howard wallach guitar chord progression encyclopedia.pdf

GUITAR

ENCYCLOPEDIA

IncludesHundredsofChordsandChordProgressionsinAllStylesinAllTwelveKeys

HOWARDWALLACH

Alfred, the leader in educational publishing, and theNationalGuitarWorkshop, one ofAmericasfinestguitarschools,havejoinedforcestobringyouthebest,mostprogressiveeducationaltoolspossible.WehopeyouwillenjoythisbookandencourageyoutolookforotherfineproductsfromAlfredandtheNationalGuitarWorkshop.

ContentsABOUTTHEAUTHOR..4

INTRODUCTION5

HOWTOUSETHISBOOK.6

FirstPositionChordSection.6

MoveableChordSection..6

RomanNumeralReview..6

TheChordsinMajorandMinorKeys..7

FirstPositionChords..8

MoveableChords8

SignandSymbols.8

EnharmonicKeys.9

StrummingPatterns10

StrumLines10

ChordProgressionExample10

FingerboardChart.II

CHORDPROGRESSIONINTHEFIRSTPOSITION12

FirstPositionChords12

CMajor14

GMajor16

DMajor18

AMajor20

EMajor.22

FMajor.24

AMinor26

EMinor.28

DMinor30

Diminished7Chords32

Suspended4Chords.33

CHORDPROGRESSIONINTHEUPPERPOSITIONS34

MoveableChords.34

CMajor36

GMajor38

DMajor40

AMajor42

EMajor.44

BMajor.46

F#Major48

FMajor.50

B~Major52

E~Major54

AtMajor..56

DMajor..58

G~Major..60

AMinor62

EMinor.64

BMinor66

F#Minor68

C#Minor..70

G#Minor..72

D#Minor..74

DMinor76

GMinor78

CMinor80

B~Minor82

E~Minor84

ADDITIONALCHORDPROGRESSIONS.86

Progressionswith

AlternateMajorChordForms86

ClassicRockProgressions87

ProgressionswithSuspended4Chords88

LatinRockProgression89

12-BarBluesProgression..90

SwingBluesProgression.91

BalladTuneProgression..92

Jazz/BluesProgression..93

CountrySwingProgression.94

(rocsRejerenceIndexByKey:

AMajor

AMajor

AMinor

BMajor

BMinor

BMajor

BMinor

CMajor

CMinor

C-Minor

DMajor

DMajor

DMinor

D:Minor

EMajor

EMinor

EMajor

EMinor

FMajor

PMajor

PMinor

GMajor

GMajor

GMinor

GMinor

AboutTheAuthorHoward Wallach was born in Cleveland, Ohio where, at the age of ten, he beganperformingonboth jazzandclassicalguitar.After studyingwithguitarvirtuosoMiguelRubioattheConservatoryofLausanne,Switzerland,hecompletedhisBachelorofmusicat the PeabodyConservatory of JohnHopkinsUniversity under the renowned educatorAaronShearer.His graduate studieswereundertaken at theUniversity ofHouston.Mr.Wallachhasgivenmanysoloandensembleperformancesonboth theguitarand lute inSwitzerland, Baltimore, Houston, Washington, D.C., Cleveland and Philadelphia.Currently residing in Houston, he teaches at Houston Community College and at LeeCollegeinBaytown,Texas.

Thepurposeofthisbookistofamiliarizetheguitaristwithallofthemostcommonlyusedchordsandchordprogressionsineverykeyandineverypositiononthefingerboard.Whatmakesthisbookdifferentfromotherchordbooks is thatyouwill learnbyplayingfullyillustrated examples of real chord progressions, and not by reading theoreticaldescriptions.

Thisbook is extremely easy touse and tounderstand.Achorddiagram isprovided forevery chord, so theres no guesswork involved. The sections of this book are arrangedprogressivelyinorderofdifficulty,soifyourefairlynewtotheguitar,youshouldstartatthebeginningandgraduallyworkyourwaytowardstheend.Themoreexperiencedplayercanmovefreelyfromsectiontoanother,fillinginanygapsinhisorherknowledge.

You will become familiar with the different chords and progressions through frequentrepetition,so its agood idea toperiodically reviewearlier lessons.Payattention to thenameofeachchord.Whenplayingamoveablechord(achordshapewhichmaybeshiftedtoanypositionof the fingerboard)alsomakenoteof the fret it isplayedonandwhichstringtherootnoteof thechordappears. (Arootnote is thenoteafterwhichachord isnamed.Forinstance,CistherootnoteoftheCMajorchord.)Tocheckonthepositionofrootnotes,refertothefingerboardchartonpageAlmostallofthechordsinthisbookarepresentedinrootposition,withtherootofthechordasthelowestsoundingnote.Manyofthechordsareshowninmorethanoneversionsometimesinasinglechordprogression-toexpose you to a number of possibilities and show how a song can be enriched by acreativerhythmguitarist.

Sodiginandhavefun!

Here are someother chord and rhythmguitar books fromAlfredandtheNationalGuitarWorkshop:

AlfredsBasicGuitarChords,Manus

Basix-GuitarChordDictionary,Hall/Monus

ChordandScaleFinder,Fisher

ChordConnections,Brown

GuitarChordEncyclopedia,Hall/Manus

StandAloneTracks-RhythmGuitar,Brown

TheRhythmGuitarEncyclopedia,Fisher

Thekeyspresentedinthesectionbeginningonpage12aretheonlyonesnormallyusedwhen playing in the first (or open) position. Optional bar chord forms have beenadded in smallprint for somechordswhich sound theirbestonlyasbar chords.Themoreadvancedplayercanusetheseformswhenevertheyplease.

Itspossibletoplayinanykeywhenusingmoveablechords.Thissectionbeginningonpage 34 covers all the keys, including those omitted from the previous section.Occasionally,however,afirstpositionchordisutilizedtogetthebesteffectorfullestsoundoutofaparticularchordprogression.Thesechordsareclearly indicatedbythenotation.Thenumbersattheleftsideofeachmoveablechordindicatesatwhichfretthechordistobeplaced.

Romannumeralsareusedtodesignatetherelativepositionofachordinascale.Theuppercasenumeralsusuallydesignatemajorchordsandlowercasenumeralsusuallydesignateminorchords.

Thechordsineachkeyarebuiltonthenotesofthescaleofthatkey.Forinstance,inallmajorkeysthechordsbuiltonthesevennotesofthemajorscalefollowthispattern:

Inallminorkeys,thechordsbuiltonthesevennotesofthenaturalminorscaleare:

(Occasionalexceptionstotheabovearenotedthroughoutthetext.)

The Roman numerals heading each chord progression refer to the position of eachchordinthescaleofthatkey.

Forexample:

THEKEYOFCMAJOR-TheI-vi-ii-VProgression

ThechordsusedintheprogressionareCMajor,AMinor,DMinorandGMajororG7.CMajoristheI(Ist)chordofthekey,AMinoristhevi(6th)chordofthekey,DMinoristheii(2nd)chordofthekey,andGMajororG7istheV(5th)chordofthekey.

Occasionally chord progressions deviate from the norm.TheRomannumeral system isusedtodesignatealteredchordsandsecondarychords,asonpage32.Secondarychordsrelate to thechord theyprecederather than theoverallkeyof theprogression.TheyarenormallyaVoraviiofthechordtheyprecede.

Hereisachordprogressionwithsecondarydominantchords:

ThekeysofCMajor,CMajor,A*,MinorandAMinorarenotpresentedinthisbooksincetheyareenharmonic(identicalinsound,butspelledwithdifferentletternames)withthe keys ofDMajor, BMajor, BMinor andGMinor, respectively. The enharmonicrelationshipsofthechordsinthesekeysareillustratedbelow.

ThekeyofCMajorisenharmonicwiththekeyofDMajor

ThekeyofCMajorisenharmonicwiththekeyofBMajor

ThekeyofA^MinorisenharmonicwiththekeyofBMinor

ThekeyofAMinorisenharmonicwiththekeyofGMinor

Inthisbookallstrumsthatfallonabeat(anumber)aretobeplayedwithadownstroke(4,),andallstrumsthatfallonanupbeat(&)aretobeplayedwithanupstroke(t).(Onlystrumthreeorfourstringsonanupstroke.)Thisapproachwillgivetheproperrhythmicemphasistoyourplaying.

Abeatisthebasicunitofmeasurementoftimeinmusic.Thebeatsinasongaremostoftenorganizedingroupsoffour,threeortwo.Theseorganizatonalgroupsarecalledmeasures,orbars.Consequently,youllhavefour, threeortwobeatstoameasure.Therearemanyotherrhythmicpossibilities,butinthisbookwellsticktothese.

Whentherearefourbeatsinameasure,itisindicatedatthebeginningofthesongwith the time signature Three beats in ameasure are indicated by thetimesignature:3,andtwobeatsby

Everyexampleinthisbookbeginswithacountingpatternandrhythmwhichwilltellyouhowtocountandstrumthatprogression.Theserhythmsgivenarejustsuggestions.Youcansubstituteanycountingpatternorrhythmyoulike,solongasyoucomeoutwitharegularnumberofbeatspermeasure.

Representsaonebeatdownwardstrum

Represents a down stroke followed by and up stoke dividing the beatintotwoparts(beatandoff-beat).

In measures containing twochords, the second chord falls onthethirdbeatofthemeasure.

TheI-Iv-vProgression(CommonlyUsedinRock,FolkandCountryStyles.)

TheI-vi-ii-VProgression(CommonlyUsedinRock,FolkandLatinStyles.)

TheI-vi-ii-VProgression-ColorChords(CommonlyUsedinJazzandPopStyles.)

TheI-IV-VProgression-7thChords(CommonlyUsedinBluesandRockStyles.)

Important note: If a chord frame is not given in a measure, the chord from thepreviousmeasureisplayed.

Thei-iv-vProgression(CommonlyUsedinRock,FolkandCountryStyles.)



TheI-iv-vProgression-7thChords(CommonlyUsedinBluesandRockStyles.)

Thei-iv-vProgression(CommonlyUsedinRock,FolkandCountryStyles.)

TheI-vi-ii-vProgression(CommonlyUsedinRock,FolkandLatinStyles.)

TheI-vi-ii-vProgression-ColorChords(CommonlyUsedinJazzandPopStyles.)

TheI-iv-vProgression-7thChords(CommonlyUsedinBluesandRockStyles.)

TheI-iv-vProgression(CommonlyUsedinRock,FolkandCountryStyles.)


TheI-%i-ii-vProgression-ColorChords(CommonlyUsedinJazzandPopStyles.)

TheI-Iv-vProgression-7thChords(CommonlyUsedinBluesandRockStyles.)


TheI-Iv-vProgression-7thChords(CommonlyUsedinBluesandRockStyles.)


Thei-Iv-vProgression-7thChords(CommonlyUsedinBluesandRockStyles.)

Thei-iv-vProgression(CommonlyUsedinFolk,RockandLatinStyles.)

Thei-v-VI-IIIProgression(CommonlyUsedinLatinandFolkStyles.)

This progression substitutes amajor IV chord for the usualminorivchordofminorkeys.

The1-III-IV-VIProgression(CommonlyUsedinBlues,RockandFolkStyles.)

Thei-iv-vProgression-7thChords(CommonlyUsedinLatin,JazzandBluesStyles.)

Thei-ivv-vProgression(CommonlyUsedinFolk,RockandLatinStyles.)

Thei-V-vI-IIIProgression(CommonlyUsedinLatinandFolkStyles.)

ThisprogressionsubstitutesamajorIvchordfortheusualminorivchordofminorkeys.

Thei-111-IV-vtProgression(CommonlyUsedinBlues,RockandFolkStyles.)



Thei-V-VI-IIIProgression(CommonlyUsedinLatinandFolkStyles.)

ThisprogressionsubstitutesamajorIVchordfortheusualminorivchordofminorkeys.

Thei-III-IV-VIProgression(CommonlyUsedinBlues,RockandFolkStyles.)


SwingProgression-KeyofCMajor

Jazz/BluesProgression-KeyofGMajor

Acoustic/AlternativeRockProgressionI-KeyofAMajor

Acoustic/AlternativeRockProgressionII-KeyofGMajor

Allofthesechordformscanbeshiftedfromfrettofrettoachievethedesiredchordtypeatdifferentpitchlevels.Almostallofthesechordsareinrootpositionsincetherootisthelowestnoteinthechord.ThefewexceptionsaremarkedwithanRbelowtheirrootnotes.Refertothefingerboardcharttolocatethepositionoftherootnotesontheguitarneck.

The-vi-ii-vProgression(CommonlyUsedinRock,FolkandLatinStyles.)


The1-Iv-vProgression-SeventhChords(CommonlyUsedinLatin,JazzandBluesStyles.)

The1-IV-vProgression(CommonlyUsedinRock,FolkandCountryStyles.)

The1-vi-ii-VProgression(CommonlyUsedinRock,FolkandLatinStyles.)

Sincethe9chordisverysimilarinfunctiontothe7chord, and since it contains the 7th tone alongwiththe9thtone(9scalestepsabovetheroot),itcanoftenbeusedasasubstituteforthe7chordinprogressionsofcertainblues,jazzandpopstyles.


TheI-tv-vProgression-SeventhChords(CommonlyUsedinLatin,JazzandBluesStyles.)

Thei-Iv-vProgression(CommonlyUsedinRock,FolkandCountryStyles.)

The[-vi-ii-vProgression(CommonlyUsedinRock,FolkandLatinStyles.)

TheI-\,I-ii-VProgression-ColorChords(CommonlyUsedinJazzandPopStyles.)

TheI-Iv-vProgression-SeventhChords(CommonlyUsedinLatin,JazzandBluesStyles.)


TheI-N,1-11-vProgression(CommonlyUsedinRock,FolkandLatinStyles.)

TheProgression-ColorChords(CommonlyUsedinJazzandPopStyles.)

TheI-Iv-vProgression-SeventhChords(CommonlyUsedinBluesandRockStyles.)


TheI-IV-vProgression-SeventhChords(CommonlyUsedinLatin,JazzandBluesStyles.)


The[-vi-ii-vProgression(CommonlyUsedinRock,FolkandLatinStyles.)

The-vi-ii-VProgression-ColorChords(CommonlyUsedinJazzandPopStyles.)

TheI-IV-VProgression-SeventhChords(CommonlyUsedinBluesandRockStyles.)


The1-vi-ii-vProgression(CommonlyUsedinRock,FolkandLatinStyles.)

TheI-%i-ii-vProgression-ColorChords(CommonlyUsedinJazzandPopStyles.)

TheI-IV-vProgression-SeventhChords(CommonlyUsedinBluesandRockStyles.)

The1-iv-vProgression(CommonlyUsedinRock,FolkandCountryStyles.)


TheI-v-i-ii-vProgression-ColorChords(CommonlyUsedinJazzandPopStyles.)

Thei-iv-VProgression-7thChords(CommonlyUsedinBluesandRockStyles.)

Thei-IV-vProgression(CommonlyUsedinRock,FolkandCountryStyles.)

TheI-v-i-ii-VProgression(CommonlyUsedinRock,FolkandLatinStyles.)


TheI-IV-vProgression-SeventhChords(CommonlyUsedinBluesandRockStyles.)

TheI-vvi-ii-vProgression-ColorChords(CommonlyUsedinJazzandPopStyles.)


The1-1v-vProgression(CommonlyUsedinRock,FolkandCountryStyles.)

The1-vi-ii-VProgression(CommonlyUsedinRock,FolkandLatinStyles.)

TheI--i-ii-vProgression-ColorChords(CommonlyUsedinJazzandPopStyles.)

Thei-Iv-vProgression-SeventhChords(CommonlyUsedinBluesandRockStyles.)

Thei-iv-VProgression(CommonlyUsedinFolk,RockandLatinStyles.)


This progression substitutes amajor IV chord for the usualminorivchordofminorkeys.

The1-111-iv-viProgression(CommonlyUsedinBlues,RockandFolkStyles.)

Thei-iv-vProgression-SeventhChords(CommonlyUsedinLatin,JazzandBluesStyles.)


Thei-V-VI-111Progression(CommonlyUsedinLatinandFolkStyles.)

ThisprogressionsubstitutesamajorIVchordfortheusualminori\chordofminorkeys.




Thei-111-IV-VIProgression(CommonlyUsedinBlues,RockandFolkStyles.)



Thei-v-v[-inProgression(CommonlyUsedinLatinandFolkStyles.)


Thei-V-VI-I11Progression(CommonlyUsedinLatinandFolkStyles.)



TheProgression-SeventhChords(CommonlyUsedinLatin,JazzandBluesStyles.)


Thei-V-VI-1I1Progression(CommonlyUsedinLatinandFolkStyles.)

ThisprogressionsubstitutesamajorIVchordfortheusualminori%chordofminorkeys.


Thei-iv-~Progression-SeventhChords(CommonlyUsedinLatin,JazzandBluesStyles.)


Thei-V-vI-IIIProgression(CommonlyUsedinLatinandFolkStyles.)

ThisprogressionsubstitutesamajorIvchordfortheusualminorivchordofminorkeys.

Thei-III-Iv-VIProgression(CommonlyUsedinBlues,RockandFolkStyles.)


ThisprogressionsubstitutesamajorIVchordfortheusualminorichordofminorkeys.


Thei-iv-~Progression-SeventhChords(CommonlyUsedinLatin,JazzandBluesStyles.)

Thei-ivv-vProgression(CommonlyUsedinFolk,RockandLatinStyles.)

Thei-V-v1-IIIProgression(CommonlyUsedinLatinandFolkStyles.)

TheI-Iv-vProgression-KeyofAMajor

TheI-vi-ii-VProgression-KeyofAMajor

ProgressionI-KeyofCMajor

ProgressionII-KeyofAMinor

* These curved lines are called ties. They add the rhythmicvalue of the second chord to the first. Do not strum thesecondchord,justcountit.

Alternative/AcousticRockProgressionI-KeyofGMajor

Alternative/AcousticRockProgressionII-KeyofCMajor

Although this progression is in the key of CMajor,itactuallysequencesthroughdifferentkeyswithaseriesofV-Irelationships.

Quickly

Thisprogressionisagoodexampleofhoweffectiveitcanbetomovefromonepositionto another on the same chord. Observe the tie signs here as in the Classic RockProgression.

ModeratelyKeyofGMajor

Fast/KeyofB,Major

Slowly/KeyofFMinor

MediumTempoKeyofFMajor

QuicklyKeyofFMajor

Notes:

ABOUTTHEAUTHORINTRODUCTIONHOW TO USE THIS BOOKThe Chords in Major and Minor Keys ..7First Position Chords ..8Enharmonic Keys .9Strumming Patterns 10Fingerboard Chart . I ICHORD PROGRESSION IN THE FIRST POSITIONC Major 14G Major 16D Major 18A Major 20E Major . 22F Major .24A Minor 26E Minor .28D Minor 30Diminished 7 Chords 32Suspended 4 ChordsCHORD PROGRESSION IN THE UPPER POSITIONS34C MajorG MajorD Major 40A Major 42E Major .44B Major .46F# Major 48F Major .50B~ MajorE~ Major 54At Major ..56D Major ..58G~ Major .. 60A Minor 62E Minor .64B Minor 66F# Minor 68C# Minor ..70G# Minor ..72D# Minor ..74D Minor 76G MinorC Minor 80B~ Minor 82E~ Minor 84ADDITIONAL CHORD PROGRESSIONS .86Classic Rock Progressions 87Progressions with Suspended 4 Chords 88Latin Rock Progression 89

howard wallach guitar chord progression encyclopedia.pdf

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