ARNIE BERLE PDF

Peabody Conservatory trained guitarist Steven Herron is available to answer questions and make recommendations that will help you become a better guitarist! Just call Toll-Free now!! Arnie Berle Arnie Berle is a seasoned jazz educator with numerous books to his credit. He toured for years as a reed and flute player with many of the leading big bands in the country.

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You are on page 1of 33 Search inside document for Guitar by Amie Berle Use the chords in this book to play most any song. Get to know the most popular progressions in folk, blues, pop, and jazz. Hook Number: Tre CYcte In other words, itis not really necessary to learn all of the chord forms that are shown in so many chord books.

With the chords shown in this book you should be able to play most any song, When you feel comfortable with what you learn in this book, you can add to these basic chords any of the hundreds of embellished chords to dress up your progressions, Progressions Chords, by themselves, have about as mach value as the words in a dictionary. Words take on more meaning when they are used in sentences, and chords take on more meaning when they are used in progressions, Just as a story is made up of sentences, the harmony to a song is made up of progressions, In this book you will learn how to make up, and dress up, some of the more frequently used progressions heard in folk, blues, pop, and jazz.

Playing through the chords of a song is like taking a round-trip from home. You begin your trip from home, you may make several comforting rest stops along the way, and then you recurn home.

Using a common musical shorthand, this chord is referred to as the I chord since it is built from the first note of any major scale. The diagrams below show two ways of fingering a major chord. One fingering shows the root the letter-name of the chord played on the 6th string and the other fingering shows the root of the chord played on the Sth string. The diagram below shows the letter-name of each fret along the 6th and, Sth strings. Memorize the name of each chord at each fret.

The dominant 7 chord is built from the fifth note of the major scale and is referred to as the V chord. Play these chords up the fingerboard and memorize their lerter-name at each fret. Notice that this chord form has two roots, one on the 2nd string and one of the Sth string.

The V-I progression isa perfect example of a chord of movement moving to a chord of rest. Below are two examples of how to play the same progression but on different parts of the fingerboard.

Here are two more examples of how to play the VI progression in another key. Placing the II in front of the V inereases the tension, the feeling of movement. Sometimes the V is followed by the I and sometimes you might play a whole series of IV chords before finally resolving to 1 Below are two examples of how to play the same I.

V progression. FT Here again are two ways to play the I-V progression in another key. Ie Id be practiced in all keys. Below you can see how the I, 1V, and V chords are placed within the twelve measures.

Here is one example. Here are the chord forms we will use in this Here is the variation on the blues progression. Sth string, Gch string Sch string Gt. GmT, Cm? Notice how playing the same chords in a different position on the fingerboard gives a new flavor to the same hasie progression. Here is another example of the I-V progression in another key played in two different positions on the fingerboard.

This movement of the roots: of chords down a perfect fifth is referred to as the eyde. Each of the following letters represent the roots of possible chords.

They may be all major 7s, all minor 7s, all dominant 7s, or any combination of these qualities. AmT Dm? Below are examples of extended I major chords. Here are some examples, o on sis cis fale Hat Hy Here are more examples of altered chords, continuing with our extended and altered V dominant chords o. Embellished chords ereate more interesting and colorful progressions. Here is the familiar II-V-1 progression in C with embellishments, added to all three chords. Notice how these embellishments create a smooth, chromatic melody: In this next example of an embellished H-V-1 progression notice the new form for the C6 chord.

This is another moveable form and should be practiced up the fingerboard. Amis, ad 3 Choro SuastituTion The Tritone Substitution Another way to dress up a bland progression is through the use of chord substitutes.

Any dominant 7 may be replaced with another dominant 7 whose root is three whole-tones above the root of the original chord. This is called a tritone subsitution. You can think of it as the bII7 chord. AT apie Dm? G7 substitute progression En? BT Dm? Using these substitutions, you create a descending chromatic bassline. Listen carefully to the following progressions and play them all over the fingerboard.

Hear the moving line in the bass in this progression. Desire fe gmt cpsiot oo j fie ons, OG Here is another example of a moving line played on the top of the chords. In this next progression, listen to the moving lines in both the bass and the top line,. The following scale is based on chords whose roots are on the 6th string. These fill-in chords are usually taken from the harmonized scale, When a chord is held for a long period of time you can use combinations of the IT and III chords to strengthen the progeession.

Below are two examples of how this might be done. II may always be placed in front of a V chord. Notice also that the altered D7 chord 1D7. Icis used as a linking chord or a passing, chord between two chords a whole step apart. Below are two fingerings for the diminished 7 chord. Because each of the notes that make up the diminished 7 chord is equally distant from its neighbors, any of the notes in the chord may be considered the root of the chord.

Remember that the III chord serves as a substitute for the I chord. Since the III chord is a substitution for the I chord we can move scalewise up the harmonized scale by using the diminished 7 chord as a passing chord until we reach the III chord. The approach chord is generally, but not always, the same quality and form as the chord that follows. The simplest and most direct way to modulate is to play the II-V chords of the new key. The important thing to kemember is that the first chord of the tune must be prepared by its I-V chords.

However, you might want to start your introduction further back. Beains pm? Think of the Il chord asa temporary and precede it with a IV, To stretch it out, you can think of the new Il chord again as a temporary [and play the IL-V of the temporary I. Cu tae By using the HI substitution tritone substitution for the V chords, we come up with the following. Again, listen to the moving line in the top voice of the chords, as well as in the bass.

FTE Em? Notice that the E49 is a tritone substitution 7 chord and the Asm7-D is a tritone substitution for the Dm7-G7 that normally precedes the I chord. And then we descend chromatically to the I chord. Then we proceed. Turnarounds are commonly found in the last two measures of a blues progression, Here is a basic turnaround. Fmaj7 Dm? To this progression we can now add extensions, alterations, and substitutions to create more interest.

This was used by the bebop players ofthe s, Notice the extended series of II-V sequences leading to the IV chord in measure 5. Here is one more example of a blues progression variation. This one uses several of the chord 1d substitutions you have learned so far. The suspended note is usually the fourth written in a minor key. Below are two examples. Gruss G7, Cmait i Ir could also be played like this. The notes that give the chord its quality are always played.

These notes are the 3rd and 7th of the chord. The Sth or, in some cases, the root may be omitted from the chord. Here are some of the most frequently played three-string chords.

You ean also put the root in the bass by substituting the optional note for the lowest note in each chord. Listen for the descending line played on the the top notes of these chords, 4th string. The following series of three-note chord forms allows the moving line to be heard in the lowest voice.

In this next series of chord forms the moving line is placed in the top voice.

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