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Sean Ashcraft

Copyright 2009 KLB Publishing

Key of C Major

0

Ex. 1.1 - The Octave

0

Ex. 1.2 - The Chromatic Scale in Open Position

0 1 2 3 4

0 1 2 3

4

0 1 2 3 4

0 1 2 3

0 1 2 3 4

5

0 12 3 4 4 3 2 1 0

4 3 2 1 0

3 2 1 0

4 3 2 1 0

4 3 2 1 0

4 3 2 1 0

10

Ex. 1.3 - The Standard C Major Scale3 0 2 3 0

2 0 1 0

2 0 3 2

0 3

12

Ex. 1.4 - The Extended C Major Scale0 1 3 0 2

3 0 2 3

0 2 0 1

3 0 1 3 1 0 3 1 0 2 0 3

2 0 3 2

0 3 1

16

Ex. 1.5 - Etude no. 1write in fingerings as needed

20

Ex. 1.6 - Etude no. 2C G7

C F

C G7

C

G7

C Dm

C G7

C

24

Ex. 1.7 - Etude no. 3

Cmaj7 Fmaj7 B7

Em7

Am7

Dm7

G7

C

28

3

Ex. 1.8 - Building Chords

root of C

0

0432

picking random notes doesn't

always sound harmonic

0

1023

specific notes sound more

harmonic than others

00023

these notes are relative -

the root can change andstill sound harmonic if relative

intervals are the same

32

Root

Building a Major C Chord

Major 3rd

Minor 3rd

C

Root

Building a Major G Chord

Major 3rd

Minor 3rd

G

Root

Building a Minor E Chord

Minor 3rd

Major 3rd

Em

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Root

Building a Dominant 7th C Chord

Major 3rd

Minor 3rd

Minor 3rd

01323

C7

Root

Building a Dominant 7th G Chord

Major 3rd

Minor 3rd

Minor 3rd

G7

39

01023

Ex. 1.9 - Basic Chords in C (diatonically, or alphabetically)C

1

420

Dm 000320

Em

112

3

F 300012

G

10

0023

G7

01

320

Am

3

421

B

43

Ex. 1.10 - The Chord Classes in CT-classC

Am

D-classG

G7

B

Em

P-classDm

F

47

Ex. 1.11 - Rule 1: Follow Arrows (P -> D -> T)

Rhythm slashes indicate for the performer to improvise an appropriate rhythm

F

G

C

Ex. 1.12 - Rule 2: Jumps Stay "In Class" (P -> P, etF

Dm

G

54

C

Ex. 1.13 - Rule 3: You Can

Start Anywhere (D -> T)G

C

Ex. 1.14 - Rule 4: You Can Start

with T-Class/I Goes Anywhere (T -> "D" -> T -> P -> D -> T)C

Em

Am

Dm

61

G

C

Ex. 1.15 - Authentic Cadence

G

C

Ex. 1.16 - Plagal Cadence

F

C

67

Ex. 1.17 - Deceptive Cadence

G

Am

Ex. 1.18 - Half Cadence

C

G

Ex. 1.19 - Etude no. 4 - "Pop/Rock" ProgressionC

Am

F

74

G

Ex. 1.20 - Etude no. 5 - "Classical" ProgressionC

F

B

Em

Am

Dm

2

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G

G7

C

Ex. 1.21 - Etude no. 6 - Simple 12-Bar BluesC

F

88

C

G7

F

C

95

G7Ex. 1.22 - Seventh Chords and their Resolution

C

or G7

Am

0002

3

Cmaj7

F 012

3

Fmaj7B

112

0

Dm7

G

41220

Am7

Dm 0403

20

Em7

Am

102

14132

B7

C

or B7B7

Am

Ex. 1.23 - Etude no. 7 - "Pop/Rock" Progression: ElaboratedC

Am

Dm7

G7

108

Ex. 1.24 - Etude no. 8 - "Classical" Progression - ElaboratedC

Cmaj7 F

Fmaj7

B

3

12

1

B7 Em

Em7 Am

Am7 Dm

Dm7

G

G7

C

116

Ex. 1.25 - Etude no. 9 - Pure Diatonic "Jazz" 12-Bar BluesC

F

C

Cmaj7

Fmaj7

122

C

Em7

Am7

Dm7

G7

C

Am7

Dm7

G7

128

4003

Ex. 1.26 - "Sus" ChordsResolution

Csus2

C

1

1043

Csus4

C

1

103

Fsus2F

4

(3)10X2

Gsus2

G

41

00X3

Gsus4

G

11

00X3

G7sus4

G7

00

220

Asus2

Am

0

4220

Asus4

Am

3

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0420

Dsus2

Dm

432

0

Dsus4 3Dm

4120

D7sus4Dm7

004320

Esus4

Em

140

Preparation (and Resolution)

C

"retardation"

Fsus2F

FGsus4

G

DmAsus4

Am

Dm7

G7sus4

G7

144

04023

Ex. 1.27 - "Add" ChordsC2

41

23

F2 3010X2

G2

01420

Am2

0312

Dm2 0132

(4)4

C6

1

42

(3)3

F6

0

00023

G6

1

020

Dm6

149

Ex. 1.28 - Notes in C Major on 6th and 5th Strings

0

small numbers refer to fret number for now

1 3 5 7

8 10 12 12 10 8 7 5 3 1 0

0

2 3 5 7

8 10 12 12 10 8 7 5 3 2 0

153

2

0

Roman numerals are now refering to position (fret number for 1st finger)

Ex. 1.29 - Power Chords in C MajorE5

31

IF5

IIIG5

VA5

VIIIC5

XD5

XII

E5

3

2

0

E5

43

1

IF5

IIIG5

VA5

VIII

C5

X

D5

XII

E5

2

0

A5

IIIC5

VD5

VII

E5

VIII

F5

X

G5

XIIA5 3

2

0

A5

III

C5

V

D5

VII

E5

VIII

F5

XG5

XIIA5

161

Ex. 1.30 - Etude no. 10 - "Pop/Rock" w/ Power Chords

C5

A5

F5

G5

Ex. 1.31 - Etude no. 11 - "Punk Rock"C5

G5

A5

F5

169

Ex. 1.32 - Etude no. 12 - "True" 12-Bar Blues w/ Power ChordsC5

F5

175

C5

G5

F5

C5

A5

D5

G5

4

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VIII

3

1

Ex. 1.33 - The 5 - 6 - 7 - 6 ShuffleC5

4

1

C6

3

1

C5

41

C6

3

1

C5

41

C6

4

1

stretch!

C7

41

C6

VIII

3

1

F5

41F6

3

1

F5

41F6

3

1

F5

41F6

4

1

stretch!

F7

41F6

185

VIII

3

1

C5

4

1

C6

3

1

C5

41

C6

3

1

X

G5

4

1

G6

4

1

stretch!

G7

41G6

VIII

3

1

C5

41

C6

3

1

C5

41

C6

3

1

C5

41

C6

4

1

stretch!

C7

41

C6

189

Ex. 1.34 - Inverted Chords as Quasi-Power Chords

an example of aninverted chord

C/E

4

1

the most common in C

VII

G/B

4

1

II

G/B

3

0

C/E

4

1

VII

C/E

notice this slightchange in fingering

4

1

these in context

VIII

C5

4-1

VII

G/B

431

V

A5

4

1

III

C5

4-1

II

G/B

43

1

I

F5

194

"Punk Rock" Progression with Inverted ChordsC5

G/B

A5

C/E

F5

198

Ex. 1.35 - Sus2 Power Chords

43

1

F2

G2

A2

C2

D2

31

0

A2

4

3

1

C2

D2

F2G2

A2

Progression with Sus2 ChordsC2

204

F2

C2

A2

F2

5