Berklee Guitar Instructional Material 2011

MAJOR SCALE FORMS IONIAN

DORIAN

PHRYGIAN

RT RT

RT LYDIAN

MIXOLYDIAN

AEOLIAN

RT

RT RT

LOCRIAN

RT

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

MELODIC MINOR SCALE FORMS IONIAN b3

LYDIAN AUGMENTED

DORIAN b2

RT RT

RT MIXOLYDIAN b13

LYDIAN b7

AEOLIAN b5

RT

RT RT

SUPER LOCRIAN/ALTERED SCALE

RT

HARMONIC MINOR SCALE FORMS IONIAN b3 b6

IONIAN #5

LOCRIAN nat.6

RT RT

RT MIXOLYDIAN b9 b13

DORIAN #4

LYDIAN #9

RT

RT

RT

ALTERED SCALE natural 6

RT

HARMONIC MAJOR SCALE FORMS Ionian b6

Locrian nat. 2,6

Altered nat. 5

RT RT

RT

Mixolydian b9, nat.13

Ionian b3,#4 RT

RT

RT

Alt. sus4, nat.6,

RT

Lydian Augmented #9

Level One and Three Chord Forms Major 7th

Major 7th

Minor 7th

Minor 7th

Dom. 7th

Dom 7th

Min 7b5

Min 7b5

Dom 7sus4

Diminished 7

Dom 7sus4

Dom.7#5

Dom.7#5

Diminished 7

Major 6th

Major 6th

Level One and Three Chord Forms Minor 9th

pg.2

Minor 6th

Minor 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

Min maj7

Maj 7#5

Maj 7#5

Maj 7b5

Maj 7b5

Min 7#5

Min 7#5

Dom 7b5

Dom 7b5

Dimmaj7

Dimmaj7

Maj7,9

Maj7,9

Maj6,9

Maj6,9

Level Two and Four Chord Forms Min9 maj7

Dom7b9,13

Min9 maj7

Dom7b9,13

pg.2

Dom7b9b13

Dom7b9b13

Dom9,b13

Dom9,b13

Level 7, Page 1

Triad/Close Voicings/ Cycle 2: C harmonic minor {R|o|o|t| |P|o|s|i|t|i|o|n}

CÊ ˙ b ˙˙

Dµ ˙˙ b˙

E !Ø b ˙˙ ˙

FÊ b ˙˙˙

G ˙˙ ˙

A! bb ˙˙˙

&

Bµ ˙˙˙

CÊ b ˙˙ ˙

1

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

b CÊ ˙˙ ˙

Dµ b ˙˙˙

E !Ø FÊ b ˙˙ b ˙˙˙ ˙

G ˙˙ ˙

A! bb ˙˙˙

Bµ ˙˙ ˙

CÊ ˙ b ˙˙

E !Ø FÊ ˙˙ b ˙˙˙ b˙

G ˙˙˙

A! ˙˙ b b˙

Bµ ˙˙ ˙

CÊ b ˙˙˙

& 2

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

CÊ ˙˙ b˙

b Dµ ˙˙˙

& 3

Triad/Open Voicings/ Cycle 2: C harmonic minor

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

b CÊ ˙ ˙˙ &

Dµ ˙ ˙ b˙

E !Ø FÊ b˙ b ˙˙ ˙˙ ˙

G ˙ ˙ ˙

A! bb ˙˙ ˙

Bµ ˙ ˙ ˙

CÊ ˙ b˙ ˙

E !Ø FÊ ˙ ˙ ˙ b˙ b˙ ˙

G ˙˙ ˙

A! ˙ bb ˙˙

Bµ ˙ ˙ ˙

CÊ ˙˙ b˙

E !Ø FÊ b˙ ˙ ˙ ˙ ˙ b˙

G ˙ ˙˙

A! b˙ ˙ b˙

Bµ ˙˙ ˙

CÊ b˙ ˙˙

4

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

CÊ ˙ b˙ ˙

b Dµ ˙ ˙ ˙

& 5

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

CÊ ˙˙ b˙ &

Dµ ˙ b ˙˙

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

Level 7, Page 2

Triad/Close Voicings/ Cycle 2: C harmonic minor--Also acceptable {R|o|o|t| |P|o|s|i|t|i|o|n}

CÊ b ˙˙˙

Dµ b ˙˙˙

E !Ø b ˙˙˙

FÊ b ˙˙˙

G ˙˙ ˙

A! ˙ bb ˙˙

Bµ ˙˙ ˙

CÊ b ˙˙˙

& 1

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

CÊ b ˙˙ & ˙

Dµ ˙˙ b˙

E !Ø FÊ b ˙˙ b ˙˙˙ ˙

G ˙˙ ˙

A˙ ! bb ˙˙

˙˙Bµ ˙

b ˙˙CÊ ˙

E !Ø FÊ ˙˙ b ˙˙ b˙ ˙

G ˙˙ ˙

A! bb ˙˙˙

Bµ ˙˙ ˙

˙˙CÊ b˙

2

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

CÊ & b ˙˙˙

Dµ b ˙˙˙

3

Triad/Spread Voicings/ Cycle 2: C harmonic minor--Also acceptable {R|o|o|t| |P|o|s|i|t|i|o|n}

CÊ b˙ & ˙˙

Dµ ˙ b ˙˙

E !Ø FÊ b˙ ˙ ˙˙ ˙ b˙

G ˙ ˙˙

A! ˙ bb ˙˙

˙Bµ ˙˙

b ˙CÊ ˙˙

E !Ø FÊ ˙ b˙ b˙ ˙ ˙ ˙

G ˙ ˙ ˙

A! b˙ ˙ b˙

Bµ ˙ ˙ ˙

CÊ ˙ b˙ ˙

E !Ø FÊ ˙˙ ˙ b˙ b˙ ˙

G ˙˙ ˙

A! bb ˙˙ ˙

˙˙Bµ ˙

˙˙CÊ b˙

4

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

CÊ & b ˙˙ ˙ 5

Dµ ˙ ˙ b˙

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

CÊ ˙˙ & b˙ 6

Dµ b ˙˙ ˙

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

Level 7, Page 3

Triad/Close Voicings/ Cycle 4: C harmonic minor {R|o|o|t| |P|o|s|i|t|i|o|n}

CÊ & b ˙˙ ˙

FÊ b ˙˙ ˙

Bµ ˙˙ ˙

E !Ø b ˙˙˙

A! ˙ bb ˙˙

Dµ b ˙˙˙

G ˙˙˙

CÊ b ˙˙ ˙

1

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

CÊ b ˙˙ & ˙

FÊ ˙˙ b˙

Bµ ˙˙˙

E !Ø A ! b ˙˙˙ bb ˙˙˙

Dµ b ˙˙˙

G ˙˙ ˙

˙˙CÊ b˙

Bµ ˙˙ ˙

E !Ø A ! b ˙˙ b ˙˙˙ b ˙

Dµ ˙ b ˙˙

G ˙˙ ˙

CÊ ˙ b ˙˙

2

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

CÊ & b ˙˙˙ 3

FÊ b ˙˙˙

Triad/Spread Voicings/ Cycle 4: C harmonic minor

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

CÊ b˙ & ˙ ˙

FÊ ˙ b˙ ˙

Bµ ˙˙ ˙

E !Ø A ! b˙ ˙ ˙ b ˙˙ b˙

Dµ b ˙˙ ˙

G ˙ ˙˙

CÊ ˙ b˙ ˙

Bµ ˙ ˙˙

E !Ø A ! b˙ b ˙˙ b ˙ ˙ ˙

Dµ ˙ b ˙˙

G ˙ ˙ ˙

CÊ ˙˙ b˙

Bµ ˙ ˙ ˙

E !Ø A ! ˙ b ˙˙ b ˙˙ b ˙

Dµ ˙ ˙ b˙

G ˙˙ ˙

CÊ b˙ ˙˙

4

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

CÊ & b ˙˙ ˙ 5

FÊ ˙ ˙ b˙

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

CÊ ˙˙ & b˙

FÊ b˙ ˙˙

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

Level 7, Page 4

Triad/Close Voicings/ Cycle 6: C harmonic minor {R|o|o|t| |P|o|s|i|t|i|o|n}

CÊ A ! b ˙˙˙ bb ˙˙˙ &

FÊ b ˙˙ ˙

Dµ b ˙˙˙

Bµ ˙˙ ˙

G ˙˙ ˙

E !Ø b ˙˙˙

CÊ ˙˙ b˙

1

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

CÊ A! ˙ & b ˙˙˙ bb ˙˙

FÊ b ˙˙˙

Dµ b ˙˙˙

Bµ ˙˙ ˙

G ˙˙˙

E !Ø CÊ b ˙˙ b ˙˙ ˙ ˙

FÊ ˙˙ b˙

Dµ ˙˙ b˙

Bµ ˙˙˙

G ˙˙ ˙

E !Ø CÊ b ˙˙˙ b ˙˙˙

2

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

CÊ A! b˙ bb ˙˙˙ & ˙˙ 3

Triad/Spread Voicings/ Cycle 6: C harmonic minor

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

CÊ A! b˙ bb ˙˙ & ˙ ˙ ˙

FÊ ˙ b˙ ˙

Dµ ˙ b ˙˙

Bµ ˙˙ ˙

G ˙ ˙ ˙

E !Ø CÊ ˙ ˙˙ b ˙˙ b˙

FÊ b˙ ˙˙

Dµ b ˙˙ ˙

Bµ ˙ ˙ ˙

G ˙ ˙˙

E !Ø CÊ ˙ b ˙˙ b˙ ˙ ˙

FÊ ˙˙ b˙

Dµ ˙ ˙ b˙

Bµ ˙ ˙˙

G ˙˙ ˙

!Ø CÊ E b˙ b˙ ˙ ˙ ˙ ˙

4

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

CÊ ˙ & b ˙˙

A! b˙ ˙ b˙

5

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

CÊ A! ˙ ˙ b˙ bb ˙˙ & ˙ 6

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

Level 7, Page 5

Triad/Close Voicings/ Cycle 7: C harmonic minor {R|o|o|t| |P|o|s|i|t|i|o|n}

CÊ

Bµ ˙˙ ˙

& b ˙˙˙

A! ˙ bb ˙˙

G ˙˙˙

FÊ ˙ b ˙˙

E !Ø Dµ b ˙˙˙ b ˙˙˙

CÊ ˙˙ b˙

1

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

CÊ & b ˙˙˙

Bµ ˙˙ ˙

A! bb ˙˙˙

G ˙˙ ˙

FÊ b ˙˙ ˙

E !Ø ˙Dµ b ˙˙ b ˙˙˙

˙˙ b CÊ ˙

A! bb ˙˙˙

G ˙˙ ˙

FÊ b ˙˙˙

!Ø Dµ E ˙˙ b ˙˙ b ˙ ˙

˙˙˙ b CÊ

2

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

CÊ b ˙˙ & ˙

Bµ ˙˙˙

3

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

CÊ b˙ & ˙˙

Triad/Spread Voicings/ Cycle 7: C harmonic minor

Bµ ˙˙ ˙

A! b˙ ˙ b˙

G ˙ ˙˙

FÊ ˙˙ b˙

!Ø Dµ E ˙ b˙ b ˙˙ ˙ ˙

CÊ ˙˙ b˙

Bµ ˙ ˙ ˙

A! ˙ b b ˙˙

G ˙˙ ˙

FÊ ˙ b˙ ˙

E !Ø Dµ b ˙˙ ˙ ˙ ˙ b˙

CÊ ˙ b˙ ˙

A! b˙ b˙ ˙

G ˙ ˙ ˙

FÊ b˙ ˙˙

E !Ø Dµ ˙ ˙ ˙ b˙ b ˙ ˙

b CÊ ˙ ˙ ˙

4

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

CÊ ˙ & b ˙˙ 5

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

CÊ & b ˙˙ ˙ 6

Bµ ˙ ˙˙

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

Level 7, Page 6

Triad/Close Voicings/ Cycle 7: C harmonic minor--Also acceptable {R|o|o|t| |P|o|s|i|t|i|o|n}

CÊ b ˙˙˙

Bµ ˙˙ ˙

A! bb ˙˙˙

G ˙˙˙

FÊ b ˙˙˙

E !Ø b ˙˙˙

Dµ b ˙˙˙

CÊ b ˙˙˙

& 1

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

CÊ ˙ b ˙˙

Bµ ˙˙ ˙

A! bb ˙˙˙

G ˙˙ ˙

FÊ ˙ b ˙˙

E !Ø Dµ b ˙˙ b ˙˙˙ ˙

CÊ ˙ b ˙˙

A! ˙˙ b b˙

G ˙˙ ˙

FÊ b ˙˙ ˙

E !Ø b ˙˙˙

CÊ b ˙˙ ˙

& 2

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

b CÊ ˙˙ ˙

Bµ ˙˙ ˙

&

Dµ ˙˙ b˙

3

Triad/Spread Voicings/ Cycle 7: C harmonic minor--Also acceptable {R|o|o|t| |P|o|s|i|t|i|o|n}

b CÊ ˙ ˙˙ &

Bµ ˙ ˙˙

A! ˙ bb ˙˙

G ˙ ˙˙

FÊ b˙ ˙˙

E !Ø Dµ ˙ ˙ ˙ b ˙˙ b˙

CÊ b˙ ˙˙

Bµ ˙˙ ˙

A! ˙ bb ˙ ˙

G ˙˙ ˙

FÊ ˙ ˙ b˙

E !Ø Dµ b ˙˙ b ˙˙ ˙ ˙

CÊ ˙˙ b˙

A! b˙ ˙ b˙

G ˙ ˙ ˙

FÊ ˙ b˙ ˙

E !Ø Dµ b˙ ˙ ˙ ˙ ˙ b˙

CÊ ˙ b˙ ˙

4

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

CÊ ˙˙ b˙ & 5

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

CÊ ˙ b˙ & ˙ 6

Bµ ˙ ˙ ˙

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

Level 7, Page 7

Triad/Close Voicings/ Cycle 5: C harmonic minor {R|o|o|t| |P|o|s|i|t|i|o|n}

CÊ b ˙˙˙ &

G ˙˙ ˙

Dµ ˙˙ b˙

A! bb ˙˙˙

E !Ø b ˙˙ ˙

Bµ ˙˙ ˙

FÊ b ˙˙˙

CÊ ˙˙ b˙

1

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

CÊ ˙˙ b˙

G ˙˙ ˙

Dµ b ˙˙˙

A! bb ˙˙˙

E !Ø b ˙˙˙

Bµ ˙˙˙

FÊ ˙˙ b˙

CÊ b ˙˙ ˙

Dµ b ˙˙˙

A! ˙˙ b b˙

E !Ø b ˙˙˙

Bµ ˙˙ ˙

FÊ b ˙˙ ˙

CÊ b ˙˙˙

& 2

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

b CÊ ˙˙ ˙

G˙ ˙˙

& 3

Triad/Spread Voicings/ Cycle 5: C harmonic minor

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

b CÊ ˙ ˙˙ &

G ˙˙ ˙

Dµ ˙ ˙ b˙

A! ˙ bb ˙˙

E !Ø b ˙˙ ˙

Bµ ˙ ˙ ˙

FÊ b˙ ˙˙

CÊ ˙˙ b˙

G ˙ ˙ ˙

Dµ ˙ b ˙˙

A! bb ˙˙ ˙

E !Ø b˙ ˙ ˙

Bµ ˙ ˙˙

FÊ ˙ ˙ b˙

CÊ ˙ b˙ ˙

Dµ b ˙˙ ˙

A! b˙ ˙ b˙

E !Ø ˙ b ˙˙

Bµ ˙ ˙ ˙

FÊ ˙ b˙ ˙

CÊ b˙ ˙˙

4

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

CÊ ˙˙ b˙ & 5

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

CÊ ˙ b˙ & ˙

G ˙ ˙ ˙

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

Level 7, Page 8

Triad/Close Voicings/ Cycle 3: C harmonic minor {R|o|o|t| |P|o|s|i|t|i|o|n}

CÊ b ˙˙˙ &

E !Ø b ˙˙˙

G ˙˙ ˙

Bµ ˙˙˙

Dµ ˙ b ˙˙

FÊ A ! ˙ bb ˙˙˙ b ˙˙

CÊ b ˙˙ ˙

1

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

! b E˙˙ Ø ˙

b CÊ ˙˙ ˙

G˙ ˙˙

˙˙Bµ ˙

Dµ b ˙˙˙

FÊ b ˙˙˙

A! ˙ bb ˙˙

CÊ ˙ b ˙˙

G ˙˙ ˙

Bµ ˙˙ ˙

Dµ b ˙˙˙

FÊ b ˙˙ ˙

A! bb ˙˙˙

CÊ b ˙˙˙

& 2

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

E !Ø b ˙˙˙

CÊ ˙˙ b˙ & 3

Triad/Spread Voicings/ Cycle 3: C harmonic minor

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

b CÊ ˙ ˙˙ &

! b E˙ Ø ˙ ˙

G˙ ˙ ˙

˙Bµ ˙˙

Dµ ˙ ˙ b˙

FÊ ˙˙ b˙

A! ˙ bb ˙˙

CÊ ˙ b˙ ˙

G ˙ ˙˙

Bµ ˙ ˙ ˙

Dµ b˙ ˙ ˙

FÊ b˙ ˙ ˙

A! b˙ ˙ b˙

CÊ ˙˙ b˙

G ˙ ˙ ˙

Bµ ˙˙ ˙

Dµ ˙ b ˙˙

FÊ ˙ b˙ ˙

A! b˙ b˙ ˙

CÊ b˙ ˙˙

4

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

CÊ ˙ b˙ & ˙

E !Ø b ˙˙ ˙

5

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

CÊ ˙˙ & b˙

E !Ø ˙ b ˙˙

6

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

LEVEL I Sample Test Questions and Responses

I. Scales 1) Major: Two octaves from any degree or mode (sixteenth notes at =60). Ex.1 G from 2nd degree

Ex. 2 D Locrian

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

II. Triads Arpeggios: Maj., Min., Aug., Dim. one octave from root (eighth notes at =60).

Chords: Maj., Min., Aug., Dim., close voicing starting from root position, across fingerboard one octave. D0 ➃ ➄ ➅

➂ ➃ ➄

② ➂ ➃

D

① ② ➂

III. Four Part Chords: Maj7, Min7, Dom7, Min7b5, Dom7sus4, 7#5, Dim7, Maj6, Min6, Min9, 9, 7b9, 7#9, 13–one form for each. CMaj7

Arpeggios: Maj7, Min7, Dom7, Min7b5, Dom7sus4, 7#5, Dim7 one octave from root (eighth notes at =60). F7sus4

IV. Performance 1. Performance: Instructor approved performance piece-three minute maximum. Notation required for test team. 2. Reading: Level appropriate—single note and chords with rhythm slashes.

LEVEL II Sample Test Questions and Responses

I. Scales 1) Melodic Minor: Two octaves from any degree or mode (sixteenth notes at =60). Ex.1 Bb from 7th degree

Ex. 2 Bb Lydian b7

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

II. Triads Chords: Maj., Min., Aug., Dim. close voicing, starting from any inversion, one octave up and down any Arpeggios: Maj., Min., Aug., Dim. two string set: ➂➁①, ➃➂➁, ➄➃➂, ➅➄➃. octaves from root (eighth notes at =60). (1st Inv., 2nd string set) Dm

A

② ➂ ➃

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)–one form for each ( ) C0 Maj7

Arpeggios: Min(maj7), Maj7#5, Maj7b5, Min7#5, 7b5, Dim(Maj7) one octave from root (eighth notes at =60). F7 5

IV. Performance 1. Performance: Instructor approved performance piece-three minute maximum. Notation required for test team. 2. Reading: Level appropriate—single note and chords with rhythm slashes.

LEVEL III Sample Test Questions and Responses

I. Scales 1) Harmonic Minor: Two octaves from any degree (sixteenth notes at =60). Ex.1 D from 5th degree

Ex. 2 C from 7th degree

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

II. Triads Maj., Min. spread (open) voicings, starting from any inversion, one octave. (from 1st Inv.) E m

Maj., Min., Aug., Dim. from any chord tone, one octave (eighth notes at =60). A 0 (1st Inv.)

III. Four Part Chords: Maj7, Min7, Dom7, Min7b5, Dom7sus4, 7#5, Dim7, Maj6, Min6, Min9, 9, 7b9, 7#9, 13–two forms for each G7sus4

G7sus4

Arpeggios: Maj7, Min7, Dom7, Min7b5, Dom7sus4, 7#5, Dim7 from any chord tone, one octave (eighth notes at =60). ( ) Dm7 5 (from 7th)

IV. Performance 1. Performance: Instructor approved performance piece-three minute maximum. Notation required for test team. 2. Reading: Level appropriate—single note and chords with rhythm slashes.

LEVEL IV Sample Test Questions and Responses

I. Scales 1) Harmonic Major: Two octaves from any degree (sixteenth notes at =60). D from 5th degree

2) Pentatonic: Two octaves from tonic–major (1, 2, 3, 5, 6,) and Japanese minor (1, 2, b3, 5, 6), (sixteenth notes at =60). Ex. 1 Eb Pent. Major

Ex. 2 A Pent. Minor

II. Triads Chords: Aug., Dim., open (spread) voicings starting from any inversion, one octave. C0

(from 2nd inv.)

Arpeggios: Maj., Min., Aug., Dim. from any chord tone, two octaves (eighth notes at =60). Gmin

(from 5th)

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. GMaj7

( 5)

GMaj7 ( 5 )

Arpeggios: Min(maj7), Maj7#5, Maj7b5, Min7#5, 7b5, Dim(Maj7) one octave from any chord tone, (eighth notes at =60). F ° (Maj7 ) (from 3rd)

IV. Performance 1. Performance: Instructor approved performance piece-three minute maximum. Notation required for test team. 2. Reading: Level appropriate—single note and chords with rhythm slashes.

Triad/Close Voicings/ Cycle 2: C major {R|o|o|t| |P|o|s|i|t|i|o|n}

˙˙˙C

DÊ ˙˙ ˙

EÊ ˙˙ ˙

F ˙˙ ˙

G ˙˙ ˙

AÊ ˙˙ ˙

&

Bµ ˙˙˙

C ˙˙ ˙

1

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

C˙˙ ˙

DÊ ˙˙ ˙

EÊ ˙˙˙

F ˙˙ ˙

G ˙˙ ˙

AÊ ˙˙˙

Bµ ˙˙ ˙

C ˙˙ ˙

EÊ ˙˙ ˙

F ˙˙ ˙

G ˙˙˙

AÊ ˙˙ ˙

Bµ ˙˙ ˙

C ˙˙˙

& 2

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

C˙ ˙˙

DÊ ˙˙˙

& 3

Triad/Spread Voicings/ Cycle 2: C major {R|o|o|t| |P|o|s|i|t|i|o|n}

C˙ ˙˙ &

DÊ ˙ ˙ ˙

EÊ ˙˙ ˙

F ˙ ˙˙

G ˙ ˙ ˙

AÊ ˙˙ ˙

Bµ ˙ ˙˙

C ˙ ˙ ˙

DÊ ˙˙ ˙

EÊ ˙ ˙˙

F ˙ ˙ ˙

G ˙˙ ˙

AÊ ˙ ˙ ˙

Bµ ˙ ˙ ˙

C ˙˙ ˙

DÊ ˙ ˙ ˙

EÊ ˙ ˙ ˙

F ˙ ˙ ˙

G ˙ ˙˙

AÊ ˙ ˙ ˙

Bµ ˙˙ ˙

C ˙ ˙˙

4

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

C˙ ˙ ˙ & 5

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

C˙ ˙ ˙

& 6

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

Triad/Close Voicings/ Cycle 2: C major--Also acceptable {R|o|o|t| |P|o|s|i|t|i|o|n}

C & ˙˙˙

DÊ ˙˙˙

EÊ ˙˙˙

F ˙˙˙

G ˙˙˙

AÊ ˙˙˙

Bµ ˙˙˙

C ˙˙˙

1

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

C ˙ & ˙˙

DÊ ˙˙ ˙

EÊ ˙˙ ˙

F ˙˙ ˙

G ˙˙ ˙

AÊ ˙˙ ˙

Bµ ˙˙ ˙

C˙˙ ˙

EÊ ˙˙ ˙

F ˙˙ ˙

G˙ ˙˙

AÊ ˙˙ ˙

Bµ ˙˙ ˙

C˙˙ ˙

2

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

C & ˙˙˙ 3

DÊ ˙˙ ˙

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

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

C ˙ & ˙ ˙

DÊ ˙ ˙˙

EÊ ˙ ˙˙

F ˙ ˙˙

G ˙ ˙˙

AÊ ˙ ˙˙

Bµ ˙ ˙˙

C˙ ˙˙

DÊ ˙ ˙ ˙

EÊ ˙ ˙ ˙

F ˙ ˙ ˙

G ˙ ˙ ˙

AÊ ˙ ˙ ˙

Bµ ˙ ˙ ˙

C ˙ ˙ ˙

DÊ ˙˙ ˙

EÊ ˙ ˙ ˙

F ˙˙ ˙

G ˙˙ ˙

AÊ ˙˙ ˙

Bµ ˙˙ ˙

C˙ ˙ ˙

4

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

C & ˙˙ ˙ 5 {F|i|r|s|t| |I|n|v|e|r|s|i|o|n}

C ˙ & ˙˙

6 Excerpt from Almanac of Guitar Voice Leading, Mick Goodrick ©2000 Used by permission Level 5, page 2

Triad/Close Voicings/ Cycle 4: C major {R|o|o|t| |P|o|s|i|t|i|o|n}

C

F

Bµ

EÊ

AÊ

DÊ

G

C

& ˙˙˙

˙˙ ˙

˙˙ ˙

˙˙˙

˙˙ ˙

˙˙ ˙

˙˙˙

˙˙ ˙

Bµ ˙˙˙

EÊ ˙˙ ˙

AÊ ˙˙ ˙

DÊ ˙˙˙

G ˙˙ ˙

C˙ ˙˙

Bµ ˙˙ ˙

EÊ ˙˙ ˙

AÊ ˙˙˙

DÊ ˙˙ ˙

G˙ ˙˙

C˙ ˙˙

1

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

C ˙ & ˙˙

F ˙˙ ˙

2

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

C & ˙˙˙

F ˙˙˙

3

Triad/Spread Voicings/ Cycle 4: C major {R|o|o|t| |P|o|s|i|t|i|o|n}

C ˙ & ˙ ˙

F ˙ ˙ ˙

Bµ ˙˙ ˙

EÊ ˙ ˙˙

AÊ ˙ ˙ ˙

DÊ ˙˙ ˙

G ˙ ˙˙

C ˙ ˙ ˙

EÊ ˙ ˙ ˙

AÊ ˙˙ ˙

DÊ ˙ ˙˙

G ˙ ˙ ˙

C ˙˙ ˙

EÊ ˙˙ ˙

AÊ ˙ ˙˙

DÊ ˙ ˙ ˙

G ˙˙ ˙

C ˙ ˙˙

4

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

C

F

& ˙˙ ˙ 5

˙˙ ˙

Bµ ˙ ˙ ˙

F ˙ ˙˙

Bµ ˙ ˙ ˙

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

C ˙˙ & ˙ 6

Excerpt from Almanac of Guitar Voice Leading, Mick Goodrick ©2000 Used by permission Level 5, page 3

Triad/Close Voicings/ Cycle 6: C major {R|o|o|t| |P|o|s|i|t|i|o|n}

C ˙˙˙

AÊ ˙˙ ˙

F ˙˙ ˙

DÊ ˙˙˙

Bµ ˙˙ ˙

G ˙˙ ˙

EÊ ˙˙˙

C ˙˙ ˙

& 1

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

C & ˙˙˙

AÊ ˙˙ ˙

F ˙˙˙

DÊ ˙˙ ˙

Bµ ˙˙ ˙

G ˙˙˙

EÊ ˙˙ ˙

C ˙˙ ˙

F ˙˙ ˙

DÊ ˙˙ ˙

Bµ ˙˙˙

G˙ ˙˙

EÊ ˙˙ ˙

C˙ ˙˙

2

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

C ˙˙ & ˙

AÊ ˙˙˙

3

Triad/Spread Voicings/ Cycle 6: C major {R|o|o|t| |P|o|s|i|t|i|o|n}

C ˙ & ˙ ˙

AÊ ˙˙ ˙

F ˙ ˙ ˙

DÊ ˙ ˙˙

Bµ ˙˙ ˙

G ˙ ˙ ˙

EÊ ˙ ˙˙

C ˙˙ ˙

AÊ ˙ ˙ ˙

F ˙ ˙˙

DÊ ˙˙ ˙

Bµ ˙ ˙ ˙

G ˙ ˙ ˙

EÊ ˙˙ ˙

C ˙ ˙ ˙

F ˙˙ ˙

DÊ ˙ ˙ ˙

Bµ ˙ ˙˙

G ˙ ˙ ˙

˙EÊ ˙ ˙

C˙ ˙˙

4

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

C ˙˙ & ˙ 5

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

C ˙ ˙ & ˙ 6

AÊ ˙ ˙˙

Excerpt from Almanac of Guitar Voice Leading, Mick Goodrick ©2000 Used by permission Level 5, page 4

Triad/Close Voicings/ Cycle 7: C major {R|o|o|t| |P|o|s|i|t|i|o|n}

C

Bµ

AÊ ˙˙ ˙

˙˙ ˙

& ˙˙˙

G ˙˙˙

F ˙˙ ˙

EÊ ˙˙ ˙

DÊ ˙˙˙

C ˙˙ ˙

1

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

C & ˙˙˙

Bµ ˙˙ ˙

AÊ ˙˙˙

G ˙˙ ˙

F ˙˙ ˙

EÊ ˙˙˙

DÊ ˙˙ ˙

C˙˙ ˙

AÊ ˙˙ ˙

G ˙˙ ˙

F ˙˙˙

EÊ ˙˙ ˙

DÊ ˙˙ ˙

C˙˙ ˙

2

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

C ˙˙ & ˙

Bµ ˙˙˙

3

Triad/Spread Voicings/ Cycle 7: C major {R|o|o|t| |P|o|s|i|t|i|o|n}

C ˙ & ˙ ˙

Bµ ˙˙ ˙

AÊ ˙ ˙ ˙

G ˙ ˙˙

F ˙˙ ˙

EÊ ˙ ˙ ˙

DÊ ˙ ˙˙

C˙ ˙ ˙

Bµ ˙ ˙ ˙

AÊ ˙ ˙˙

G ˙˙ ˙

F ˙ ˙ ˙

EÊ ˙ ˙˙

DÊ ˙ ˙ ˙

C˙ ˙ ˙

AÊ ˙ ˙ ˙

G ˙ ˙ ˙

F ˙ ˙ ˙

EÊ ˙˙ ˙

DÊ ˙ ˙ ˙

C˙ ˙˙

4

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

C

˙˙ & ˙ 5

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

C & ˙˙ ˙ 6

Bµ ˙ ˙˙

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

Triad/Close Voicings/ Cycle 7: C major--Also acceptable {R|o|o|t| |P|o|s|i|t|i|o|n}

˙˙˙C

˙˙˙Bµ

AÊ ˙˙ ˙

G ˙˙˙

F ˙˙ ˙

EÊ ˙˙˙

DÊ ˙˙˙

C ˙˙˙

& 1

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

C˙ ˙˙

Bµ ˙˙ ˙

AÊ ˙˙ ˙

G ˙˙ ˙

F ˙˙ ˙

EÊ ˙˙ ˙

DÊ ˙˙ ˙

C ˙˙ ˙

AÊ ˙˙ ˙

G ˙˙ ˙

F ˙˙ ˙

EÊ ˙˙ ˙

DÊ ˙˙ ˙

C ˙˙ ˙

& 2

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

C˙ ˙˙

Bµ ˙˙ ˙

& 3

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

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

C˙ ˙˙ &

Bµ ˙ ˙˙

AÊ ˙ ˙˙

G ˙ ˙˙

F ˙ ˙˙

EÊ ˙ ˙˙

DÊ ˙ ˙˙

C ˙ ˙˙

Bµ ˙˙ ˙

AÊ ˙˙ ˙

G ˙˙ ˙

F ˙ ˙ ˙

EÊ ˙˙ ˙

DÊ ˙ ˙ ˙

C ˙˙ ˙

AÊ ˙ ˙ ˙

G ˙ ˙ ˙

F ˙ ˙ ˙

EÊ ˙ ˙ ˙

DÊ ˙ ˙ ˙

C ˙ ˙ ˙

4

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

C˙ ˙ ˙ & 5

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

C ˙ ˙ & ˙ 6

Bµ ˙ ˙ ˙

Excerpt from Almanac of Guitar Voice Leading, Mick Goodrick ©2000 Used by permission Level 5, page 6

Triad/Close Voicings/ Cycle 5: C major {R|o|o|t| |P|o|s|i|t|i|o|n}

C ˙˙˙ &

G ˙˙ ˙

DÊ ˙˙ ˙

AÊ ˙˙˙

EÊ ˙˙ ˙

Bµ ˙˙ ˙

F ˙˙˙

C ˙˙ ˙

1

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

C˙ ˙˙

G ˙˙ ˙

DÊ ˙˙˙

AÊ ˙˙ ˙

EÊ ˙˙ ˙

Bµ ˙˙˙

F ˙˙ ˙

C ˙˙ ˙

DÊ ˙˙ ˙

AÊ ˙˙ ˙

EÊ

Bµ

F

C

˙˙˙

˙˙ ˙

˙˙ ˙

˙˙˙

& 2

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

C ˙˙ & ˙

G ˙˙˙

3

Triad/Spread Voicings/ Cycle 5: C major {R|o|o|t| |P|o|s|i|t|i|o|n}

C˙ ˙˙ &

G ˙˙ ˙

DÊ ˙ ˙ ˙

AÊ ˙ ˙˙

EÊ ˙˙ ˙

Bµ ˙ ˙ ˙

F ˙ ˙˙

C ˙˙ ˙

G ˙ ˙ ˙

DÊ ˙ ˙˙

AÊ ˙˙ ˙

EÊ ˙ ˙ ˙

Bµ ˙ ˙˙

F ˙˙ ˙

C ˙ ˙ ˙

DÊ ˙ ˙ ˙

AÊ ˙ ˙ ˙

EÊ ˙ ˙˙

Bµ ˙˙ ˙

F ˙ ˙ ˙

C ˙ ˙˙

4

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

C ˙ ˙ ˙ & 5

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

C ˙ ˙ & ˙

G ˙ ˙˙

6 Excerpt from Almanac of Guitar Voice Leading, Mick Goodrick ©2000 Used by permission Level 5, page 7

Triad/Close Voicings/ Cycle 3: C major {R|o|o|t| |P|o|s|i|t|i|o|n}

C ˙˙˙ &

EÊ ˙˙ ˙

G ˙˙ ˙

Bµ ˙˙˙

DÊ ˙˙ ˙

F ˙˙ ˙

AÊ ˙˙˙

C ˙˙ ˙

1

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

C˙˙ ˙

EÊ ˙˙ ˙

G˙ ˙˙

Bµ ˙˙ ˙

DÊ ˙˙ ˙

F˙ ˙˙

AÊ ˙˙ ˙

C˙ ˙˙

EÊ ˙˙˙

G ˙˙ ˙

Bµ ˙˙ ˙

DÊ ˙˙˙

F ˙˙ ˙

AÊ ˙˙ ˙

C ˙˙˙

& 2

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

C ˙˙ ˙ & 3

Triad/Spread Voicings/ Cycle 3: C major

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

C˙ ˙˙

EÊ ˙ ˙ ˙

&

G ˙˙ ˙

Bµ ˙ ˙˙

DÊ ˙ ˙ ˙

F ˙˙ ˙

AÊ ˙ ˙˙

C ˙ ˙ ˙

EÊ ˙˙ ˙

G ˙ ˙˙

Bµ ˙ ˙ ˙

DÊ ˙˙ ˙

F ˙ ˙ ˙

AÊ ˙ ˙ ˙

C ˙˙ ˙

EÊ ˙ ˙˙

G ˙ ˙ ˙

Bµ ˙˙ ˙

DÊ ˙ ˙˙

F ˙ ˙ ˙

AÊ ˙˙ ˙

C ˙ ˙˙

4

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

C ˙ ˙ & ˙ 5

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

C ˙˙ & ˙ 6

Excerpt from Almanac of Guitar Voice Leading, Mick Goodrick ©2000 Used by permission Level 5, page 8

LEVEL V Sample Test Questions and Responses

I. Scales

1) Major: Three octaves from any degree or mode (sixteenth notes at =60). Ex.1 Db from 3rd degree

Ex.2 F# Aeolian

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

II. Triads Chords: Diatonic to C Major, voice-led through six cycles from Root, 1st and 2nd inversion (close and spread). Ex.1 Key of C Major Cycle 3 from 1st Inv. (Close) C Em G B0

Dm

F

Am

C

Ex.2 Key of C Major Cycle 4 from Root Pos. (Close) C F B0 Em Am

Dm

G

C

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

III. Four Part Chords: Maj7, Min7, Dom7, Min7b5, 7#5, Dom7sus4, Dim7 all inversions (student's choice of key. B m7

B 7sus4

Arpeggios: Maj7, Min7, Dom7, Min7b5, 7#5, Dom7sus4, Dim7 two octaves from any chord tone, all keys (eighth notes at =60). C7sus4 from b7

IV. Performance 1. Performance: Instructor approved performance piece-three minute maximum. Notation required for test team. 2. Reading: Level appropriate—single note and chords with rhythm slashes.

Triad/Close Voicings/ Cycle 2: C melodic minor {R|o|o|t| |P|o|s|i|t|i|o|n}

CÊ b ˙˙˙

DÊ ˙˙ ˙

E !Ø b ˙˙ ˙

F ˙˙ ˙

G ˙˙ ˙

Aµ b ˙˙˙

&

Bµ ˙˙˙

CÊ b ˙˙ ˙

1

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

b CÊ ˙˙ ˙

DÊ ˙˙ ˙

E !Ø b ˙˙˙

F ˙˙ ˙

G ˙˙ ˙

Aµ b ˙˙˙

Bµ ˙˙ ˙

CÊ ˙ b ˙˙

E !Ø b ˙˙˙

F ˙˙ ˙

G ˙˙˙

Aµ ˙˙ b˙

Bµ ˙˙ ˙

CÊ b ˙˙˙

& 2

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

CÊ ˙˙ b˙

DÊ ˙˙˙

& 3

Triad/Spread Voicings/ Cycle 2: C melodic minor

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

b CÊ ˙ ˙˙ &

DÊ ˙ ˙ ˙

E !Ø b ˙˙ ˙

F ˙ ˙˙

G ˙ ˙ ˙

Aµ b˙ ˙ ˙

Bµ ˙ ˙˙

CÊ ˙ b˙ ˙

E !Ø ˙ b ˙˙

F ˙ ˙ ˙

G ˙˙ ˙

Aµ ˙ b ˙˙

Bµ ˙ ˙ ˙

CÊ ˙ ˙ b˙

E !Ø b˙ ˙ ˙

F ˙˙ ˙

G ˙ ˙˙

Aµ ˙ ˙ b˙

Bµ ˙˙ ˙

CÊ b˙ ˙˙

4

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

CÊ ˙ b˙ ˙

DÊ ˙˙ ˙

& 5

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

CÊ ˙˙ b˙ &

DÊ ˙ ˙˙

6 Excerpt from Almanac of Guitar Voice Leading, Mick Goodrick ©2000 Used by permission Level 6, page 1

Triad/Close Voicings/ Cycle 2: C melodic minor--Also acceptable {R|o|o|t| |P|o|s|i|t|i|o|n}

CÊ b ˙˙˙

DÊ ˙˙˙

E !Ø b ˙˙˙

F ˙˙ ˙

G ˙˙˙

Aµ b ˙˙˙

Bµ ˙˙˙

CÊ b ˙˙˙

& 1

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

CÊ b˙ & ˙˙

DÊ ˙˙ ˙

E !Ø b ˙˙˙

F ˙˙ ˙

G ˙˙ ˙

˙˙Aµ b˙

˙˙Bµ ˙

b ˙˙CÊ ˙

E !Ø b ˙˙ ˙

F ˙˙ ˙

G ˙˙ ˙

Aµ b ˙˙˙

Bµ ˙˙ ˙

˙˙CÊ b˙

2

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

CÊ & b ˙˙˙

DÊ ˙˙ ˙

3

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

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

CÊ b˙ & ˙˙

DÊ ˙ ˙˙

E !Ø ˙ b ˙˙

F ˙ ˙˙

G ˙ ˙˙

Aµ ˙ b ˙˙

˙Bµ ˙˙

b ˙CÊ ˙˙

E !Ø b˙ ˙ ˙

F ˙ ˙ ˙

G ˙ ˙ ˙

Aµ ˙ ˙ b˙

Bµ ˙ ˙ ˙

CÊ ˙ b˙ ˙

E !Ø b ˙˙ ˙

F ˙ ˙ ˙

G ˙˙ ˙

Aµ b ˙˙ ˙

˙˙Bµ ˙

˙˙CÊ b˙

4

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

CÊ & b ˙˙ ˙ 5

DÊ ˙ ˙ ˙

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

CÊ ˙˙ & b˙ 6

DÊ ˙ ˙ ˙

Excerpt from Almanac of Guitar Voice Leading, Mick Goodrick ©2000 Used by permission Level 6, page 2

Triad/Close Voicings/ Cycle 4: C melodic minor {R|o|o|t| |P|o|s|i|t|i|o|n}

CÊ & b ˙˙˙

F

Bµ

˙˙ ˙

˙˙ ˙

E !Ø Aµ b ˙˙˙

˙˙ b˙

DÊ

G

CÊ

˙˙ ˙

˙˙˙

b ˙˙ ˙

1

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

CÊ b˙ & ˙˙

F ˙˙ ˙

Bµ ˙˙˙

E !Ø Aµ b ˙˙˙ b ˙˙˙

DÊ ˙˙˙

G ˙˙ ˙

˙˙CÊ b˙

Bµ ˙˙ ˙

E !Ø Aµ b ˙˙ b ˙˙˙ ˙

DÊ ˙˙ ˙

G ˙˙ ˙

CÊ ˙ b ˙˙

2

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

CÊ & b ˙˙˙

F ˙˙˙

3

Triad/Spread Voicings/ Cycle 4: C melodic minor

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

CÊ b˙ & ˙˙

Bµ ˙˙ ˙

E !Ø Aµ ˙ ˙ ˙ ˙ b˙ b˙

DÊ ˙˙ ˙

G ˙ ˙˙

CÊ ˙ b˙ ˙

F

Bµ

˙˙ ˙

˙ ˙ ˙

E !Ø Aµ b˙ b ˙˙ ˙ ˙ ˙

DÊ ˙ ˙˙

G ˙ ˙ ˙

CÊ ˙˙ b˙

Bµ ˙ ˙ ˙

E !Ø Aµ ˙ b ˙˙ b˙ ˙ ˙

DÊ ˙ ˙ ˙

G ˙˙ ˙

CÊ b˙ ˙˙

F ˙ ˙ ˙

4

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

CÊ & b ˙˙ ˙ 5

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

CÊ ˙ & b ˙˙

F ˙ ˙˙

6 Excerpt from Almanac of Guitar Voice Leading, Mick Goodrick ©2000 Used by permission Level 6, page 3

Triad/Close Voicings/ Cycle 6: C melodic minor {R|o|o|t| |P|o|s|i|t|i|o|n}

CÊ b ˙˙˙

Aµ b ˙˙˙

F ˙˙ ˙

DÊ ˙˙˙

Bµ ˙˙ ˙

G ˙˙ ˙

E !Ø b ˙˙˙

CÊ ˙˙ b˙

& 1

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

CÊ & b ˙˙˙

Aµ ˙˙ b˙

F ˙˙˙

DÊ ˙˙ ˙

Bµ ˙˙ ˙

G ˙˙˙

E !Ø CÊ b ˙˙ b ˙˙ ˙ ˙

F ˙˙ ˙

DÊ ˙˙ ˙

Bµ ˙˙˙

G ˙˙ ˙

E !Ø CÊ b ˙˙˙ b ˙˙˙

2

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

CÊ b˙ & ˙˙

Aµ b ˙˙˙

3

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

CÊ b˙ & ˙ ˙

Triad/Spread Voicings/ Cycle 6: C melodic ! minor

Aµ b ˙˙ ˙

F ˙ ˙ ˙

DÊ ˙ ˙˙

Bµ ˙˙ ˙

G ˙ ˙ ˙

E Ø CÊ ˙ ˙˙ b ˙˙ b˙

F ˙ ˙˙

DÊ ˙˙ ˙

Bµ ˙ ˙ ˙

G ˙ ˙˙

E !Ø CÊ ˙ ˙ b˙ b˙ ˙ ˙

F ˙˙ ˙

DÊ ˙ ˙ ˙

Bµ ˙ ˙˙

G ˙˙ ˙

!Ø CÊ E b˙ b˙ ˙ ˙˙ ˙

4

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

CÊ ˙ & b ˙˙

Aµ ˙ ˙ b˙

5

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

CÊ ˙ b˙ & ˙ 6

Aµ ˙ b ˙˙

Excerpt from Almanac of Guitar Voice Leading, Mick Goodrick ©2000 Used by permission Level 6, page 4

Triad/Close Voicings/ Cycle 7: C melodic minor {R|o|o|t| |P|o|s|i|t|i|o|n}

CÊ

Bµ ˙˙ ˙

& b ˙˙˙

Aµ ˙˙ b˙

G ˙˙˙

F ˙˙ ˙

E !Ø b ˙˙˙

DÊ ˙˙˙

CÊ ˙˙ b˙

1

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

CÊ & b ˙˙˙

Bµ ˙˙ ˙

Aµ b ˙˙˙

G ˙˙ ˙

F ˙˙ ˙

E !Ø b ˙˙˙

DÊ ˙˙ ˙

b ˙˙CÊ ˙

Aµ b ˙˙˙

G ˙˙ ˙

F ˙˙˙

!Ø E b ˙˙ ˙

DÊ ˙˙ ˙

b ˙˙˙CÊ

2

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

CÊ b ˙˙ & ˙

Bµ ˙˙˙

3

Triad/Spread Voicings/ Cycle 7: C melodic minor

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

CÊ b˙ & ˙ ˙

Bµ ˙˙ ˙

Aµ ˙ ˙ b˙

G ˙ ˙˙

F ˙˙ ˙

!Ø E b˙ ˙ ˙

DÊ ˙ ˙˙

˙CÊ ˙ b˙

Bµ ˙ ˙ ˙

Aµ ˙ b ˙˙

G ˙ ˙ ˙

F ˙ ˙ ˙

E !Ø ˙ ˙ b˙

DÊ ˙˙ ˙

˙CÊ b˙ ˙

Aµ b ˙˙ ˙

G ˙ ˙ ˙

F ˙ ˙˙

E !Ø ˙ b˙ ˙

DÊ ˙ ˙ ˙

b ˙CÊ ˙ ˙

4

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

CÊ ˙˙ & b˙ 5

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

CÊ & b ˙˙ ˙ 6

Bµ ˙ ˙˙

Excerpt from Almanac of Guitar Voice Leading, Mick Goodrick ©2000 Used by permission Level 6, page 5

Triad/Close Voicings/ Cycle 7: C melodic minor--Also acceptable {R|o|o|t| |P|o|s|i|t|i|o|n}

CÊ b ˙˙˙

Bµ ˙˙ ˙

Aµ b ˙˙˙

G ˙˙˙

F ˙˙ ˙

E !Ø b ˙˙˙

DÊ ˙˙˙

CÊ b ˙˙˙

& 1

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

CÊ ˙˙ b˙

Bµ ˙˙ ˙

Aµ b ˙˙˙

G ˙˙ ˙

F ˙˙ ˙

E !Ø ˙˙ ˙

DÊ ˙˙ ˙

CÊ ˙˙ b˙

Aµ ˙ b ˙˙

G ˙˙ ˙

F ˙˙ ˙

E !Ø b ˙˙˙

DÊ ˙˙ ˙

CÊ b ˙˙ ˙

& 2

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

b CÊ ˙˙ ˙

Bµ ˙˙ ˙

& 3

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

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

b CÊ ˙ ˙˙ &

Bµ ˙ ˙˙

Aµ ˙ b ˙˙

G ˙ ˙˙

F ˙ ˙˙

E !Ø ˙ b ˙˙

DÊ ˙ ˙˙

CÊ b˙ ˙˙

Bµ ˙˙ ˙

Aµ b ˙˙ ˙

G ˙˙ ˙

F ˙ ˙ ˙

E !Ø b ˙˙ ˙

DÊ ˙˙ ˙

CÊ

Aµ ˙ ˙ b˙

G ˙ ˙ ˙

F ˙ ˙ ˙

E !Ø b˙ ˙ ˙

DÊ ˙ ˙ ˙

4

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

CÊ ˙˙ b˙ &

˙˙ b˙

5

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

CÊ ˙ b˙ & ˙ 6

Bµ ˙ ˙ ˙

CÊ ˙ b˙ ˙

Excerpt from Almanac of Guitar Voice Leading, Mick Goodrick ©2000 Used by permission Level 6, page 6

Triad/Close Voicings/ Cycle 5: C melodic minor {R|o|o|t| |P|o|s|i|t|i|o|n}

CÊ b ˙˙˙ &

G ˙˙ ˙

DÊ ˙˙ ˙

Aµ b ˙˙˙

E !Ø b ˙˙ ˙

Bµ ˙˙ ˙

F ˙˙˙

CÊ ˙˙ b˙

1

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

CÊ ˙˙ b˙

G ˙˙ ˙

DÊ ˙˙˙

Aµ b ˙˙˙

E !Ø b ˙˙˙

Bµ ˙˙˙

F ˙˙ ˙

CÊ b ˙˙ ˙

DÊ ˙˙ ˙

Aµ ˙˙ b˙

E !Ø b ˙˙˙

Bµ ˙˙ ˙

F ˙˙ ˙

CÊ b ˙˙˙

& 2

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

b CÊ ˙˙ ˙

G˙ ˙˙

& 3

Triad/Spread Voicings/ Cycle 5: C melodic minor

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

b CÊ ˙ ˙˙ &

G ˙˙ ˙

DÊ ˙ ˙ ˙

Aµ ˙ b ˙˙

E !Ø b ˙˙ ˙

Bµ ˙ ˙ ˙

F ˙ ˙˙

CÊ ˙˙ b˙

G ˙ ˙ ˙

DÊ ˙ ˙˙

Aµ b ˙˙ ˙

E !Ø b˙ ˙ ˙

Bµ ˙ ˙˙

F ˙ ˙ ˙

CÊ ˙ b˙ ˙

DÊ ˙˙ ˙

Aµ ˙ ˙ b˙

E !Ø ˙ b ˙˙

Bµ ˙ ˙ ˙

F ˙ ˙ ˙

CÊ b˙ ˙˙

4

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

CÊ ˙˙ b˙ & 5

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

CÊ ˙ b˙ & ˙

G ˙ ˙ ˙

6 Excerpt from Almanac of Guitar Voice Leading, Mick Goodrick ©2000 Used by permission Level 6, page 7

Triad/Close Voicings/ Cycle 3: C melodic minor {R|o|o|t| |P|o|s|i|t|i|o|n}

E !Ø b ˙˙˙

CÊ b ˙˙˙ &

G ˙˙ ˙

Bµ ˙˙˙

DÊ ˙˙ ˙

F ˙˙ ˙

Aµ b ˙˙˙

CÊ b ˙˙ ˙

1

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

b CÊ ˙˙ ˙

b E˙˙ !Ø ˙

G˙ ˙˙

˙˙Bµ ˙

DÊ ˙˙ ˙

F˙ ˙˙

Aµ ˙˙ b˙

CÊ ˙˙ b˙

G ˙˙ ˙

Bµ ˙˙ ˙

DÊ ˙˙˙

F ˙˙ ˙

Aµ b ˙˙˙

CÊ b ˙˙˙

& 2

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

CÊ ˙ b ˙˙

E !Ø b ˙˙˙

& 3

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

b CÊ ˙ ˙˙ &

Triad/Spread Voicings/ Cycle 3: C melodic minor

!Ø E b˙ ˙ ˙

G ˙˙ ˙

Bµ ˙ ˙˙

DÊ ˙ ˙ ˙

F ˙˙ ˙

Aµ ˙ b ˙˙

CÊ ˙ b˙ ˙

G ˙ ˙˙

Bµ ˙ ˙ ˙

DÊ ˙˙ ˙

F ˙ ˙˙

Aµ ˙ ˙ b˙

CÊ ˙ ˙ b˙

G ˙ ˙ ˙

Bµ ˙˙ ˙

DÊ ˙ ˙ ˙

F ˙ ˙ ˙

Aµ b ˙˙ ˙

CÊ b˙ ˙˙

4

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

CÊ ˙ b˙ & ˙

E !Ø ˙ b˙ ˙

5

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

CÊ ˙˙ & b˙ 6

E !Ø ˙ b ˙˙

Excerpt from Almanac of Guitar Voice Leading, Mick Goodrick ©2000 Used by permission Level 6, page 8

LEVEL VI Sample Test Questions and Responses

I. Scales

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

Ex.2 G Altered

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

II. Triads Chords: Diatonic to C Melodic Minor, voice-led through six cycles from Root, 1st and 2nd inversion (close and spread). Ex.1 Key of C Mel. Minor Cycle 2 from 1st Inversion (Close) Cm Dm E aug F G

A0

B0

Cm

Ex.2 Key of C Mel. Minor Cycle 6 from Root Position (spread) Cm A0 F Dm B0

G

E aug Cm

Arpeggios: Minor 3 octaves from any chord tone, all keys (eighth notes at =60). B m from 5th

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

C7

( 5)

Arpeggios: Min(maj7), Maj7#5, Maj7b5, Min7#5, 7b5, Dim(Maj7) two octaves from any chord tone, all keys (eighth notes at =60). ( ) GMaj7 5

from 3rd

IV. Performance 1. Performance: Instructor approved performance piece-three minute maximum. Notation required for test team. 2. Reading: Level appropriate—single note and chords with rhythm slashes.

LEVEL VII Sample Test Questions and Responses

I. Scales

1) Harmonic Minor: Three octaves from any degree (sixteenth notes at =60). Ex.1 G from 7th degree

Ex.2 Bb from 5th degree

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

II. Triads Chords: Diatonic to C Harmonic Minor, voice-led through six cycles from Root, 1st and 2nd inversion (close and spread). Ex.1 Key of C Harm. Minor Cycle 3 from 2nd Inversion (Close) Cm E G B0 D0

Fm

A

Cm

Ex.2 Key of C Harm. Minor Cycle 5 from 1st Inversion (spread) Cm G D0 A E

B0

Fm

Cm

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

from 3rd

III. Four Part Chords: Maj7, Min7, Dom7, Min7b5, 7#5, Dom7sus4, Dim7 all inversions, all keys. B m7

C7

( 5)

Arpeggios: Maj7, Min7, Dom7, Min7b5, 7#5, Dom7sus4, Dim7, three octaves from any chord tone, all keys (eighth notes at =60). GMaj7 from 7th

IV. Performance 1. Performance: Instructor approved performance piece-three minute maximum. Notation required for test team. 2. Reading: Level appropriate—single note and chords with rhythm slashes.

LEVEL VIII Sample Test Questions and Responses

I. Scales

1) Harmonic Major: Three octaves from any degree (sixteenth notes at =60). Ex.1 A from 6th degree

Ex.2 Eb from 3rd degree

2) Pentatonic: Three octaves from tonic-major (1, 2, 3, 5, 6) and Japanese minor (1, 2, b3, 5, 6) (sixteenth notes at =60). Ab Major Pentatonic (1, 2, 3, 5, 6)

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

II. Triads Chords: "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 Rights by Mick Goodrick, available at http://classes.berklee.edu/gr Ex.1 close C A m Bm

Ex.2 spread C E Gm

E

C

D0

A

E

D

G

F

F m

E m

B

B

E m

F m E

F

D

D0

E

A

C0

C

Gm

E

B

A m

Arpeggios: Diminished 3 octaves from any chord tone, all keys (eighth notes at =60). C0

from 5th

III. Four Part Chords: Min(maj7), Maj7#5, Maj7b5, Min7#5, 7b5, Dim(Maj7)–all inversions, all keys. D M a j 7 #5

B

0

(M a j 7 )

Arpeggios: Min(maj7), Maj7#5, Maj7b5, Min7#5, 7b5, Dim(Maj7) two octaves from any chord tone, all keys (eighth notes at =60). ( ) Dm M a j 7 from 3rd

IV. Performance 1. Performance: Instructor approved performance piece-three minute maximum. Notation required for test team. 2. Reading: Level appropriate—single note and chords with rhythm slashes.

(09/17/03)

Level I and Level II Scales 1. Major 2. Chromatic Triads 3. Chords 4. Arpeggios Four-Part 5. Chords 6. Arpeggios Performance 7. Performance 8. Reading

Scales 1. Melodic Minor 2. Whole-tone Triads 3. Chords 4. Arpeggios 4-Part 5. Chords 6. Arpeggios Performance 7. Performance 8. Reading

Level I Keys: C, F, Bb, Eb, G, D, A Two octaves from any degree or mode (min. tempo: sixteenth notes at =60). Two octaves from tonic (min. tempo: sixteenth notes at =60). Roots: C, F, Bb, Eb, G, D, A Maj, Min, Aug, Dim–close voicing, starting from root position, across fingerboard, one octave. Maj, Min, Aug, Dim–one octave from root (min. tempo: eighth notes at =60). Roots: C, F, Bb, Eb, G, D, A Maj7, Min7, Dom7, Min7b5, Dom7sus4, 7#5, Dim7, Maj6, Min6, Min9, 9, 7b9, 7#9, 13–one form for each. Maj7, Min7, Dom7, Min7b5, Dom7sus4, 7#5, Dim7–one octave from root (min. tempo: eighth notes at =60). Instructor approved performance piece–three minute maximum. Notation required for test team. Level appropriate—single note and chords with rhythm slashes.

Level II Keys: C, F, Bb, Eb, G, D, A (parallel to major) Two octaves from any degree or mode (min. tempo: sixteenth notes at =60). Two octaves from tonic (min. tempo: sixteenth notes at =60). Roots: C, F, Bb, Eb, G, D, A Maj, Min, Aug, Dim–close voicing, starting from any inversion, one octave up and down all string sets: ➂➁①, ➃➂➁, ➄➃➂, ➅➄➃. Maj, Min, Aug, Dim–from root, two octaves (min. tempo: eighth notes at =60). Roots: C, F, Bb, Eb, G, D, A 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. Min(maj7), Maj7#5, Maj7b5, Min7#5, 7b5, Dim(Maj7)–one octave from root (min. tempo: eighth notes at =60). Instructor approved performance piece-three minute maximum. Notation required for test team. Level appropriate—single note and chords with rhythm slashes.

(9/17/03)

Level III and Level IV Scales 1. Harm. Minor 2. Diminished

Level III Keys: C, F, Bb, Eb, G, D, A Two octaves from any degree (min. tempo: sixteenth notes at =60). Two octaves from tonic (min. tempo: sixteenth notes at =60).

(whole step, half step)

Triads 3. Chords 4. Arpeggios 4-Part 5. Chords 6. Arpeggios Performance 7. Performance 8. Reading

Scales 1. Harm. Major 2. Pentatonic Triads 3. Chords 4. Arpeggios 4-Part 5. Chords 6. Arpeggios Performance 7. Performance 8. Reading

Roots: C, F, Bb, Eb, G, D, A Maj, Min spread (open) voicings–starting from any inversion, one octave. Maj, Min, Aug, Dim–from any chord tone, one octave (min. tempo: eighth notes at =60). Roots: C, F, Bb, Eb, G, D, A Maj7, Min7, Dom7, Min7b5, Dom7sus4, 7#5, Dim7, Maj6, Min6, Min9, 9, 7b9, 7#9, 13–two forms for each Maj7, Min7, Dom7, Min7b5, Dom7sus4, 7#5, Dim7–one octave from any chord tone (min. tempo: eighth notes at =60). Instructor approved performance piece-three minute maximum. Notation required for test team. Level appropriate—single note and chords with rhythm slashes

Level IV Keys: C, F, Bb, Eb, G, D, A Two octaves from any degree (min. tempo: sixteenth notes at =60). Two octaves from tonic–major (1, 2, 3, 5, 6) and minor (1, 2, b3, 5, 6) (min. tempo: sixteenth notes at =60). Roots: C, F, Bb, Eb, G, D, A Aug, Dim spread (open) voicings–starting from any inversion, one octave. Maj, Min, Aug, Dim–from any chord tone, two octaves, (min. tempo: eighth notes at =60). Roots: C, F, Bb, Eb, G, D, A 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 Min(maj7), Maj7#5, Maj7b5, Min7#5, 7b5, Dim(Maj7)–one octave from any chord tone, (min. tempo: eighth notes at =60). Instructor approved performance piece-three minute maximum. Notation required for test team. Level appropriate—single note and chords with rhythm slashes

(09/17/03)

Level V and Level VI Scales— 1. Major 2. Chromatic Triad– 3. Chords 4. Arpeggios 4-Part– 5. Chords 6. Arpeggios 7. Reading 8. Performance

Scales— 1. Mel. Minor 2. Whole tone Triad– 3. Chords 4. Arpeggios 4-Part– 5. Chords 6. Arpeggios

7. Reading 8. Performance

Level V All keys Three octaves from any degree or mode, (min. tempo: sixteenth notes at =60). Three octaves from tonic, (min. tempo: sixteenth notes at =60). Diatonic to C Major, voice-led through 6 cycles from Root, 1st and 2nd inversions, close and spread. Major three octaves from any chord tone, all keys (min. tempo: eighth notes at =60). Maj7, Min7, Dom7, Min7b5, Dom7sus4, 7#5, Dim7–all inversions, student choice of key. Maj7, Min7, Dom7, Min7b5, Dom7sus4, 7#5, Dim7–two octaves from any chord tone, all keys (min. tempo: eighth notes at =60). Level appropriate—single note and chords with rhythm slashes. Instructor approved performance piece.

Level VI All keys Three octaves from any degree or mode, (min. tempo: sixteenth notes at =60). Three octaves from tonic, (min. tempo: sixteenth notes at =60). Diatonic to C Melodic Minor, voice-led through 6 cycles from Root, 1st and 2nd inversions, close and spread. Minor three octaves from any chord tone, all keys (min. tempo: eighth notes at =60). Min(maj7), Maj7#5, Maj7b5, Min7#5, 7b5, Dim(Maj7)–all inversions, student choice of key. Min(maj7), Maj7#5, Maj7b5, Min7#5, 7b5, Dim(Maj7) –two octaves from any chord tone, all keys (min. tempo: eighth notes at =60). Level appropriate—single note and chords with rhythm slashes. Instructor approved performance piece.

(09/17/03)

Level VII and Level VIII Scales— 1. Harm. Minor 2. Diminished Triad– 3. Chords 4. Arpeggios 4-Part– 5. Chords 6. Arpeggios 7. Reading 8. Performance

Scales— 1. Harm. Major 2. Pentatonic Triad– 3. Chords 4. Arpeggios 4-Part– 5. Chords 6. Arpeggios

7. Reading 8. Performance

Level VII All keys Three octaves from any degree, (min. tempo: sixteenth notes at =60). Three octaves from tonic, (min. tempo: sixteenth notes at =60). Diatonic to C Harmonic Minor, voice-led through 6 cycles from Root, 1st and 2nd inversions, close and spread. Augmented 3 octaves from any chord tone, all keys (min. tempo: eighth notes at =60). Maj7, Min7, Dom7, Min7b5, Dom7sus4, 7#5, Dim7–all inversions, all keys. Maj7, Min7, Dom7, Min7b5, Dom7sus4, 7#5, Dim7–three octaves from any chord tone, all keys (min. tempo: eighth notes at =60). Level appropriate—single note and chords with rhythm slashes. Instructor approved performance piece.

Level VIII All keys Three octaves from any degree or mode, (min. tempo: sixteenth notes at =60). Three octaves from tonic–major (1, 2, 3, 5, 6) and minor (1, 2, b3, 5, 6), (min. tempo: sixteenth notes at =60). Maj, Min, Aug, Dim–voice-led chromatically "48 to 48" (close and spread). Diminished three octaves from any chord tone, all keys (min. tempo: eighth notes at =60). Min(maj7), Maj7#5, Maj7b5, Min7#5, 7b5, Dim(Maj7)–all inversions, all keys. Min(maj7), Maj7#5, Maj7b5, Min7#5, 7b5, Dim(Maj7)–three octaves from any chord tone, all keys (min. tempo: eighth notes at =60). Level appropriate—single note and chords with rhythm slashes. Instructor approved performance piece

Triad Rows for Level 8 Final Exam Practice Play 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 CF+ 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 Co G+ 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 CD+ 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 Co B+ 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 CA+ 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 Co E+ 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- :||

Triadic Equal Rights by Guitar Department Professor Mick Goodrick ’67 from 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 say they know the major and minor types better than diminished or augmented types. There is a statistical 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 occur 66.7 percent of the time. Diminished and augmented triads occur about 23.8 percent and 9.5 percent of the time respectively. In order to develop our skills with diminished and augmented triads, we need to change the bias. This can easily be accomplished with a little bit of math. Table 1 lists 24 different sequences using the four triads. Since each triad type appears only once in each of the sequences, the bias is changed so that each one occurs 25 percent of the time. I guess you could see 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 become more 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 next chord. The upper staff shows the sequence in close-voiced chords; the lower staff shows the same sequence with open voicings. Example 1 shows sequence number 11 (diminished, minor, augmented, major) moving through a 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 (roots ascending diatonically in thirds). Notice that you have to move through the cycle four times before the first chord, C minor, returns. In addition to the 24 sequences that use all four triads, you can make another 12 sequences of three triads that include both the augmented and diminished chords and either a major or minor 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 triad sequences (or parts of them) actually sound pretty interesting. Personally, I favor the sonority of the open triads, but the close position voicings are equally useful. Good luck!

Page 1 of 3

Table 1 1. maj, min, dim, aug 2. min, dim, aug, major 3. dim, aug, maj, min 4. aug, maj, min, dim 5. maj, dim, aug, min 6. min, aug, maj, dim 7. dim, maj, min, aug 8. aug, min, dim, maj 9. maj, aug, min, dim 10. min, maj, dim, aug 11. dim, min, aug, maj 12. aug, dim, maj, min

13. maj, dim, min, aug 14. min, aug, dim, maj 15. dim, maj, aug, min 16. aug, min, maj, dim 17. maj, min, aug, dim 18. min, dim, maj, aug 19. dim, aug, min, maj 20. aug, maj, dim, min 21. maj, aug, dim, min 22. min, maj, aug, dim 23. dim, min, maj, aug 24. aug, dim, min, maj

Table 2 7. min, dim, aug 8. dim, aug, min 9. aug, min, dim 10. min, aug, dim 11. aug, dim, min 12. dim, min, aug

1. maj, dim, aug 2. dim, aug, major 3. aug, maj, min 4. maj, aug, dim 5. aug, dim, maj 6. dim, maj, aug

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

& c b b œœ œ C°

bœ &c b œ œ

F–

B

b+

E

b

b œœ # b œœ n b b œœœ œ œ + Eb F– Bb œ #œ œ b œ b œ b b œœ œ œ

A

b˜

b b œœ œ

b˜ bœ bœ œ A

b F #+ B b b œœœ # # n œœœ # # œœœ + B D bF# bœ #œ œ b œ n œ #œ œ #œ # œ D -

E

˜

+ A-

D

G

œœœ # œœ n œœœ # œ ˜ A- D+ G E b œ œ # œœ œœ œ œ œ œ # œ œ b œœœ

Page 2 of 3

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

b+ G B ˜ œœ œœ œœ œœ b œ bœ œ œ &c + G B˜ C- E b bœ bœ œ œ œœ œ œ œ œ œ œ &c

+ Ab C˜ + E bG œœœ œœ b b œœ b b œœ b b œœ # n œœ #œ n œ œ b œ n œ + Ab C˜ + DF E bG œ #œ nœ œ œ œ b œ b œ b b œœ # n œœ œ œ bœ b œ bœ nœ

C- E

D-

+ G-

B

D

F

˜

& b œœœ n # œœœ # n œœœ b nb œœœ + D F˜ GB œ œ #œ nœ b & œœ #n œœ n œœ b b œœ

+ 3 b œœœ b b œœœ n b # œœœ &4 ˜ D+ CG œ bœ bœ b 3 œ œ n œ & 4 œ b œ #œ

F

b C+ bbb œœœ # nn œœœ + A bC bb œœ # n œœ bœ nœ A -

E

b

n bb œœœ Eb bœ nœ bœ

G

˜

n b b œœœ ˜ G

b˜ B + œœœ b b œœ # n œœœ œ ˜ B+ AEb œ œ b œœ œ b œ n # œœ œ

b œœ bœ

B

D

B

D

# # œœœ n b n œœœ œ b # œ n œœ # œ nœ

bœ œœ

b+ b œœœ + Ab œ œ œ

b˜

C-

˜

F-

œ b œœ ˜

F-

+ B-

D

F

A

# œœœ # # œœœ n n œœœ b œœœ + F A b˜ BD œ œ # œœ # œ n œœ œœ # œ n œ bœ

A

B-

œ & # œœ B-

#œ & œœ

G

F

˜

œ b b œœ

F

bœ œœ

˜

D

E

+ C

G-

œ # n œœ ˜

A-

b œœœ +

C

# œœ œ

G-

œ bœ œ

D

˜

+ A

b œœœ n # # œœœ ˜ A+ D œ œ bœ nœ œ #œ

F-

C

C-

w bw w

+

˜

G

D-

b œœ b b œœ n œ œ œ # œœ ˜

œ œ œ b œ # œœ bœ b œ n œ F-

b b b b œœœ E bbœ bœ bœ

E -

C

B

n œœœ

œœ œ

˜

A

˜

b œœ œ

+

G

D-

œ œ œ

E

b www

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

b˜ œœ ∫ b œœ œ bœ ˜ C Eb œœ b œ œ ∫ b œœ C

A

œ œ bœ

˜

b+ b œœ œ + Eb œ œ bœ E

+ F

# œœ œ ˜ F+ B œ œ nœ œ œ #œ

C-

˙. b ˙˙ .. C-

b˙ . ˙ .. ˙

Page 3 of 3

PENTATONIC SCALE FORMS MINOR

MINOR

MAJOR

RT RT

RT

RT MAJOR

MINOR RT

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

Level Four Major and Minor Pentatonic Scales The Major Pentatonic Scale consists of the following scale degrees; Rt, 2nd, 3rd, 5th, 6th

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

Open Voiced Triads 2nd Inv.

(major) Rt Pos.

1st Inv.

Rt Pos.

1st Inv.

2nd Inv.

1st.Inv.

2nd Inv.

Rt Pos.

Open Voiced Triads (minor) 2nd Inv.

Rt Pos.

1st Inv.

Rt Pos.

1st Inv.

2nd Inv.

1st Inv.

2nd Inv.

Rt Pos.

Open Voiced Triads (diminished) 2nd Inv.

Rt Pos.

1st Inv.

Rt Pos.

1st Inv.

2nd Inv.

1st Inv.

2nd Inv.

Rt Pos.

Open Voiced Triads (augmented)

= Rt

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

Spread Voicings C Major Triads...

   

  

Julien Kasper

  

  

  

  

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.

  

   

7

  

  

  

  

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.

Root position 13

8fr

3  5 R First Inversion

   

21

12fr

5 R 3

Second Inversion 3fr

29

   

R 3 5

Upper adjacent

Lower adjacent

  

  

  

  

Lower adjacent

  

7fr

  

Lower adjacent

  

  

7fr

10fr

  

  

   8fr

5fr

  

  

  

© J.Kasper

9fr

12fr

Non-adjacent

  

  

3fr

Non-adjacent

Upper adjacent 5fr

 

3fr

Upper adjacent

   10fr

  

5fr

10fr

Non-adjacent

  

3fr

  

  

8fr

Symmetric Scale Forms Chromatic Scale

Whole Tone Scale

Symmetric Diminished

TRIAD ARPEGGIOS MAJOR ROOT POS.

1st inv.

2nd inv.

MINOR ROOT POS.

1st inv.

2nd inv.

TRIAD ARPEGGIOS DIMINISHED ROOT POS.

1st inv.

2nd inv.

AUGMENTED ROOT POS.

1st inv.

2nd inv.

MAJOR TRIADS UP @ACROSS THE FINGERBOARD Rt. pos.

1st. Inv.

2nd.. Inv.

2nd.. Inv.

Rt. pos.

1st. Inv.

1st. Inv.

2nd.. Inv.

Rt. pos.

Rt. pos.

1st. Inv.

2nd.. Inv.

= Root

MINOR TRIADS UP @ACROSS THE FINGERBOARD Rt. pos.

1st. Inv.

2nd.. Inv.

2nd.. Inv.

Rt. pos.

1st. Inv.

1st. Inv.

2nd.. Inv.

Rt. pos.

Rt. pos.

1st. Inv.

2nd.. Inv.

= Root

AUG. TRIADS UP @ACROSS THE FINGERBOARD Rt. pos.

1st. Inv.

2nd.. Inv.

2nd.. Inv.

Rt. pos.

1st. Inv.

1st. Inv.

2nd.. Inv.

Rt. pos.

Rt. pos.

1st. 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.

1st. Inv.

2nd.. Inv.

2nd.. Inv.

Rt. pos.

1st. Inv.

1st. Inv.

2nd.. Inv.

Rt. pos.

Rt. pos.

1st. Inv.

2nd.. Inv.

= Root

AUG. TRIADS UP @ACROSS THE FINGERBOARD Rt. pos.

1st. Inv.

2nd.. Inv.

2nd.. Inv.

Rt. pos.

1st. Inv.

1st. Inv.

2nd.. Inv.

Rt. pos.

Rt. pos.

1st. 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

Bo

G

Em

C

Em

Bo

F

C

Am

Dm

G

C

Bo

C

Dm

C

Cycle 6 ascending (two common tones) C

Am

F

Dm

Cycle 5 descending (one common tone) C

G

Dm

Am

Cycle 4 ascending (one common tone) C

F

Bo

Em

Cycle 2 descending or parallel ascending (no common tones) C

Dm

Em

F

G

Am

Cycle 7 ascending or parallel descending (no common tones) C

Bo

Am

G

F

Em

Level VI - Melodic Minor Scale Chord Cycles Cycle 3 descending (two common tones) Cm

Eb+

G

Bo

Dm

F

Ao

Cm

Bo

G

Eb+

Cm

Eb+

Bo

F

Cm

Dm

G

Cm

Bo

Cm

Dm

Cm

Cycle 6 ascending (two common tones) Cm

Ao

F

Dm

Cycle 5 descending (one common tone) Cm

G

Dm

Ao

Cycle 4 ascending (one common tone) Cm

F

Bo

Eb+

Ao

Cycle 2 descending or parallel ascending (no common tones) Cm

Dm

Eb+

F

G

Ao

Cycle 7 ascending or parallel descending (no common tones) Cm

Bo

Ao

G

F

Eb+

Level VII - Harmonic Minor Scale Chord Cycles Cycle 3 descending (two common tones) Cm

Eb+

G

Bo

Do

Fm

Ab

Cm

Bo

G

Eb+

Cm

Eb+

Bo

Fm

Cm

Do

G

Cm

Bo

Cm

Do

Cm

Cycle 6 ascending (two common tones) Cm

Ab

Fm

Do

Cycle 5 descending (one common tone) Cm

G

Do

Ab

Cycle 4 ascending (one common tone) Cm

Fm

Bo

Eb+

Ab

Cycle 2 descending or parallel ascending (no common tones) Cm

Do

Eb+

Fm

G

Ab

Cycle 7 ascending or parallel descending (no common tones) Cm

Bo

Ab

G

Fm

Eb+

Level 1+ 3 7th Arpeggios. 2 octave Major 7th

Minor 7th

Dominant 7th

Minor 7 flat 5

Dominant 7 sus4

Dominant 7#5

Diminished 7th

Level 2 + 4 7th Arpeggios. 2 octave Min. major 7th

Major 7th #5

Major 7th flat 5

Minor 7th #5

Dominant 7 flat 5

Diminished Maj7th