORM VIII Cmaj7 Cmaj7(#5) Cmaj7(b5) ye om7b5) x i | x lel er {;o— 5 \O a e fet ‘eo FORM IX Apmey Abmaj7(#5) Abmaj7(b5) Abm7(b5) et If | | Ce , [(O CORI TT FORM X Ebmaj7 Ebmaj7(#5) Ebmaj7(b5) Ebm7(b5) [ ] 3 a leer le c CoO i Mt co FORM | G7 G7sus4 Gm11 GQsus4 or G11 G9(+11) Te i | 1 Sot fs d 1) X ay adtet fat Fret FORM Il c7 C7sus4 or Cm11 CQsus4 or C11 C9(+11) i TO iF +—+ 1O- t+ 1 1@i-+ XI ld LPI WP FORM Ill B7 B7sus4 or Bmi1 —_B9sus4 or B11 B9(+11) + x ITI x ; i i Cc] fe FORM IV E7 _0, E7sus4 or Em11 —_ EQsus4 or E11 E9(+11) © ¢ au lo ro IL | + a - | MAL Cr x! FORM V F7 F7sus4 or Fm11— FQsus4 or F11 FQ(+11) @ | CHORD SECTION FORM VI Bb7 Bb7sus4 or Bbm11 Bb9sus4 or Bb11 Bb9(+11 @—- lal 0} lo] +I + x] | 14 19} xl mM FORM VII G7 G7sus4 or Gm11__G9sus4 or G11 G9(+11) x xl i rt x} if ‘ 9 [To 6616 e FORM VIII C7 C7sus4 orCm11 —C9sus4 or C11 C9(+11) x TTT 1X Xx ‘ol i “a | F 2 x FORM IX Ab7 Ab7sus4 or Abm11 Ab9sus4 or Ab11_ Ab9(+11) | FORM X Eb7 Eb7sus4 or Ebm11 Eb9sus4 or Eb11 Eb9(+11) FORM | G7 G13 G13(b9) 4 2144) 40; {Or 1; am | in | FORM I c7 C13 €13(b9) C13(#9) 4] | it to} I fo le |_| ‘ HHH EH FORM Il B7 B13 B13(b9) B13(#9) i [ il rs {Or lig’ io) FORM IV E7 E13 E13(b9) E13(#9) {Or {o| jo.- o Je ry _—— CI BS, x Xan Fret FORM V F7 ma F13(b9) F13(#9) pf ery She 1S 2 FORM VI CHORD SECTION Bb7 Bb13 Bb13(b9) Bb13(#9) rt eI g ; % > x! x! x’ x FORM VII G7 G13 G13(b9) G13(#9) x \ " Jo} ot Hee HHH hf oe! FORM VIII c7 C13 C13(b9) C/3(#9) x x Xx 9 +0 Je} 10} oe! Me al FORM IX Ab7 Ab13 Ab13(b9) Ab13(#9) H Per H 0) LL le) {| x] x] a Xx! x’ x! x FORM X Eb7 0 Eb13 Eb13(b9) Eb13(#9) 1 ft | | x He} + ‘None Mgior Scales _ ste Pa ee ee ae ey Not Asean ow ptt cea ad ending alka ch ote apace ak ea Fingerboard Major Scales © ‘SCALE SECTION Major Scale Exercises A ee oe = 2 4 2 Octave Scales A Major a A# Major B Major en —— . : = ———S Ss a ! 4 2 4 3 r-1 3 14 B Major 1 f t « = te te ee C Major le C# Major 2 + ee — — — TPH a 47 Major Scale Exercises B Eighth Note Exercise —== -¢-—$o—te i vot + zvr 7 4 "so 4 1 8 tt 8 tlk Eighth Note Triplet Exercise 3 3 3 3 3 3 aH —— z qa? foo Zz ete vt 7 103 103 14 4 09 1 9 t ot 2 tea 3 3 3 3 3 4 1039 1 3 t 2 £ 2 & 2 4 42 4 2 8 1 8 4 Note: Alll exercises use the form I-A fingering. Once this has been mastered, then work these exercises in all the other fingering. Broken Thirds In Eighth Notes Sixteenth Note Exercise 3 vie Fe tf a 4 t 3 4 1 3 et et kt ke 13446 i-toartat2 ost 2% 12 41 241941 34 SCALE SECTION Pentatonic Scales Ist Octave IInd Octave Illrd Octave A Major Pentatonic e 2 fe = Oe 1 3 1 8 1 8 4b 4 4 4 @Me « 1 4 4 4 4 3 2 4 2 ©: 2 «4 2 4 2 4 1 4 2 4 xIl pos ®: 2 4 1-f 4 1 3 1 3 2) ft 3 1 a] IX pos, Ist Octave Ind Octave Ulrd Octave A Minor Pentatonic a ¢ = Oe 2 46 1 4 4 4 2 4 2 4 Q: 1 2 4 2 4 2 4 2 2 2 1 © sore te Or: 46 1 8 sage td ep gg XII pos. VII pos. Ist Octave lind Octave Ilrd Octave A Funky Minor Pentatonic e [ete] cs = ‘4 ©QO©® X pos. 14 tee tat «4 4 elm 1 4 bee 4} VII pos. XII pos. A Chromatic Minor Pentatonic ete 2 tte ste IX pos. Working _(6) Major Scales from (1) Position F¢ Major Form I-C B Major Form II-C ee G Major Form I-B = — = = + =a ea ee 7 = a ql SCALE SECTION Working (6) Major Scales from (1) Position C Major Form II-B SS *—— A Major Form I-A = D Major Form II-B Note: The above exercise is worked from the IInd position. Remember: The Ist finger determines the position you're in, and not necessarily the root of the scale. Note: Once the above exercise has been mastered and memorized, in the IInd pos., then repeat the entire exercise from the III, IV, V, VI, positions. Modes With (6th) String Root ‘A Major Scale C# Phrygian SCALE SECTION Modes With (6th) String Root * E Mixolydian tee te «2 $= oH —- fe ¥ ®t 1 0 4 t 89 4 @ @ t 2@ 4 4 @ 4 ®e2 4 1 2 4 1 @ 4 4 89 4 2 4 4 2 ©: 2 4 1 2 4 4 2 4 2 4 4 2 4 FtAecolian 2 s = @®* t+ 2 4 4 2 4 4 9 4 2 4 4 a 4 ®e2 4 + 2 4 4 2 4&4 1 2 4 2 &@ 14 8 © 1 8 4 t£ 8 4 t 8 a-4 3 1 2B 4 4 Modes MODES — The word mode simply means scale. Modes are scales built from each individual note of a Major Scale. However, because these scales are bullt from one scale, they ALL share the same key signature. EXAMPLE: D dorian Is really a C Major Scale starting from D and ending on D an octave higher. Remember the D dorian mode differs from the D Major Scale which has two (2) sharps, F and C. Pure Minor Scales Form I Fingerings (6th) String Root A minor (Pure) 7 a) = 7 1 02 4 4 2 4 t 8 4 2 4 tk ———————— () — a > 7 Soa tk kt 8 kkk 1/2 step slide @) Whole step slide () 109 4 4 3-1 2 4 1 2 4 4 3 4 1 Bt 8 4 sve To 4 Whole step slide 1X pos. —— '—— X pos XIII pos. SCALE SECTION Pure Minor Scales Form II Fingerings (5th) String Root D minor Pure a) 7 tlk 7 Whole step slide Whole step slide b 2 # = ° = = *. = Hh —— 2 4 4 2 4 «© 2 4-4 © Harmonic Minor Scales Form I Fingerings (6th) String Root ‘A minor (Harmonic) a a“ — i) = = 7 ” 7 OY 2 4 tk ted 8 4 kk tw t 1/2 step slide © == 7 =j EE =. FOU Pp a eee tg kk tas 1/2 step slide 1/2 step slide ete r+ ¥ ° 3 A east 8 4 4 8 4 1/2 step slide a= 2 ® = sre Tat 8 8 a ent 2 4 toe tant 2 at 2 ane Whole step slide IX pow 1/2 step slide U—x roe SCALE SECTION Harmonic Minor Scales Form II Fingerings (Sth) String Root D minor (Harmonic) ~ + be it # “a — i rr a ee ce Whole step slide 1/2 step slide LL __-v pos. | = = = o & oe $=—* Y 3 3 2 Jazz Melodic Minor Scales Form I 6th String Root A minor (A) <- 4 aoa a9 4 2 4 1 a 4 t 1/2 step slide 1/2 step slide @) t 1/2 step slide Whole step slide 1/2 step slide SCALE SECTION Jazz Melodic Minor Scales Form II Sth String Root D minor «2 « ¢ “ jie 2-1 2 4 ¢t t Whole step slide te — weet og SSS j poe. « a 3s «a 8 «1 9 4 1/2 step slide afte £ 0 4 t-1t @ «4 @ «4 9 9 ! 1/2 step slide Diminished Scales Whole Step/Half Step né = - 4 SS a 4 a2-f 8 4 2 8 Pat a 4 f-10 9 4 t-1 9 4 t-t 9 4 tot Bo 4 tat a dndmd SCALE SECTION Diminished Scales Half step/Whole step (A) = 4 > Roe @) Whole Tone Scales (A) = ’ ———— Se F 3 1 a 1 3 1 4 $l «© “$l wa 4 9) SCALE SECTION Whole Tone Scales @) - o__* & SEE =» tt To a tk 4 1 2 4 1 2 4 2 © -—* € oe tate = vie Ty ton 4 tok 8 4k 8 tk ane Note: Work these fingerings in eighth notes, eighth note triplets, broken thirds, and sixteenth notes. ‘Remember! Any note in a whole tone scale may be considered the root. ARPEGGIO SECTION Form | Aroeggio Studies (6th) String Root ‘A Major Aminor Ind Octave Ist Octave IInd Octave Ist Octave te = 2 @t". 1 1 1 4 4 To. 1 tk kk @®2 1 4 4 39 2 2 2 4 4 4 kk ©: 4 2 2 1 3 4 ©: 4 38 f 4 9 4) VII pos. AMajor 7 A minor/Major 7 Ind Octave Ist Octave Ind Octave Ist Octave AT Am7 Ist Octave Ind Octave Ist Octave IInd Octave t= —— — abo. os =e = fe =? Too 1 4 tt 4 2 @T 2 1 4 2 4 4 @ tse eee Sri ti tt 2 1-4 4 2 1 ©1 4 389 4-1 4 8 2 ©: «4 Form | Aroeggio Studies (6th) String Root A7(bS) Am7(bS) Ist Octave Ind Octave Ist Octave IInd Octave > f= a @? “s 1 4 1 1 8 2 @P 2 1 46 1 4 8 2 @2 1 3 2 4 8 t+ 4 @®e 1 @ 2 4 2 1 4 ©: 4 2 1-1 4 2 2 ©t 4 2 t-t 4 2 2 A745) Ao7 Ist Octave Ind Octave Ist Octave IInd Octave = t = = = @? "es 2 4 1 1 1 2 @P 2 1 9 1 4 2 tt ®2 1 4 1 9 2 @ & @2 1 4 bt 4 2 2 4 ©: 4 8 1 4 a1 ©t 4 1 4 t 4 tig A Major 6 Am6 Ist Octave Ind Octave Ist Octave Ind Octave ARPEGGIO SECTION Form | Aroeggio Studies 1 ExI® FM7 Gm7 Gm7 c7 FM7 ———= — J Se be S Sbe CoS a4 1 1 4 8 1-1 4 5 2 1 1 4 t-4 2 4 a OY 42 too bo Note: Each exercise should be memorized in every key. 65 Form | Aroeggio Studies 2 Ex2-@ FM7 Gm7 Am7 D7 Gm7 Cc FM7 & —— at a gee “wigs Se T 42 i-1 94d 1 dott etataare Ex2-® FM7 Gm7 Am7 D7 Gm7 c7 FM7 Ex2-© Form | Aroeggio Studies 3 ARPEGGIO SECTION Ex3-@ EM7 Gm7 Am765) D7 Gm75) C7 M7 é 22S = =e GES zZ sre vets tre Ss 1424 2 13a ta2an z T 42 424-121 3 FM7 Gm7 Am7(b5) D7 Gm7(b5)_— C7 FM7 fe = ae ° + 221.141 e221 et raee Ex3-© FM7 Gm7 Am7(b5) Gm7(b5) io Studies 4 Form | Aroegg Ex4-@) M7 Gm7 Am7 D769) Gm7 C769) FM7 = =a oe woget aottaacttaat FM7 Ex4- Am7 DI(b9) Gm7 C169) D7(b9) io Studies 4 Form | Aroegg Ex4-@) M7 Gm7 Am7 D769) Gm7 C769) FM7 = =a oe woget aottaacttaat FM7 Ex4- Am7 DI(b9) Gm7 C169) D7(b9) ARPEGGIO SECTION Form | Aroeggio Studies 5, 6 & 7 Ex. 5 FM7 Gm7 Am7 D165) Ta 2114222946118 411431146 32 1-1 21 24 2 C165) FM7 Ex. 6 FM7 Gm? Am7 Abm7 ARPEGGIO SECTION Form Il Aroeggio Studies (5th) String Root D Maj Dmin (Ist Oct) (Ind Oct) 2 (Ist Oct) (IInd Oct) a 7 e aot a8 ft ae ®t 2 1 2 1 4-4 rr ee ®2 1 4 39 2 1-4 4 2 2 2 1 ©: 4 a 2 1 4 D Maj 7 D min/Maj7 o + ARPEGGIO SECTION Form || Aroeggio Studies (Sth) String Root D765) Dm7(b 5) be bf = be ©©® ©@©® D745) je D7 be ’2 @+4 8 2 4 2 1 4-4 ® 4 2 1 4 4 4 4 4 ®:z 1: 4 1 38 8 2@ 4 ® 2 1 4 2@ 1 1 4 ©1 4 59 1-1 46 4 2 Ot 4 2 4 t 4 2's D Maj 6 Dm6 @* @* Oe t+ 4 4 4 6 2 4 @Me t 4 2 8 2 4 8 ©! ©: Form Il Aroeggio Studies 1 ExI-®@ BbM7 m7 m7 F7 BbM7 — = | =m f ape oe 7 bee oe Soe 1 4 2 t-1 8 4 4 4 4 @ tat 2 4 2 424 Ex1-@) BbM7 m7 m7 F7 Bbm7 ARPEGGIO SECTION Form Il Aroeggio Studies 2 Ex2-@ G7 Cm7 FT BbM7 g4 23121914 3139214394 2312139 1 4 21-1 43 2 Form Il Aroeggio Studies 3 Ex.-3-@ BbM7 cm7 Dm7(b5) G7 Cm70b5) F7 Ex.-3- BbM7 m7 Dm7(b5) G7 Cm7(bS) F7 BbM7 BbM7 m7 Dm7(b5) G7 cm7(b5) FT BbM7 be hy _ —_— ratte a be a42 51213142 1-92 4942 B12138 ARPEGGIO SECTION Form Il Aroeggio Studies 4 Ex-4-@ BbM7 cm? Dm7 G79) m7 F769) BbM7 BbM7 ee Dm7 G7(b9) m7 b F769) BbM7 G769) hep. 5 7 44 taat ata Form Il Aroeggio Studies 5 BbM7 m7 Dm7 G75) m7 F7(b5) BbM7 BbM7 cm7 Dm7 G75) cm7 F7(b5) BbM7 ‘ b, G7(b5) tie». m7 > F7(bS) BbM7 ARPEGGIO SECTION Form Il Aroeggio Studies 6 Ex-6-@ BbM7 Dbm7 Cm7 BbM7 cm7 Dm7 Dbm7 cm7 FT BbM7 Form Il Aroeggio Studies 7 BbM7 m7 Dm7 EbM7 FT Gm7 Am7(b5) — BbM7 ——— Ex-7-® BbM7 Cm7 Dm7 BbM7 F7 Gm7 Am7(bS) _ BbM7 Ta 924129921439 61 1-142 1 4123 22449401 EbM7 mee ttt SO pe tEee 4543 2143 444-1241 Am7(b5) Jazz Chord Exercises One Ex.-1 Form 1 FMT Gm7 Am7 BbM7 c7 Dm7 Em7(b5) FM7 Ex, Il Form II M-A BbM7 m7 Dm7 EbM7 FT Gm7 Am7(b5) — BbM7 Ex. Il Form I FM7 F#° Gm7 G#° Am7 BbM7 BbM6 B® C7 «C#° ~Dm7 D#°_-Em7(b5) FM7 Ex.-1V Form II na BbM7 B° Cm7 C$° Dm7 EbM7 EbM6 E° F7 F#° Gm7 G#° Am7(b5) — BbM7 Ex.-V r I 7 1 r I IF 1 1-—iI— I BbM7 BbM6 Am7 D9 D7(b9) Gm GmM7 Gm7 Gm6 C9 C7(b9) FM7 80 JAZZ CHORD EXERCISES Jazz Chord Exercises One Ex.- VI f 1 EbM7 EbM6 Dm7 cI Ve u G9 G7(b9) Cm i 1 Cm(M7)Cm7 m6 -F7 Ex. -VIL i 1 Ut I 1 1 VT F 16 1 C7 B® -BbM7 BbM6 Am Am(M7)Am7Am6 D9 D7(b9) Gm Gm(M7) Gm7_ C9 C7(b9) FM7 Ex. - VIII a 1 eee 1 14 u F7__E° _EbM7 EbM6 Dm Dm(M7)Dm7 Dm6 G9 G79) Cm Cm(M7)Cm7_ 7 BbM7 & L—F L—F L—f— Ff — LF FF — Ex. -1X 1 I I u-B 1 -B I n-B I 7 C705) Bm7(bS) EE 7(bS)_—Am7(b5) D7(b5) Gm7(b5) C765) FM7 Ex.-X, M-A oI ul u fi a u u 1 F705) F° Em7(b5) Eb° n Dm7b5)Db° Cm7(bS) Ch° EF 7(#5) Bb 6/9 — Jazz Chord Exercises Two Ex.+I Form Il AM7 Bm7 chm7 DM7 E7 F#m7 Gtm(bs) AM7 Ex.- II Form Il E7 DM7 DM6 C#m7 C#mé Bm? Bm6 AM7 AM6 Ex. - II Form IV DM7 Em7 F#m7 GM7 AT Bm7 C#m75) ‘DM7 Ex, -IV Form IV AT GM7GM6-F#m7 Fimo Em7 Em6 DM7 DM6 Ex.-V Form V EbM7 Fm7 Gm7 AbM7 Bb7 m7 Dm7(b5) —- EbM7 Ex.- VI Form V Bb7 AbM7 AbM6 Gm7 Gm6 Fm7 Fm6 EbM7 EbM6 JAZZ CHORD EXERCISES Jazz Chord Exercises Two Ex, - VII Form VI AbM7 Bbm7 m7 DbM7 EDT Fm7 Gm7(bS) AbM7 Ex. - VIII Form VI Eb7 DbM7 DbM6 Cm7 Cm6 Bbm7 Bbm6 AbM7 AbM6 Ex. -IX Form VII FM7 FM6 Gm7 Gm6 — Am7 Am6 BbM7 C79 Dm7_ Em7(b5) FM7 Ex.-X Form VIII M7 M6 Dm7 Dm6é Em? Em6é FM7 FM6 G7 Am7_ Bm7(b5)CM7 Ex. - XI Form IX GM7 GM6 = Am7_ Am6--Bm7_-Bm6) «CM7_—s CM6-—s«@DT_—sEm7_- F#m7(bS) GM7 Ex, - XII Form X EbM7 EbM6 Fm7 Fm6 Gm7 Gm6 AbM7 AbM6 AbT_-«Cm7_—s Dm7(b5) EbM7 83 42 BAR BLUES 12 Bar Blues Turn around Ex.- Il -B I W-B U-B I 1-B I u-B ie C7 D 85 12 Bar Blues Ex.- Il @a7 C7 G7 I I I ® G7 co G7 @n c7 G7 D7 on I I I I I D9 c G7 cto Am7 D769) Ex.1V I ul 1 I-B I I u-B D7 Cm Gm D7 86 12 BAR BLUES 12 Bar Blues Ex. V ® Gn Cm I 1 1 I 1 Gm7 m7 Gm7 Gm7 a Cm Gm u-B I I HB D7 m7 Gm7 D7 Ex. 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