Category: Harmonic Motion

Triads with Doublings and Suspended 4ths (Harmonized Scale: “D” Harmonic Minor)

~ Dan Cosley ~ Leave a comment

The following examples show various four-note triadic constructions with doublings and suspensions moved through a “D” Harmonic Minor scale.

The first triadic construction is a commonly played triad with a duplicated root. The intervals, stacked vertically, are as follows: 5th, 4th, & 3rd. The intervallic construction is maintained and moved through the harmonized scale:

Next, the 3d is suspended (replaced with a diatonic fourth) and the resulting 5th, 4th & 4th construction is moved through the scale:

The second triadic construction is a triad with a duplicated 3rd. The intervals, stacked vertically, are as follows: 3rd, 4th, & 3rd. The intervallic structure is maintained and moved through the harmonized scale:

Next, the upper 3d is suspended (replaced with a diatonic fourth) and the resulting 3rd, 4th & 4th construction is moved through the scale:

The third triadic construction is a triad with a duplicated 5th. The intervals, stacked vertically, are as follows: 4th, 3rd, & 3rd. The intervallic structure is maintained and moved through the harmonized scale:

Next, the 3d is suspended (replaced with a diatonic fourth) and the resulting 4th, 4th & 2nd construction is moved through the scale:

Try finding additional four-note triads with duplicate notes or “doublings.” Here are two other possible starting chords:

Also, try transferring these voicings onto other string sets. Here is one of the previous chords transposed down an octave and placed on string set 5432:

Finally, experiment with various scales. Harmonic Minor is particularly useful, however, as it contains Major, Minor, Diminished, and Augmented triads.

6th & Diminished 7th Chord Passages: Bebop Major and Minor

~ Dan Cosley ~ Leave a comment

These chord passages are constructed from inversions of 6th chords (Major and Minor respectively) with Fully Diminished 7th chords interspersed.

This is a harmonization technique that is often associated with the pianist Barry Harris.

Remember to analyze these from other roots, reinterpret the harmony and use your imagination to find less than obvious substitutions.

6th & Diminished 7th Chord Passages – Bebop MajorDownload
6th & Diminished 7th Chord Passages – Bebop MinorDownload

Diatonic ii-V-I Progressions (7th Chord Inversions)

~ Dan Cosley ~ Leave a comment

Learning chords in isolation is useful, but learning chords in relation to common chord progressions is much better.

These diatonic ii-V-I progressions are composed of four-string 7th chords grouped by the closest inversions on the neck.

By retaining common tones smooth voice leading is ensured.

I have intentionally omitted fret numbers to stress the mobility of the shapes.

Diatonic ii-V-I Progressions (7th Chord Inversions)Download

All Possible Major Key Pairings

~ Dan Cosley ~ Leave a comment

Here’s an exhaustive list of major key pairings.

This is very handy for practicing modulations.

  1. C, D♭
  2. C, D
  3. C, E♭
  4. C, E
  5. C, F
  6. C, G♭
  7. C, G
  8. C, A♭
  9. C, A
  10. C, B♭
  11. C, B
  12. D♭, D
  13. D♭, E♭
  14. D♭, E
  15. D♭, F
  16. D♭, G♭
  17. D♭, G
  18. D♭, A♭
  19. D♭, A
  20. D♭, B♭
  21. D♭, B
  22. D, E♭
  23. D, E
  24. D, F
  25. D, G♭
  26. D, G
  27. D, A♭
  28. D, A
  29. D, B♭
  30. D, B
  31. E♭, E
  32. E♭, F
  33. E♭, G♭
  34. E♭, G
  35. E♭, A♭
  36. E♭, A
  37. E♭, B♭
  38. E♭, B
  39. E, F
  40. E, G♭
  41. E, G
  42. E, A♭
  43. E, A
  44. E, B♭
  45. E, B
  46. F, G♭
  47. F, G
  48. F, A♭
  49. F, A
  50. F, B♭
  51. F, B
  52. G♭, G
  53. G♭, A♭
  54. G♭, A
  55. G♭, B♭
  56. G♭, B
  57. G, A♭
  58. G, A
  59. G, B♭
  60. G, B
  61. A♭, A
  62. A♭, B♭
  63. A♭, B
  64. A, B♭
  65. A, B
  66. B♭, B