berklee guitar instructional material 2011

MAJOR SCALE FORMS

IONIAN DORIAN PHRYGIAN

LYDIAN MIXOLYDIAN AEOLIAN

LOCRIAN

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* The modal name refers to the lowest note, played by the first finger on the 6th string.

IONIAN b3 DORIAN b2LYDIAN AUGMENTED

LYDIAN b7

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MELODIC MINOR SCALE FORMS

MIXOLYDIAN b13 AEOLIAN b5

SUPER LOCRIAN/ALTERED SCALE

IONIAN b3 b6 LOCRIAN nat.6 IONIAN #5

DORIAN #4

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HARMONIC MINOR SCALE FORMS

MIXOLYDIAN b9 b13 LYDIAN #9

ALTERED SCALE natural 6

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HARMONIC MAJOR SCALE FORMS

Ionian b6 Locrian nat. 2,6 Altered nat. 5

Ionian b3,#4 Mixolydian b9, nat.13 Lydian Augmented #9

Alt. sus4, nat.6,

Level One and Three Chord Forms

Major 7th Minor 7thMajor 7th Minor 7th

Dom. 7th Dom 7th Min 7b5 Min 7b5

Dom 7sus4 Dom 7sus4 Dom.7#5 Dom.7#5

Diminished 7Diminished 7 Major 6th Major 6th

Level One and Three Chord Forms pg.2

Minor 6th Minor 9thMinor 6th Minor 9th

Dom. 9th Dom. 9th Dom. 7b9 Dom. 7b9

Dom. 7# 9 Dom. 7# 9 Dom. 13th Dom. 13th

Level Two and Four Chord Forms

Min maj7 Maj 7#5Min maj7 Maj 7#5

Maj 7b5 Maj 7b5 Min 7#5 Min 7#5

Dom 7b5 Dom 7b5 Dimmaj7 Dimmaj7

Maj7,9Maj7,9 Maj6,9 Maj6,9

Level Two and Four Chord Forms pg.2

Min9 maj7 Dom7b9b13Min9 maj7 Dom7b9b13

Dom7b9,13 Dom7b9,13 Dom9,b13 Dom9,b13

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{R|o|o|t| |P|o|s|i|t|i|o|n}

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CÊ Dµ E!Ø FÊ G A! Bµ CÊ

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{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}

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Triad/Close Voicings/ Cycle 2: C harmonic minor

Excerpt from Almanac of Guitar Voice Leading, Mick Goodrick ©2000 Used by permission

Level 7, Page 1

Triad/Open Voicings/ Cycle 2: C harmonic minor

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Triad/Close Voicings/ Cycle 2: C harmonic minor--Also acceptable

Triad/Spread Voicings/ Cycle 2: C harmonic minor--Also acceptable


Level 7, Page 2

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Triad/Spread Voicings/ Cycle 4: C harmonic minor


Level 7, Page 3

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Level 7, Page 4

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Level 7, Page 5

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Triad/Close Voicings/ Cycle 7: C harmonic minor--Also acceptable

Triad/Spread Voicings/ Cycle 7: C harmonic minor--Also acceptable


Level 7, Page 6

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Level 7, Page 7

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CÊ E!Ø G Bµ Dµ FÊ A! CÊ

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{F|i|r|s|t| |I|n|v|e|r|s|i|o|n}2

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{S|e|c|o|n|d| |I|n|v|e|r|s|i|o|n}4

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Level 7, Page 8

➅➄➃

➄➃➂

➃➂②

D0

➂②① D

CMaj7 F7sus4

LEVEL I

I. Scales

Ex.1 G from 2nd degree

Ex. 2 D Locrian

A Chromatic

II. TriadsChords: Maj., Min., Aug., Dim., close voicing starting from root position, across fingerboard one octave.

Arpeggios: Maj., Min., Aug., Dim. one

III. Four PartChords: Maj7, Min7, Dom7, Min7b5, Dom7sus4, 7#5, Dim7, Maj6, Min6, Min9, 9, 7b9, 7#9, 13–one form for each.

Arpeggios: Maj7, Min7, Dom7, Min7b5, Dom7sus4,

1) Major: Two octaves from any degree or mode (sixteenth notes at =60).

2) Chromatic: Two octaves from tonic (sixteenth notes at =60).

octave from root (eighth notes at =60).

7#5, Dim7 one octave from root (eighth notes at =60).

IV. Performance1. Performance: Instructor approved performance piece-three minute maximum. Notation required for test team.2. Reading: Level appropriate—single note and chords with rhythm slashes.

Sample Test Questions and Responses

②➂➃

Dm A

C0 (Maj7 ) F7 5

LEVEL II

I. Scales

Ex.1 Bb from 7th degree

Ex. 2 Bb Lydian b7

C Whole-tone

II. TriadsChords: Maj., Min., Aug., Dim. close voicing, starting from any inversion, one octave up and down any string set: ➂➁①, ➃➂➁, ➄➃➂, ➅➄➃.

Arpeggios: Maj., Min., Aug., Dim. two

III. Four PartChords: Min(maj7), Maj7#5, Maj7b5, Min7#5, 7b5, Dim(Maj7), Maj(9/7), Maj(9/6), min9(maj7), 7(b9/b13), 13(b9), 9(b13)–one form for each

Arpeggios: Min(maj7), Maj7#5, Maj7b5, Min7#5, 7b5,

1) Melodic Minor: Two octaves from any degree or mode (sixteenth notes at =60).

2) Whole-tone: Two octaves from tonic (sixteenth notes at =60).

octaves from root (eighth notes at =60).

Dim(Maj7) one octave from root (eighth notes at =60).



(1st Inv., 2nd string set)

E m A0

G7sus4 G7sus4 Dm7( 5)

LEVEL III

I. Scales

Ex.1 D from 5th degree

Ex. 2 C from 7th degree

G Diminished

II. TriadsMaj., Min. spread (open) voicings, starting from any inversion, one octave.

Maj., Min., Aug., Dim. from any chord tone,

III. Four PartChords: Maj7, Min7, Dom7, Min7b5, Dom7sus4, 7#5, Dim7, Maj6, Min6, Min9, 9, 7b9, 7#9, 13–two forms for each

Arpeggios: Maj7, Min7, Dom7, Min7b5, Dom7sus4, 7#5,

1) Harmonic Minor: Two octaves from any degree (sixteenth notes at =60).

2) Diminished (whole step, half step): Two octaves from tonic (sixteenth notes at =60).

one octave (eighth notes at =60).

Dim7 from any chord tone, one octave (eighth notes at =60).



(from 1st Inv.)(1st Inv.)

(from 7th)

C0 Gmin

GMaj7 ( 5) GMaj7 ( 5) F° (Maj7)

LEVEL IV

I. Scales

D from 5th degree

Ex. 1 Eb Pent. Major

Ex. 2 A Pent. Minor

II. TriadsChords: Aug., Dim., open (spread) voicings starting from any inversion, one octave.

Arpeggios: Maj., Min., Aug., Dim. from any

III. Four Part

Chords: Min(maj7), Maj7#5, Maj7b5, Min7#5,7b5, Dim(Maj7), Maj(9/7), Maj(9/6), min9(maj7),7(b9/b13), 13(b9), 9(b13)–two forms for each.

Arpeggios: Min(maj7), Maj7#5, Maj7b5, Min7#5,

1) Harmonic Major: Two octaves from any degree (sixteenth notes at =60).

2) Pentatonic: Two octaves from tonic–major (1, 2, 3, 5, 6,) and Japanese minor (1, 2, b3, 5, 6),

chord tone, two octaves (eighth notes at =60).

7b5, Dim(Maj7) one octave from any chord tone,



(from 2nd inv.) (from 5th)

(eighth notes at =60).

(from 3rd)

(sixteenth notes at=60).

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Triad/Close Voicings/ Cycle 2: C major

Triad/Spread Voicings/ Cycle 2: C major

Excerpt from Almanac of Guitar Voice Leading, Mick Goodrick ©2000 Used by permission Level 5, page 1

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˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙


&


5

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙


&


6

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙


Triad/Close Voicings/ Cycle 2: C major--Also acceptable

Triad/Spread Voicings/ Cycle 2: C major--Also acceptable


&


1

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

C F Bµ EÊ AÊ DÊ G C

&


2

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙


&


3

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙


&


4

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙


&


5

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙


&


6

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙





&


1

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

C AÊ F DÊ Bµ G EÊ C

&


2

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙


&


3

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙


&


4

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙


&


5

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙


&


6

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙





&


1

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

C Bµ AÊ G F EÊ DÊ C

&


2

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙


&


3

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙


&


4

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙


&


5

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙


&


6

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙





&


1

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙


&


2

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙


&


3

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙


&


4

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙


&


5

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙


&


6

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙


Triad/Close Voicings/ Cycle 7: C major--Also acceptable

Triad/Spread Voicings/ Cycle 7: C major--Also acceptable


&


1

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

C G DÊ AÊ EÊ Bµ F C

&


2

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙


&


3

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙


&


4

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙


&


5

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙


&


6

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙





&



1

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

C EÊ G Bµ DÊ F AÊ C

&


2

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙


&

3

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙


&



4

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙


&

5

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙


&


6

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙





C Em G B0 Dm F Am C C F B 0 Em Am Dm G C

D

B m7 B 7sus4 C7sus4

LEVEL VI. Scales

Ex.1 Db from 3rd degree

G Chromatic

II. TriadsChords: Diatonic to C Major, voice-led through six cycles from Root, 1st and 2nd inversion (close and spread).

Arpeggios: Major 3 octaves from any chord tone, all keys (eighth notes at =60).

III. Four PartChords: Maj7, Min7, Dom7, Min7b5, 7#5, Dom7sus4, Dim7 all inversions (student'schoice of key.

Arpeggios: Maj7, Min7, Dom7, Min7b5, 7#5,

1) Major: Three octaves from any degree or mode (sixteenth notes at =60).

2) Chromatic: Three octaves from tonic (sixteenth notes at =60).

Dom7sus4, Dim7 two octaves from any chord tone,



Ex.2 F# Aeolian

Ex.1 Key of C MajorCycle 3 from 1st Inv. (Close)

Ex.2 Key of C MajorCycle 4 from Root Pos. (Close)

from 3rd

all keys (eighth notes at =60).

from b7

&


1

˙˙˙

b ˙˙˙

˙˙˙

b˙˙˙

˙˙˙

˙˙˙

b ˙˙˙

˙˙˙

b

CÊ DÊ E!Ø F G Aµ Bµ CÊ

&


2

˙˙˙

b ˙˙˙

˙˙˙b

˙˙˙

˙˙˙

˙˙˙

b ˙˙˙

˙˙˙b


&


3

˙˙˙b

˙˙˙

˙˙˙

b ˙˙˙

˙˙˙

˙˙˙b

˙˙˙

˙˙˙

b


&


4

˙

˙

˙

b ˙

˙

˙

˙

˙

˙

b˙

˙

˙

˙

˙

˙

˙

˙

˙

b ˙

˙

˙

˙

˙

˙

b


&


5

˙

˙

˙

b˙

˙

˙

˙

˙

˙b

˙

˙

˙

˙

˙

˙

˙

˙

˙

b

˙

˙

˙

˙

˙

˙b


&


6

˙

˙

˙b

˙

˙

˙

˙

˙

˙

b˙

˙

˙

˙

˙

˙

˙

˙

˙b

˙

˙

˙

˙

˙

˙

b


Triad/Close Voicings/ Cycle 2: C melodic minor

Triad/Spread Voicings/ Cycle 2: C melodic minor


&


1

˙˙˙

b˙˙˙

˙˙˙b

˙˙˙

˙˙˙

˙˙˙

b ˙˙˙

˙˙˙

b


&


2

˙˙˙

b ˙˙˙

˙˙˙

b˙˙˙

˙˙˙

˙˙˙b

˙˙˙

˙˙˙

bCÊ DÊ E!Ø F G Aµ Bµ CÊ

&


3

˙˙˙b

˙˙˙

˙˙˙

b ˙˙˙

˙˙˙

˙˙˙

b

˙˙˙

˙˙˙b


&


4

˙

˙

˙

b ˙

˙

˙

˙

˙

˙b

˙

˙

˙

˙

˙

˙

˙

˙

˙

b

˙

˙

˙

˙

˙

˙

bCÊ DÊ E!Ø F G Aµ Bµ CÊ

&


5

˙

˙

˙

b

˙

˙

˙

˙

˙

˙

b ˙

˙

˙

˙

˙

˙

˙

˙

˙b

˙

˙

˙

˙

˙

˙

b


&


6

˙

˙

˙b

˙

˙

˙

˙

˙

˙

b

˙

˙

˙

˙

˙

˙

˙

˙

˙

b ˙

˙

˙

˙

˙

˙b


Triad/Close Voicings/ Cycle 2: C melodic minor--Also acceptable

Triad/Spread Voicings/ Cycle 2: C melodic minor--Also acceptable


&


1

˙˙˙

b˙˙˙

˙˙˙

˙˙˙b

˙˙˙b

˙˙˙

˙˙˙

˙˙˙

b

CÊ F Bµ E!Ø Aµ DÊ G CÊ

&


2

˙˙˙

b ˙˙˙

˙˙˙

˙˙˙

b˙˙˙

b˙˙˙

˙˙˙

˙˙˙b


&


3

˙˙˙b

˙˙˙

˙˙˙

˙˙˙

b ˙˙˙

b ˙˙˙

˙˙˙

˙˙˙

b


&


4

˙

˙

˙

b ˙

˙

˙

˙

˙

˙

˙

˙

˙b

˙

˙

˙b

˙

˙

˙

˙

˙

˙

˙

˙

˙

b


&


5

˙

˙

˙

b

˙

˙

˙

˙

˙

˙

˙

˙

˙

b ˙

˙

˙

b ˙

˙

˙

˙

˙

˙

˙

˙

˙b


&


6

˙

˙

˙b

˙

˙

˙

˙

˙

˙

˙

˙

˙

b

˙

˙

˙

b

˙

˙

˙

˙

˙

˙

˙

˙

˙

b





&


1

˙˙˙

b˙˙˙

b˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙b

˙˙˙b

CÊ Aµ F DÊ Bµ G E!Ø CÊ

&


2

˙˙˙b

˙˙˙b

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

b ˙˙˙

b


&


3

˙˙˙

b ˙˙˙

b ˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

b˙˙˙

b


&


4

˙

˙

˙

b ˙

˙

˙

b ˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙b

˙

˙

˙b


&


5

˙

˙

˙b

˙

˙

˙b

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

b

˙

˙

˙

b


&


6

˙

˙

˙

b

˙

˙

˙

b

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

b ˙

˙

˙

b





&


1

˙˙˙

b

˙˙˙

˙˙˙b

˙˙˙

˙˙˙

˙˙˙

b˙˙˙

˙˙˙b

CÊ Bµ Aµ G F E!Ø DÊ CÊ

&


2

˙˙˙b

˙˙˙

˙˙˙

b˙˙˙

˙˙˙

˙˙˙b

˙˙˙

˙˙˙

bCÊ Bµ Aµ G F E!Ø DÊ CÊ

&


3

˙˙˙

b ˙˙˙

˙˙˙

b

˙˙˙

˙˙˙

˙˙˙

b ˙˙˙

˙˙˙

b


&


4

˙

˙

˙

b ˙

˙

˙

˙

˙

˙b

˙

˙

˙

˙

˙

˙

˙

˙

˙

b ˙

˙

˙

˙

˙

˙b


&


5

˙

˙

˙b

˙

˙

˙

˙

˙

˙

b

˙

˙

˙

˙

˙

˙

˙

˙

˙b

˙

˙

˙

˙

˙

˙

b


&


6

˙

˙

˙

b

˙

˙

˙

˙

˙

˙

b˙

˙

˙

˙

˙

˙

˙

˙

˙

b

˙

˙

˙

˙

˙

˙

b





&


1

˙˙˙

b ˙˙˙

˙˙˙

b ˙˙˙

˙˙˙

˙˙˙b

˙˙˙

˙˙˙

b


&


2

˙˙˙b

˙˙˙

˙˙˙

b˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙b


&


3

˙˙˙

b ˙˙˙

˙˙˙b

˙˙˙

˙˙˙

˙˙˙

b ˙˙˙

˙˙˙

b


&


4

˙

˙

˙

b ˙

˙

˙

˙

˙

˙

b

˙

˙

˙

˙

˙

˙

˙

˙

˙b

˙

˙

˙

˙

˙

˙

b


&


5

˙

˙

˙b

˙

˙

˙

˙

˙

˙

b ˙

˙

˙

˙

˙

˙

˙

˙

˙

b˙

˙

˙

˙

˙

˙b


&


6

˙

˙

˙

b

˙

˙

˙

˙

˙

˙b

˙

˙

˙

˙

˙

˙

˙

˙

˙

b ˙

˙

˙

˙

˙

˙

b


Triad/Close Voicings/ Cycle 7: C melodic minor--Also acceptable

Triad/Spread Voicings/ Cycle 7: C melodic minor--Also acceptable


&


1

˙˙˙

b˙˙˙

˙˙˙

˙˙˙

b ˙˙˙

b ˙˙˙

˙˙˙

˙˙˙b

CÊ G DÊ Aµ E!Ø Bµ F CÊ

&


2

˙˙˙b

˙˙˙

˙˙˙

˙˙˙

b˙˙˙

b ˙˙˙

˙˙˙

˙˙˙

b


&


3

˙˙˙

b ˙˙˙

˙˙˙

˙˙˙b

˙˙˙b

˙˙˙

˙˙˙

˙˙˙

b


&


4

˙

˙

˙

b ˙

˙

˙

˙

˙

˙

˙

˙

˙

b

˙

˙

˙

b

˙

˙

˙

˙

˙

˙

˙

˙

˙b


&


5

˙

˙

˙b

˙

˙

˙

˙

˙

˙

˙

˙

˙

b ˙

˙

˙

b ˙

˙

˙

˙

˙

˙

˙

˙

˙

b


&


6

˙

˙

˙

b

˙

˙

˙

˙

˙

˙

˙

˙

˙b

˙

˙

˙b

˙

˙

˙

˙

˙

˙

˙

˙

˙

b





&



1

˙˙˙

b˙˙˙

b˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

b ˙˙˙

b

CÊ E!Ø G Bµ DÊ F Aµ CÊ

&


2

˙˙˙

b ˙˙˙

b ˙˙˙

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&



4

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Cm Dm E aug F G A0 B0 Cm Cm A0 F Dm B0 G E aug Cm

B m

Cm(maj7) C7 ( 5) GMaj7 ( 5)

LEVEL VII. Scales

Ex.1 G from 1st degree

F Whole tone

II. TriadsChords: Diatonic to C Melodic Minor, voice-led through sixcycles from Root, 1st and 2nd inversion (close and spread).

Arpeggios: Minor 3 octaves from any chord tone, all keys (eighth notes at =60).

III. Four PartChords: Min(maj7), Maj7#5, Maj7b5, Min7#5, 7b5, Dim(Maj7) all inversions (student choice of key).

Arpeggios: Min(maj7), Maj7#5, Maj7b5, Min7#5, 7b5, Dim(Maj7)

1) Melodic Minor: Three octaves from any degree or mode (sixteenth notes at =60).

2) Whole tone: Three octaves from tonic (sixteenth notes at =60).

two octaves from any chord tone, all keys



Ex.2 G Altered

Ex.1 Key of C Mel. Minor Cycle 2 from 1st Inversion (Close)

Ex.2 Key of C Mel. MinorCycle 6 from Root Position (spread)

from 5th


from 3rd

Cm E G B0 D0 Fm A Cm Cm G D0 A E B 0 Fm Cm

D

B m7 C7 ( 5) GMaj7

LEVEL VIII. Scales

Ex.1 G from 7th degree

G Diminished

II. TriadsChords: Diatonic to C Harmonic Minor, voice-led through sixcycles from Root, 1st and 2nd inversion (close and spread).

Arpeggios: Augmented 3 octaves from any chord tone, all keys (eighth notes at =60).

III. Four PartChords: Maj7, Min7, Dom7, Min7b5, 7#5, Dom7sus4, Dim7 all inversions, all keys.

Arpeggios: Maj7, Min7, Dom7, Min7b5, 7#5, Dom7sus4, Dim7,

1) Harmonic Minor: Three octaves from any degree (sixteenth notes at =60).

2) Diminished: Three octaves from tonic (sixteenth notes at =60).

three octaves from any chord tone, all keys



Ex.2 Bb from 5th degree

Ex.1 Key of C Harm. Minor Cycle 3 from 2nd Inversion (Close)

Ex.2 Key of C Harm. MinorCycle 5 from 1st Inversion (spread)

from 3rd


from 7th

C A m Bm E A D 0 G F m B E m F D E C0 Gm E

C E Gm C E D F E m B F m E D0 A C B A m

C0

D Maj7 #5 B0 (Maj7 ) Dm (Maj7 )

LEVEL VIIII. Scales

Ex.1 A from 6th degree

Ab Major Pentatonic (1, 2, 3, 5, 6)

II. TriadsChords: "48 to 48" (Any Maj. Min. Aug. Dim. triad voice-led to any other triad. 4 qualities X 12 keys = 48)16 triads, supplied by test team are to be played both close and spread. See the article Triadic Equal Rightsby Mick Goodrick, available at http://classes.berklee.edu/gr

Arpeggios: Diminished 3 octaves from any chord tone, all keys (eighth notes at =60).

III. Four PartChords: Min(maj7), Maj7#5, Maj7b5, Min7#5, 7b5, Dim(Maj7)–all inversions, all keys.

Arpeggios: Min(maj7), Maj7#5, Maj7b5, Min7#5, 7b5, Dim(Maj7)

1) Harmonic Major: Three octaves from any degree (sixteenth notes at =60).

2) Pentatonic: Three octaves from tonic-major (1, 2, 3, 5, 6) and Japanese minor (1, 2, b3, 5, 6) (sixteenth notes at

two octaves from any chord tone, all keys



Ex.2 Eb from 3rd degree

Ex.1 close

Ex.2 spread

from 5th


from 3rd

G Minor Pentatonic "Japanese" (1, 2, b3, 5, 6)

=60).

(09/17/03)Level I and Level II

Level IScales Keys: C, F, Bb, Eb, G, D, A1. Major Two octaves from any degree or mode (min. tempo: sixteenth notes at

=60).2. Chromatic Two octaves from tonic (min. tempo: sixteenth notes at =60).Triads Roots: C, F, Bb, Eb, G, D, A3. Chords Maj, Min, Aug, Dim–close voicing, starting from root position, across

fingerboard, one octave.4. Arpeggios Maj, Min, Aug, Dim–one octave from root (min. tempo: eighth notes

at =60).Four-Part Roots: C, F, Bb, Eb, G, D, A5. Chords Maj7, Min7, Dom7, Min7b5, Dom7sus4, 7#5, Dim7, Maj6, Min6,

Min9, 9, 7b9, 7#9, 13–one form for each.6. Arpeggios Maj7, Min7, Dom7, Min7b5, Dom7sus4, 7#5, Dim7–one octave from

root (min. tempo: eighth notes at =60).Performance7. Performance Instructor approved performance piece–three minute maximum.

Notation required for test team.8. Reading Level appropriate—single note and chords with rhythm slashes.

Level IIScales Keys: C, F, Bb, Eb, G, D, A (parallel to major)1. Melodic Minor Two octaves from any degree or mode (min. tempo: sixteenth notes

at =60).2. Whole-tone Two octaves from tonic (min. tempo: sixteenth notes at =60).Triads Roots: C, F, Bb, Eb, G, D, A3. Chords Maj, Min, Aug, Dim–close voicing, starting from any inversion, one

octave up and down all string sets: ➂➁①, ➃➂➁, ➄➃➂, ➅➄➃.4. Arpeggios Maj, Min, Aug, Dim–from root, two octaves (min. tempo: eighth

notes at =60).4-Part Roots: C, F, Bb, Eb, G, D, A5. Chords Min(maj7), Maj7#5, Maj7b5, Min7#5, 7b5, Dim(Maj7), Maj(9/7),

Maj(9/6), min9(maj7), 7(b9/b13),13(b9), 9(b13)–one form for each.6. Arpeggios Min(maj7), Maj7#5, Maj7b5, Min7#5, 7b5, Dim(Maj7)–one octave

from root (min. tempo: eighth notes at =60). Performance7. Performance Instructor approved performance piece-three minute maximum.

Notation required for test team.8. Reading Level appropriate—single note and chords with rhythm slashes.

(9/17/03)Level III and Level IV

Level IIIScales Keys: C, F, Bb, Eb, G, D, A1. Harm. Minor Two octaves from any degree (min. tempo: sixteenth notes at =60).2. Diminished(whole step, half step)

Two octaves from tonic (min. tempo: sixteenth notes at =60).

Triads Roots: C, F, Bb, Eb, G, D, A3. Chords Maj, Min spread (open) voicings–starting from any inversion, one

octave.4. Arpeggios Maj, Min, Aug, Dim–from any chord tone, one octave (min. tempo:

eighth notes at =60).4-Part Roots: C, F, Bb, Eb, G, D, A5. Chords Maj7, Min7, Dom7, Min7b5, Dom7sus4, 7#5, Dim7, Maj6, Min6,

Min9, 9, 7b9, 7#9, 13–two forms for each6. Arpeggios Maj7, Min7, Dom7, Min7b5, Dom7sus4, 7#5, Dim7–one octave

from any chord tone (min. tempo: eighth notes at =60).Performance7. Performance Instructor approved performance piece-three minute maximum.

Notation required for test team.8. Reading Level appropriate—single note and chords with rhythm slashes

Level IVScales Keys: C, F, Bb, Eb, G, D, A1. Harm. Major Two octaves from any degree (min. tempo: sixteenth notes at =60).2. Pentatonic Two octaves from tonic–major (1, 2, 3, 5, 6) and minor (1, 2, b3, 5, 6)

(min. tempo: sixteenth notes at =60).Triads Roots: C, F, Bb, Eb, G, D, A3. Chords Aug, Dim spread (open) voicings–starting from any inversion, one

octave.4. Arpeggios Maj, Min, Aug, Dim–from any chord tone, two octaves, (min.

tempo: eighth notes at =60).4-Part Roots: C, F, Bb, Eb, G, D, A5. Chords Min(maj7), Maj7#5, Maj7b5, Min7#5, 7b5, Dim(Maj7), Maj(9/7),

Maj(9/6), min9(maj7), 7(b9/b13),13(b9), 9(b13)–two forms for each6. Arpeggios Min(maj7), Maj7#5, Maj7b5, Min7#5, 7b5, Dim(Maj7)–one octave

from any chord tone, (min. tempo: eighth notes at =60).Performance7. Performance Instructor approved performance piece-three minute maximum.

Notation required for test team.8. Reading Level appropriate—single note and chords with rhythm slashes

(09/17/03)Level V and Level VI

Level VScales— All keys1. Major Three octaves from any degree or mode, (min. tempo: sixteenth

notes at =60).2. Chromatic Three octaves from tonic, (min. tempo: sixteenth notes at =60).Triad– 3. Chords Diatonic to C Major, voice-led through 6 cycles from Root, 1st and

2nd inversions, close and spread.4. Arpeggios Major three octaves from any chord tone, all keys (min. tempo:

eighth notes at =60).4-Part– 5. Chords Maj7, Min7, Dom7, Min7b5, Dom7sus4, 7#5, Dim7–all inversions,

student choice of key.6. Arpeggios Maj7, Min7, Dom7, Min7b5, Dom7sus4, 7#5, Dim7–two octaves

from any chord tone, all keys (min. tempo: eighth notes at =60).7. Reading Level appropriate—single note and chords with rhythm slashes.8. Performance Instructor approved performance piece.

Level VIScales— All keys1. Mel. Minor Three octaves from any degree or mode, (min. tempo: sixteenth

notes at =60).2. Whole tone Three octaves from tonic, (min. tempo: sixteenth notes at =60).Triad– 3. Chords Diatonic to C Melodic Minor, voice-led through 6 cycles from Root,

1st and 2nd inversions, close and spread.4. Arpeggios Minor three octaves from any chord tone, all keys (min. tempo:

eighth notes at =60).4-Part– 5. Chords Min(maj7), Maj7#5, Maj7b5, Min7#5, 7b5, Dim(Maj7)–all

inversions, student choice of key.6. Arpeggios Min(maj7), Maj7#5, Maj7b5, Min7#5, 7b5, Dim(Maj7)

–two octaves from any chord tone, all keys (min. tempo: eighthnotes at =60).

7. Reading Level appropriate—single note and chords with rhythm slashes.8. Performance Instructor approved performance piece.

(09/17/03)Level VII and Level VIII

Level VIIScales— All keys1. Harm. Minor Three octaves from any degree, (min. tempo: sixteenth notes at

=60).2. Diminished Three octaves from tonic, (min. tempo: sixteenth notes at =60).Triad– 3. Chords Diatonic to C Harmonic Minor, voice-led through 6 cycles from

Root, 1st and 2nd inversions, close and spread.4. Arpeggios Augmented 3 octaves from any chord tone, all keys (min. tempo:

eighth notes at =60).4-Part– 5. Chords Maj7, Min7, Dom7, Min7b5, Dom7sus4, 7#5, Dim7–all inversions,

all keys.6. Arpeggios Maj7, Min7, Dom7, Min7b5, Dom7sus4, 7#5, Dim7–three octaves

from any chord tone, all keys (min. tempo: eighth notes at =60).7. Reading Level appropriate—single note and chords with rhythm slashes.8. Performance Instructor approved performance piece.

Level VIIIScales— All keys1. Harm. Major Three octaves from any degree or mode, (min. tempo: sixteenth

notes at =60).2. Pentatonic Three octaves from tonic–major (1, 2, 3, 5, 6) and minor (1, 2, b3, 5,

6), (min. tempo: sixteenth notes at =60).Triad– 3. Chords Maj, Min, Aug, Dim–voice-led chromatically "48 to 48" (close and

spread).4. Arpeggios Diminished three octaves from any chord tone, all keys (min. tempo:

eighth notes at =60).4-Part– 5. Chords Min(maj7), Maj7#5, Maj7b5, Min7#5, 7b5, Dim(Maj7)–all

inversions, all keys.6. Arpeggios Min(maj7), Maj7#5, Maj7b5, Min7#5, 7b5, Dim(Maj7)–three

octaves from any chord tone, all keys (min. tempo: eighth notes at=60).

7. Reading Level appropriate—single note and chords with rhythm slashes.8. Performance Instructor approved performance piece

Triad Rows for Level 8 Final Exam PracticePlay in close position and then open position. Play also in retrograde (backwards)

1. ||: C F- B+ Eo A D- G+ Co F B- E+ Ao D G- C+ Fo B E- A+ Do G C-F+ Bo E A- D+ Go :||

2. ||: C Go D+ A- E Bo F+ C- G Do A+ E- B Fo C+ G- D Ao E+ B- F CoG+ D- A Eo B+ F- :||

3. ||: C D- E+ Fo G A- B+ Co D E- F+ Go A B- C+ Do E F- G+ Ao B C-D+ Eo F G- A+ Bo :||

4. ||: C Bo A+ G- F Eo D+ C- B Ao G+ F- E Do C+ B- A Go F+ E- D CoB+ A- G Fo E+ D- :||

5. ||: C A- F+ Do B G- E+ Co A F- D+ Bo G E- C+ Ao F D- B+ Go E C-A+ Fo D B- G+ Eo :||

6. ||: C Eo G+ B- D Fo A+ C- E Go B+ D- F Ao C+ E- G Bo D+ F- A CoE+ G- B Do F+ A- :||

7. ||: Gb Ab- Bb+ Dbo Eb Gb- Ab+ Bbo Db Eb- Gb+ Abo Bb Db- Eb+Gbo Ab Bb- Db+ Ebo :||

8. ||: Gb Bb- Eb+ Abo Db Gb- Bb+ Ebo Ab Db- Gb+ Bbo Eb Ab- Db+Gbo Bb Eb- Ab+ Dbo :||

9. ||: Gb Db- Ab+ Ebo Bb Gb- Db+ Abo Eb Bb- Gb+ Dbo Ab Eb- Bb+Gbo Db Ab- Eb+ Bbo :||

10. ||: Gb Ebo Db+ Bb- Ab Gbo Eb+ Db- Bb Abo Gb+ Eb- Db Bbo Ab+Gb- Eb Dbo Bb+ Ab- :||

11. ||: Gb Dbo Ab+ Eb- Bb Gbo Db+ Ab- Eb Bbo Gb+ Db- Ab Ebo Bb+Gb- Db Abo Eb+ Bb- :||

12. ||: Gb Bbo Eb+ Ab- Db Gbo Bb+ Eb- Ab Dbo Gb+ Bb- Eb Abo Db+Gb- Bb Ebo Ab+ Db- :||

TriadicEqual Rightsby Guitar Department Professor Mick Goodrick ’67from Berklee Today, Summer 1999, Volume 11, number 1

reprinted by permission

If you ask just about any guitarist which of the four triad types they know best, many will saythey know the major and minor types better than diminished or augmented types. There is astatistical reason for this. If you examine all of the diatonic triads occurring in the major,melodic minor, and harmonic minor scales, you’ll discover that major and minor triads occur66.7 percent of the time. Diminished and augmented triads occur about 23.8 percent and 9.5percent of the time respectively.

In order to develop our skills with diminished and augmented triads, we need to change thebias. This can easily be accomplished with a little bit of math. Table 1 lists 24 different se-quences using the four triads. Since each triad type appears only once in each of the se-quences, the bias is changed so that each one occurs 25 percent of the time. I guess you couldsee this as a move toward triadic equal rights.

Let’s look at line 11 on table 1. Its pattern is diminished, minor, augmented, major. To becomemore familiar with all triad types, we can take this sequence through various root progressions,tonic systems, and scale cycles. The objective is to voice lead the triads using common tones,stepwise motion, or the smallest possible leaps as each individual voice moves to the nextchord. The upper staff shows the sequence in close-voiced chords; the lower staff shows thesame sequence with open voicings.

Example 1 shows sequence number 11 (diminished, minor, augmented, major) moving througha root progression of ascending perfect fourths starting on C.For example 2, let’s work with sequence number 6 (minor, augmented, major, diminished).This time we will use the harmonic minor scale with a cycle three root progression (rootsascending diatonically in thirds). Notice that you have to move through the cycle four timesbefore the first chord, C minor, returns.In addition to the 24 sequences that use all four triads, you can make another 12 sequences ofthree triads that include both the augmented and diminished chords and either a major orminor chord (see table 2). Example 3 shows sequence 10 with a cycle five root progression(roots ascending in diatonic fifths) moving up the melodic minor scale.

In addition to finding these to be great theoretical exercises, you may find that these triadsequences (or parts of them) actually sound pretty interesting. Personally, I favor the sonorityof the open triads, but the close position voicings are equally useful.

Good luck!

Page 1 of 3

Example 1: Table 1, #11 (diminished, minor, augmented, minor) through cycle 4

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c

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Page 2 of 3

Table 1

1. maj, min, dim, aug2. min, dim, aug, major3. dim, aug, maj, min4. aug, maj, min, dim5. maj, dim, aug, min6. min, aug, maj, dim7. dim, maj, min, aug8. aug, min, dim, maj9. maj, aug, min, dim10. min, maj, dim, aug11. dim, min, aug, maj12. aug, dim, maj, min

13. maj, dim, min, aug14. min, aug, dim, maj15. dim, maj, aug, min16. aug, min, maj, dim17. maj, min, aug, dim18. min, dim, maj, aug19. dim, aug, min, maj20. aug, maj, dim, min21. maj, aug, dim, min22. min, maj, aug, dim23. dim, min, maj, aug24. aug, dim, min, maj

Table 2

1. maj, dim, aug2. dim, aug, major3. aug, maj, min4. maj, aug, dim5. aug, dim, maj6. dim, maj, aug

7. min, dim, aug8. dim, aug, min9. aug, min, dim10. min, aug, dim11. aug, dim, min12. dim, min, aug

Example 2: Table 1, #6 (minor, augmented, major, diminished) through harmonic minor, cycle 3

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Example 3: Table 2, #10 (minor, augmented, diminished) through melodic minor, cycle 5

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3

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Page 3 of 3

MINOR MAJOR MINOR

MINOR MAJOR

PENTATONIC SCALE FORMS

A PENTATONIC SCALE IS BASED UPON A SERIES OF “PERFECT” FIFTHS: C,G,D,A,E = C MAJOR PENTATONIC / A MINOR. The Major pentatonic contains the following scale degrees; Rt, 2nd, 3rd, 5th and 6th The minor pentatonic contains; Rt, b3, 4, 5, and b7

RT

RT

RT

RT

RT

Level Four Major and Minor Pentatonic Scales

RT

RT

The “Melodic Minor”or Kumoi Pentatonic Scale consists of the following scale degrees; Rt, 2nd, b3rd, 5th, 6th

It is essentially a Melodic Minor scale minus the 4th and 7th.

RT

RT

The Major Pentatonic Scale consists of the following scale degrees;

Rt, 2nd, 3rd, 5th, 6th

2nd Inv. Rt Pos. 1st Inv.

Rt Pos.

1st.Inv. 2nd Inv. Rt Pos.

2nd Inv.1st Inv.

Open Voiced Triads (major)


Rt Pos.

1st Inv. 2nd Inv. Rt Pos.

2nd Inv.1st Inv.

Open Voiced Triads (minor)


Rt Pos.

1st Inv. 2nd Inv. Rt Pos.

2nd Inv.1st Inv.

Open Voiced Triads (diminished)

= RtOpen Voiced Triads

(augmented)

* Augmented triads are symmetrically built therefore any note may be considered the root.

Julien Kasper

© J.Kasper

Spread Voicings

Spread or "open" voicings are created by dropping or raising the middle voice of a close voiced triad by an octave. When the middle voice is dropped the triad changes inversion to reflect the new lowest note. If the middle voice is raised the inversion remains the same.

C Major Triads...

7

13

Root position

There are three practical fingering types for spread voicings: lower adjacent - two lower pitches are on adjacent strings; upper adjacent - two upper pitches are on adjacent strings; non-adjacent - pitches skip strings. This applies to all inversions on each possible string group. After practicing all inversions on the same string group start mixing and matching possibilities, moving through the different fingering types and string groups. As with all new fretboard material it is most important to rapidly internalize the intervalic structure of these voicings so you can manipulate them. Convert all fingering types and all inversions on each string group to minor, diminished, and augmented. Manipulation of intervals is the most effective means of understanding and utilizing the material. Practice the triads harmonically and melodically.

8fr

3

5R

Lower adjacent

10fr

5fr

Upper adjacent

7fr 3fr

Non-adjacent

12fr

21

First Inversion

12fr

5R3

Lower adjacent

7fr

10fr

Upper adjacent

5fr

8fr

Non-adjacent

3fr

29

Second Inversion

3fr

R

35

Lower adjacent10fr

5fr

Upper adjacent

9fr

3fr

Non-adjacent

8fr

Chromatic Scale

Whole Tone Scale

Symmetric Diminished

Symmetric Scale Forms

TRIAD ARPEGGIOS

ROOT POS. 1st inv. 2nd inv.


MAJOR

MINOR

TRIAD ARPEGGIOS



DIMINISHED

AUGMENTED

MAJOR TRIADS UP @ACROSS THE FINGERBOARD

Rt. pos. 1st. Inv. 2nd.. Inv.

Rt. pos.

Rt. pos.

Rt. pos. 1st. Inv.

1st. Inv.

1st. Inv.

2nd.. Inv.

2nd.. Inv.

2nd.. Inv.

= Root

MINOR TRIADS UP @ACROSS THE FINGERBOARD


Rt. pos.

Rt. pos.

Rt. pos. 1st. Inv.

1st. Inv.

1st. Inv.

2nd.. Inv.

2nd.. Inv.

2nd.. Inv.

= Root

AUG. TRIADS UP @ACROSS THE FINGERBOARD


Rt. pos.

Rt. pos.

Rt. pos. 1st. Inv.

1st. Inv.

1st. Inv.

2nd.. Inv.

2nd.. Inv.

2nd.. Inv.

Because of the Augmented triads inherent symmetry, any note is an available root note.

DIMIN. TRIADS, UP @ACROSS THE FINGERBOARD


Rt. pos.

Rt. pos.

Rt. pos. 1st. Inv.

1st. Inv.

1st. Inv.

2nd.. Inv.

2nd.. Inv.

2nd.. Inv.

= Root

AUG. TRIADS UP @ACROSS THE FINGERBOARD


Rt. pos.

Rt. pos.

Rt. pos. 1st. Inv.

1st. Inv.

1st. Inv.

2nd.. Inv.

2nd.. Inv.

2nd.. Inv.

Because of the Augmented triads inherent symmetry, any note is an available root note.

Level V- Major Scale Chord Cycles -

Cycle 3 descending (two common tones)

C Em G Bo Dm F Am C

Cycle 6 ascending (two common tones)

C Am F Dm Bo G Em C

Cycle 5 descending (one common tone)

C G Dm Am Em Bo F C

Cycle 4 ascending (one common tone)

C F Bo Em Am Dm G C

Cycle 2 descending or parallel ascending (no common tones)

C Dm Em F G Am Bo C

Cycle 7 ascending or parallel descending (no common tones)

C Bo Am G F Em Dm C

Level VI- Melodic Minor Scale Chord Cycles -


Cm Eb+ G Bo Dm F Ao Cm


Cm Ao F Dm Bo G Eb+ Cm


Cm G Dm Ao Eb+ Bo F Cm


Cm F Bo Eb+ Ao Dm G Cm


Cm Dm Eb+ F G Ao Bo Cm


Cm Bo Ao G F Eb+ Dm Cm

Level VII- Harmonic Minor Scale Chord Cycles -


Cm Eb+ G Bo Do Fm Ab Cm


Cm Ab Fm Do Bo G Eb+ Cm


Cm G Do Ab Eb+ Bo Fm Cm


Cm Fm Bo Eb+ Ab Do G Cm


Cm Do Eb+ Fm G Ab Bo Cm


Cm Bo Ab G Fm Eb+ Do Cm

Level 1+ 3 7th Arpeggios.

Major 7th Minor 7th Dominant 7th

Minor 7 flat 5 Dominant 7 sus4 Dominant 7#5

Diminished 7th

2 octave

Level 2 + 4 7th Arpeggios.

Min. major 7th Major 7th #5 Major 7th flat 5

Minor 7th #5 Dominant 7 flat 5 Diminished Maj7th

2 octave

berklee guitar instructional material 2011

Documents

guitar voice

level appropriatesingle

open voiced

eb cm

cm eb

ab

lowest note

middle voice