FOREU/ORD My objective in writing this collection ofstudies is to outline some chordal techniques thathave practical application in contemporary stylesof guitar playing, value in fingerboard explorationand the development of a sense of musical coher-ence.

I have chosen to do this through examplerather than a discussion of harmonic theory with aview that a lot is to be learned simply by producingthe sounds under our fingers and in our ears.

Many guitarists accumulate a large repertoireof "guitar chords" which, in themselves, arepleasant sounding and, perhaps, well suited torhythm playing and various accompaniments. But arepertoire of "isolated" chords may remain in theplayers mind as disconnected chunks of harmony,not easily applied to chord melody playing. Themain academic point of this book is the resolutionof this problem.

One improves his musical and instrumentaltechniques by accepting the challenge of more andmore difficult material. Therefore, the examples inthis book have been developed, not for theirsimplicity, but for their direct usefulness in con-temporary music thereby representing some of thefacets of advanced gtritar playing. ln view of this, Ibelieve the reader is embarking on an adventureboth musically and personally rewarding.

My thanks to Mike Anthony for his contr ibu-t ion of Example 38.

CONTEI\TS FINGERINGS

CHORD MELODY DEVICES

,1

5ExampleI

3At .

61t .

80

Close Block VoicingsOpen Voicings .Parallel MotionContrary Motion .Counter LinesCommorr TonesBlock ChordsSustained Chord BackgroundShort Chord Punctuat ions

. )

. 6

. 6, l

-7

. 8

. 8

. 9

. l 0

CHORD MELODY STUDIESExample

l l

1 0 , l r , 1 2 l ll :3 , l 4

5 , l 6 l 3t 1t a

l 51 8 ,20,22z 51 AL -

) \)'7t o3 l

335+

1 92 l I (',

l -I El 9

262830

, c )

3 5 , 3 6 . 3 7 3 l-)_

3 6

3 -3 8,193 9

38

PROJECT STUDIESExample

39,40,41. Inst ruct ion42 .43 .44 . P ro iec ts45.46.4 7 , 4 8 , 4 9 .5 0 , 5 152 ,53 , 54 .55 , 56 , 57 ,5 85 9 , 6 0 , 6 1 ,6 2 , 6 3 , 6 465

Solut ionProjectsSolut ionsProjects

Solut ions

.+0+ l't l

+(r

CHORD MELODY SOLO

FINGERINGS While it is true that the same chord voicingscan often be played on two or three dift'erent setsof str ings, i t is seldom possible to do so withoutsome change of the fingering. ln evaluating thefeasibility of a change, first consider musicalqual i ty and mechanical ef f ic iency :

a. As a rule. the musical qual i ty can beetrhance d by choosrng a f ingering or a sctof str ings in which the greater str inglcrrgth is nraintained, thus permit t ing thestr ings to "sing" and sustain longer.

b, Mecl ianical c-f f ic iency is pr imari ly a mat-ter of ' er,oic l ing unnecessary or awkwardharrd or f ingr.r movements. However, indevelopinu a sense of mechanical ef f i_clcncy. t lo not also develop a tear ofradical jurltr-rs or large intcrvals on thef ingerboard. for these techniques arefrequcnt l l rcquired. For example, radi-cal intcrval jLrrrps may supply a nicecoutrast to srnooth scalc-wise l ine move_ment .

Str ing numbe rs inci icete the lower note of thechord and are in circ lcs under the staff . Fingeringnumbers are placed to thc lcf t of the notes. Thethumb is frequently usccl throughout the studiesand is indicated (T).

CHORD MELODY DEVICES

Examples I through 9 demonstrate some structural devices basic to contemporary styles of chord melodyplaying. As you become acquainted with these devices you will observe their practical application through thestudies forming the main body of this book. Take plenty of time working through these studies as the techniquesare highly concentrated. In order to better retain what you learn here, you should make a direct effort to putthese'devices' to pract ical use on a dai ly basis.

l l \R] ION\ ' : \ ER' l ' l ( , - \ | . -HOI i IZONl ' \ t ,

Basically there are two concepts of harmony:

(1) Its vertical structure which is nothing more than the stacking of notes into chords. Naturally, these areplayed simultaneously.

(2) Its horizontal movement which involves the way one chord progresses to another.

VERTICAL structures are usually expressed in one of two basic voicings:

Example 1, Close Block Voicings in which the notes are packed closely together.

Ex. I

These voicings can also be played on the inside strings (5th, 4th, 3rd and second strings).

Example 2. Open Voicings in which the notes are spread apart.

E x . 2

F m mflH HTffiGnal fl-HlA,"z 6n? w

Gm1

Closed voiced chords can be opened up as far as your reach will permit, simply by movilg one or morechordal tones up or down an octave.

Example 3' PARALLEL MorIoN, a chord progression in which each tone is moving the same numberof scale steps and in the same direction.

Ex. 3

mffiflffi eo Pu ,c't

HORIZONTAL movement. The melody lines formed by each of the chordal tones is the most importantsingle factor linking one chord to another. In four part harmony, for example, one is really dealing with fourseparate melody lines' It naturally follows that there would be as many Inkage possibilities as melodies: astudy of this question in its entire scope comes under the headings of voice leading, harmony and linearcounterpoint (see Shaping Forces o.f Music, Ernest Toch). The following example demonstrates some of theprimary melodic aspects of chord connections.

at3D'? w't crg

Example 4. CONTRARY MOTIONmoving in opposite directions. Example 4

is, as the word implies, a situationshows the upper and lower lines in

in which the chordalcontrary motion.

tones are

Ex. 4

bffl

A counter line mayas in Example 5, ormelodic intervals can

E TE

,rlzffi Gnn

main melody, or placed somewhere inside the chordbe treated as a counter line. Further, any choice of

Through experimentation with parallel and contrary motion one can invent some passages of considerableinterest to both player and listener. Such passages are often quite useful as fingering exercises and for arrivineat a better understanding of the fingerboard in general.

Example 5. COUNTER LINES are usually treated as a melodic accompaniment to the main body of atune. They are also used as connecting lines from one chord to another and, on guitar, are frequently foundin the second voice from the top. When the main melody has little motion, the counter line can be moreactive. Example 5 shows the counter line (with stems up) on the 3rd string.

Ex. 5

ffi(%A1

:rrSrlnH+++tI-H+Hffi

I

@

be higher or lower in pitch than thethe bass line itself may sometimesbe used to develop a counter line.

Example 6. A COMMONplayed in succession. Example

TONE is a note that is related to,6 shows the common tone on too.

and sustained through, a sequence of chords

f f i f f iffioh"'r ffiE/bs *^a"

Example 7. BLOCK CHORDS. Here is a rudimentary, yct ef t 'ect ive way of producing melody andharmotry simultaneously. This is done by placing a ful l chord underneath each melody note. The chords canbe ei ther close or open voicings. You rnight experiment with picking techniques here: For example, al l dowlstrokes, or al ternatc down and up strokes, or plucking al l str ings simultaneously with f ingers. Note: The Gm7in bar 3 is being used as a substitute for Eb mai 9.

!t{TTTTIffi

l t t r l lrrrrnffi1-finffH#l r | |

Ex. 6

Ex. 7

m m+]-+t] [Lu.]l-.t4+.t-l ulJj-]

ffi.D.r ffioUo

rtr^

ItrrTln]i l a a t lffi

l a t I t lr-t-Ffi-tL+-t-Ll-.]u-t-l-tli l i l |

lrr

ffifr|t|H+++{ffrfl-l?r{l

ri

u,Itr

!.

f f i f f iff i to ff if f i f f i ' f f i

& e# ffi tine

* , nt f | | a frnfltt-+++.1-1H-t1+lnnnEV^*q

ffinH#rtrrnffiD2* 6oa)

?oo R,ft

The block chord eff'ect is best achieved when thc chordal tones are made to move when the rnelocl-v 1ro\'! '\.atrd preferably in the same direction as the melody. Often tlie melody can be fingered casily without hlripgto change the chord form, but this tends to destroy the block chord effect; therefore it is more clesirrrlrlc tirchange the voicing or inversion with each new melody note. in order to create the eff-ect of al l l i r res nro\ lngat once.

Example B. SUSTAINED CHORD BACKGROUND is a modif icat ion of the block chord stylc. in rh. i rone chord is sustained throueh two or more melodv notes.

Ex. 8

??w

NOTE

Whett a chord is sustained throughout a long seqLrcnce of melody notes. t ingr ' r ing rcquircnrcnt: t r . ' t1. ,-makc i t necessary to d rop one or more o f thc chorda l toncs in o rder to rnan ipu l l te thc n rc ioc i r . I i , , .especial ly t rue in improvising with the alorernent ioned common guitar voicings when thc voiec l t l t l i i r r :not beett ful ly worked ott t . Howevcr. i f each chordal tone is sustaincd for as long as possi i r le. t l tc l i \ r . .n. .r ' ,r"rstral ly remember those lrotes that havc been drol tped.

gII'm-nt a t l f lffi

l.+1++lnrrn|'..{'...+l | | l l

6hrn1

It[rrrnffiTF|#i t l ? t l

, l , | | |

ffrrnrnrnngq

g

ffi$ffiffibvb

E-r|.T55nffi

f+++ilmxffnn

?h"fc

v@

Exarnple 9. SHORT CHORD PUNCTUATIONS. Becauscof harmony. it is possible to outline tlic llow of harmony bywithout sacr i l ic i rrg harmonic cont inui ty, whcn they are playcdthe bar. This cor-rtinuity can be lurther rcinfbrced by choosrrrg

Ex. 9

trl=nl i t t l lrtn-nffi

H+ifl Frrrrn >

Earirnt t I t a lFfi-THiHtftrfffl-1nrffl

Bb''-

ItrNTTRrrffnl.Ha t t t l lnfrtl

H+t+tnrrnIA( l

of thc l istcncr 's abi l i ty to reme mber the sorrntshort chorci pr-rr-rctuat ions. Thesc can be uscc

with atr thor i ty ancl lppropriately placecl wit l t i rmclocl ies rvhich ernphasize chordal tones.

Itltfrna t t a t lfffffl|'.#l t t t a l

ffi0'

ItlTn]t t a a t l5-tTflF+i-+-H

t+++-l++-l-+-.t

, l l l l l ls 0Y d r

l 0

CHORD N{ELODY STUDIES

Exanlples l0 through l2 dcal with var iot ts appl icat ions o1- the devices or-r t l i led i1 Examples I t l rotrgS .)The fol lowing studic 's are uot to be considered as Llnaccolnpanied solos, but rather as eramples of t6c *,rotre night pcr lorm iu a combo. For cxantple, the bass l ines arc of le n incomplete in that most cor l t tos hrrr . 'bass players f i l l ing this f iutct ion. l reeing the guitar playcr to work with rnelodies, ancl to clc 'u,c6' r5-,harmonic color resident in the l lpper extensions of the chords. E,xamples l0 thropgh l2 prescl t a fer.v o1 r l r . ,rnal1y ways to treat thc root progressior-r (ll, V or Il. V, I) common to so many standarcl tuncs.

Ex . l0

St

E x . l 1

s. , ,i l ? t I ll-#l a t ? t lrfi-fi-lffftfllFfrcti l l l t i v '

Ex . 12

s_? t f t | ll.Frfnl#

fu-1t-l/ I I t a l

rFFFNm]l4

l 1

g.-?.I.t!J

I+]JNffiilffi-H-1

bvts*5

nwl_t t a f t l

[Hflffi

H.H-HrnrnE)ort

s,_?+t#lF{-HH-l-t+t-fH+lfffff1

er'n4

#-i l I t a lF+-t-+-Ftt t a l IFrrrnffTFHrrrrnffnil

fr*vs

s-a t I t a afTlfFlffiTt-+-.t-.t-J-.1

ffilGm1

*fr-rffiltf+N.lffiftbna'l

'ffiffirni t ? t t lnffnffi

i t t ? I LnTfn

I

E^|-|-ITr]ffi

t t t ? |rrnTlHJ+Hffnn

eV'svq

Examplc 13 i l lustrates closcnsccl as tcxturc contrast to thedominant chord (Eb + 7b9).

E x . 1 3

voicings. very effect ive brrt uot toobig sor. tnd of open voicings. Notc:

guitar. These can bcis l i rnct ioning as u

often used, on theThc G6 in bar 3

Itr,I i l i l amxHffiffi6to

][

Fffiffi

| | l t f lrt-nTl[fliW"t

'fr*rlTmH+1{1[ffi

ht.b

E , , ,t#++{ffiHffiNnal

ffirtfffifi

HffiH+f+l|Trl-r

ovw

r-H[ffrTtl[HffiBb"�q

In Examplc 14. cach l ine is deccndir tg i t r cc 'rnsccrrt ive n holr- ' -stc1-r. I i l l f -step seql leuces (symrnetr icaldiminishcd scales). One l inc ntoving whole-step. hal t ' -stcp. rvhi lc lnothcr i inc is nrgvi lg lal t --step. whole-step.producing the chord changes as the symbols incl ic l te.

E x . 1 4

gn4f^o

rI

L

t o t u t ut-itt-H H+ffits f+]tr +fifiH]# €b,nr ffilil Ab,oo ffi

tui t t t a al-Hl

l-{+1-{.tif+-t+lffi-rlDrl

ffitffrrH|.i'.{+| | t a r aTTFFPIITTIIt i | l t l

€h^a1

xxFFFfNffi

uJ-+-1..1l t t t t ,rfl-fhf1ttfinnF

l l

Example 15. This is a simple harmonizationThe Eo and Dbo chords are both functioning asfrom the monotony of diatonic lines. It is good

various diatonic melodies.

=t+HJlt t a a t ll..+.{#

t++l-Hffigto

rmmuJJl-.I' g l f l

ffiD't

ffiQnfl

s.rnTn

ffiffnn

g a

of the C (diatonic) scale with some1^7b9, and are being used to provide

ear training to improvise this sort of

isolated chromatic isnr.some chromr t ie rc l i c lth ing in a l l keys . u i th

Itr, t a | | |F{**#ulJ-ll| | t l t arrffEffiu+l+-l| | l | l r

G'8.

rtrMH{fifilt-FFl-uFnrn3m?

Ex. 15

Dma loo

frH-t-t+1t+-{-.t-.|t-t-ft-HfftfflLE

ffi9vt

Example 16 i l lustrates (1) exaggerated chromatic ism and (2) the gradual addit ion of notes ( in eonrrurrmotion) to expand the voicings without opening them. Note: the spel l ing of the chord symbols in Errnrf l :l6 is less important than the voice leading which creates them. Accordingly, symbol ident i f icat ion of the.rchords (more properly "sounds") is awkward and unnecessary, Their funct ional or Roman NLrnrcr.- i lident i f icat ion ( i .e. l l1, Vl . etc.) depends upon analysis of thc ent ire phrase in which the chords occgr.

Ex. 16

Dnn 0n1 !rr

l 3

Example 17. A fingering exercise in short chord punctuations using a Cycle of 5ths with #9 chords.

Ex. 17

e*q

dfi*q

F?*1 '--:\

Ab?*q

tochords across the strings. Make a special effort

Ex. 18

Example 19 is a fingering exercise for running augmented triads across the strings. Play this in r \3rier!of keys up and down the f ingerboard. Sustain each chordal tone for as long as possible. In generl l . r6i .means to keep your fingers in place until it 's absolutely necessary to move them. This will contribur...measurably to the continuity of your chord melodl, style.

Ex. 19

Example 18. Asustain each chord

fingering exercise for running diminishedfor its full time value.

X.

ffi

ffiH#ffi9+

Itr

ffi]Emm

ffidrfi

l 5

Examplepassage can beend.

Ex. 20

20' Short Chord pttnct l tat iotrs with chords clcscencl i rrg paralkl iu nt inor thirds. This typc t ,very effect ivc whct l playccl f 'ast. Notc thc use o1' thc r ight hancl in ai lc l ing thc buss 1o1e ut t l t .

Ot*q eilq

Exan tp l c 21 . A s t re t ch i r l g exe rc i se w i t l i s t a t i c i n t c r i o l r o i t f i l n r l ( ) r , l t . r vo i ccs i n con t l l r v rno t i on .

Ex . 2 l

FrrffiItttflffiI t t ? | |rrFrnffffnl..g

. l l l l l j l - \

Co-01/'-L--

,FF;.r r f i i t' i a

t++# TInl l f t i i - + - f i rffil l l l l t l #|# - { - { - { t t I

al

fll- ll I

ltTrn [rn-nrrFrn rfl-tn|..{.+-+.+-t t-{-+-Fl-1t+.lJt-t tuu-jt-l4l-l-t t-l++1"1$tH6'q HtH

Ttm-fni l ? t t lrrrrnrrnTl| | lrrnF

Itr[-|IfrT''FNffffl-]mrrFlrfffi-1nn-h

@

T'T $, ,t t t t t !

ul-tl] rTfnL l l : r I I I I l i ltlt_l1_i Fl-ITn| | l Trn-ni t t t t - F r - F F t

| l - f f f i r r rr | |l -

ell gYht - 2 b t

wureF;q

1 6

notc voic i r . rg coul lo l t to cc l ta in s ty les of rh -v thnr p lay ing . Th is ' tL r . . i , ,t \

IIi,mH+Nf{-.}-4-.f-t

H++].1ft11tl

F

X.{TTTNrrrrnrrn'ilffi-rFnmi l | l l

i aYfi Ibb

r-ffi-rrfl1f1l-.{-Ht t l t t trrmt| l | t lrrnnAb

F.g

ITITN

[HtIHTrrFrn

w

Example 22. A type of threcbased on 1 2 bar blues.

E x . 2 2

r m i i f f i f f i f f im-J'n rrrrn n-rfl-1 t-flfn[t111 fTlil] n.ffi [1111l-u-t+ t-t-l-l+ ?il?ll ril tIf_l_.l+l.l +ll+ l_l_l_ll_.1 .r | | r rt t t t t l r r r r r r l t t t r l f f f m

F e v & "

r 6V" 61

S.nn

W.ffififfiffibv

TrJTilIu,l+ut t t a t l

ffiilFrffi1Aob

ItTTN-Nnrrnrfftf]F{-#f t t ? I IrrrrFnmr.#o

ItrffiH[ItEt l t t t l

ffiov

Igfro

3 F

Itr,riTma I a t lFrm-1milrffffiF1

t l

Example 23. The use of two notesunexplored in guitar playing. particularlycontribution to the versatility of one's stylc..

to create the overall effectin inrprovisat ion, and could,

Example 23 ut i l izes this device

ot 'harmony has been re la t i vc l , .w i th p rac t ice . make a va luab l ,in the basic l 2 bar blues.

8x .23

3

c1

"*" "*,|..i++l l-.ffii llil l u-lJ-J-.Ii+l-t# i]#flffi rfl-1-Fitfifi HffiAbts G's

l 8

24. "Ful l" block voicingsin a big band style. as might be app l ied to an end ing .

Cm? Dn'7 Fnel #^, ?rn'l4 4 ' 4 4

FnlAq A,e

7 . 9 2

Example

E x . 2 4

III,TTITNffffi|#t a l a t lf-t'ftflrffill | | i l r

U"?

r

FM|#t t a l a lFrffhffi-rnl#l | | l | l

.Jto\f

Itrfi-t-iTt| | t t t l

ffiilHtiuffnn

dq

IEmt+.1+.1-.tI I t a a afffffiffi

HttretrA'7

ETFI-TN#H

ffiii++tlnnnd*t

IE[I-rfr]ffFFflftfff+MTffnFl

dq

g.t-T-ITti

H+1+lrrrrnrrrrnffffn

Itr.I-IFITIfllTflt-ft-Fil

H1#lnffn

lmTflTTRrrrfn}#r l l l ? lt-l-{-l+l t t t lnrn-l

Jtr , ,t ? t a t lmriTtrnTnmmffitrff,

IIt-ft-fRrrrmlMHffi$^n

Itr[TI-NI I t a a It-t-t-ff1l-+-FtiH

Htil1rffffi

:EII-TTNffil t t a a ll..#

H+i#ffffn| | l l t l

ffiffi|#

U]J]Jl+tfilffil-l]-l-+..1l l l l l l

P^nDbtt

1 9

Example 25 offers exercises in

8 x . 2 5

4 4

Example 26 is a study in parallel motioncould also be played over a G minor chord.

three areas: Contrary motion, paral lel motion and expanded voicinss.

ff i ff i ff i ff i ff i fu ff iH#fr#ff iH# ff i#rn-ffi ffr-ffl ffffn f{+++-l l-++++l ffi# ffiHnffi Hrr ffir HiH Hlt Hlil Hff,b8*s BWl Am? Ab^qGrt'

Itrm??1+{1rtfff1t-ftrflHttllr l lF+

rt[.rTmffiH++llHffie+tlL ) ^

wrfrfI-TNIttfflF,H

H-l-]-i{F+lt-+-jHltrg$V5'*wI 4

s?gfi-:t / l

with the melody doubled on the bottom. This ent ire phrase

Ex.26

) =qz de' A"

TI

ffi|.l.#tl a f | | |

ffirnfi

G^

IIII,m-rnrrffni.]=#I t a r a Irfl-fflt-t-l-{-+-.]r l i l l ll i l | t

r

It[mfffiH+Hffiff1

Dt

IIqTl-frffiffiu-j-.t+[tffi0b 1\

.Yft'\ e bV Ar,

20

Example 27. Another version of the band type block chord style.

Ex .27 f f i f f i f f if f i f f i f f iffig,o ffi ffi*o

-*-t t a t a l}++\ar+]t++++]t-fffHrffrF1ffffH

€^1-bbo

lElrl-fn|'.#l t a t t tfft-tt1fflfilrrrrnffffF

IIl]Imgj+flt a t , a lrrffFffiltFnff:F1

fFmffi

FI+Hffrtnt-ft-ffiHfifl

G6

FFFTNrrrrnl#

t+Jl-ut+ljt-lHttd,

trFFFrrrFrfiIf,i l a a t lITP111rrnn

f

Example 28. Very close (tight) voicings in parallel motion. Note: the 9th of the chord voiced on thtbottom next to the 3rd. This voicing can also be played nicely on the inside strings.

Ex. 28

enq

IE

ffi[ffiffit|l

:EmffH+]ffiilffifleblh

t l l

]II

ffiH++flF+H]

Htt€m1

ffiffiHH-t-Htffnn€V*q

21

Cn?1 \ Ov f i '

Example 29.first note of each

Counter l ine accompaniment,bar as long as possible.

][tI|ITNffi

H+l]H+1+lffi-ffi#l i l t i l

F?bq

2

same melody as E,xample 7 anclFourths ascending chrontat ical l r , .

The chords occl l r af t ' r the ini t ia l melody note. Slrstain the

Ex .29

gtrt-l-IT|rrHflhffiff1ffHtlt-fT]T]l l l l i l

4 Y ; ,t4

Example 30 has thechord via chords voiccd in

;!* &'wtJ1! € ml-lTl--

r l t t t t o r . t s t n t t L : l r t o t l t e r .\ \ 'av to approach the f inal

Ex. 30

I ' T r . g| ? r r l I l ? . . l a r r r l T l

M I I H f f ir.L]-r.r.r *-ttlH]+fl H]l.]i l++mttft-t-l t-rft-tl t1ffi

v]]TTtiTnrFtiT]ffffn|-i-.{-.'l.Nl | i l tffi

t t t t t lnmrj

Rr r

') -)

Poco

The fol lowing three pieces, Examples 31, 32 and 33, are structural ly and harmonical ly fair ly s intplc i .ut

dentonstrate some ways to gcnerate color and variety without destroying the basic simpl ic i ty of th. ' t t rnr

Look for short chord punctuat ions, open and closed voicings.

E x . 3 l

--E-i l t a r lffiHl-+++.1-.1

ffiA"rfrrn9^Q- 9r9

-l+-l-ffll#t a a | | l

FffiTnri-n

A.9

7I

: : + = : ; F -oTrt-17 ir-.2ry

T4

T.

7I 7

I+l \ - - -I

7I

!LTrrrSlnftt1l.l-.{-.Bt a a I | |ffffn ,^ 'rFffff1 crn'nFrn*"q

f

1 a

rr

E x . 3 l ( c o n t ' d lllt

TTTTFIl\]fr1Frrrhrffffirrrrnffnl

bJs,x+

ffig

TFITN|#? t i l t iffiI | | I a a

ffl-t-Ht-ffil-t-+-+-l-.]l | | t i tGb+t*q epkq

]Erl"r-ftlf+f1{|.]-{-#

H.i1+1rrn-l

x.ffiil4++ut ? I ? t It-Ft-FFt

tittflrrrm

$t[TI-Nf , l t a lfrTlt1[Hlffi-rh

.+! lL vTrr

itfrftg frFt-uJ-I..t t l i , l , T*I l i l l l i l - rT **1"l-ll-ll-l Lll lr :T:*l l l r l L l i l l , : r T - :A o

>r F.Yly Am R_ Am

a " \ J m : >Yf ,e:r*'!'l{+=@ @rc

0^'l hn'?

+| -]rJ

o-r- =----

Itrt-I-tTrlrrrFflffn-hI-FFT.Ht+-l-.I+| ? t lrrm

?/ --:t-...-__...=g, oW\__ :A

r1/1--

?I

-.s-a t a a t I

+HilH+111nnn**

@

fri l l f t Irrrrnm+tffffleV

s zYrl'Y--T'@r

H+++iH4i+tt t | ? | |

MTftf1t1ev

1 z z T T t =t./ L_l I 3

Ab? EV

3 -t-\-'

hV f,c Ab1

q | . f f i 7@V L-J

,^A tu*ffirFnr-FF+fl

H-1]+LLLLIJ

Q I t f t l

H# Ab" Ab^*s Ab"6Ab,t

q - -:-'--t---t---q-t-

r r ft.f-_-Ta?--? a- - r b t I

l-s

W e, b't W1

q z g 4 T T( LrJ

q z W T ( Tr H

- 'Tr+?"nT(

r- TPAb1

O,s. ar. eom

T (zf.___._,f f- -

D1 6/?

v f l r f @ @ t V -

6?

? V"

40brg

w9o -^G

wt,z o C

F'3

Ex. 33 (cont'd)

uffi!t+lu]ll.t+f.l

ffi

mm"

Ab13

FFFffi

i-tt+uuuut-{-{-t+-lFFI-FH

r I l . . . l . ' . l . ' .U

?*q -gbg4 A"p Abr _ 6$l

, f-- i -r---

, 7I

FTFffi FFFFF|# |.lJ-l-JJ

l-HT+] l+{+#rrrrn ffffflt-ft-tgl l-{-i.#drtr trtrDts -.e,s -t

ttt+r5|(3)'

Examples 34 and 35 have, in contrast to Examples 31,32 and 33, relatively rich harmonies. This i: d1.'to the addit ion of extensions. i .e. +5, +9, etc. You wi l l a lso observe that notes other than the roor rr :frequently used to form the bass line. These help to produce harmonic textures present in some of the mor:recent jazz forms. In this example, make a special effort to sustain as many of the chordal tones as possib,le.

Ex. 34

frt a t ? l l

Llt-fill-l-FfH e?+affilTl - ,*ar7r-

I A s ,

Ffffftt1rfffh

sffil-

ffiD'oo(e)

ffif11+t1ffirfi

-f\. ffiu"l - l t \ *

f i , ,1#+NF+-t-+iF{I t t ? ? lrrrrnHMwtrF

,T[ , ,a t a i l l|.#ta I I t(t,mxt-+-{-.I-+-lstl

9Y, at'110 t" ^,:.'i

29

Ex. 34 (cont 'd)

fRTTt-t-l+ltFffrfi

%ffi

ffi[ffiffi

RTMH{$+lt+..|+.1IJJ+#f) ,f f iFfJ A\ O ( s t -

trFFF|.#

t+{JllHH

* ,o4DIr r,-,.-,

@

Example 35 shows the primary progressionbeing connected by the passing chords G#m7+5,

Ex. 35

trrmffi

uJ]+a l t t a l

[ffiffrffl

G6

FFFfNffiff1rrTTI, t f a t lfftlfirTFff1_ l

6^c*

FFFFFTf-t-tffll-ftfHt-fft-ti

ffiAoa

same chord progression beingthe chord symbols as indicated

consist ing of G6, Am7, Bm7, Cmaj 7 (one chorcl l . rcr l . . , r rAm7+5. e tc .

Af",*S bJ+s et"1Vr

-w'f | | i a lffiI t a a I

ffffht-FFt-t-jiftttirrrm(nn'7

connected by passing tones (forming .r i r . r l1Gmaj7, 4*(maj 7), etc.

4

Example 36 is thecounter l ine) and a l te r ing

FFMffi

f+11-i.t? I I I ' I|rrtnrFFTIffffr

Gb

? 'V@

2,7@

t +@

Ex. 36

Gna1 At'f Ar(t^E bn',? g., (mrz)Qne')

Example 37 shows further development of a counter l ine result ing from the extensign ol r f tc 1.. i . .1. . .tones into a more melodic pattern.

,&

Ex. 37

ob A^1

J I

$.'z Cnfi

E,xample 38 is a chord melodyvert ical textures, contrary motion.and short chord punctuat ions.

Ex. 38

fffr"rrrrHF+<l-+-HI t t t | |mnTl I

ffi d'rqus

solo embodying the structuralparal lel motion, connter l incs,

devices out l ined up to this point. Look f 'orblock chords, sustained chord backgrounds

tot{dttl

ffi iT-ffi rrrr-n# g l l l l l l; l t t t t , l t l t t F + - t - + - F l| # L t * - l - * . I l l l l l I

rlt+fl H#N nnnff iff i -dtq'--b_.

"frrrrrffn|#I l a a t Immffiib2-+ -a

.#"t-ft-t-fil-{-.HI | | a a l

fft-FflnffrunnnAb'rG#vs

7@

J ]

Ex. 38 (cont'd)

,ffi m FFFFffi [ffi ftfiflfffi-H ++ts ff++ilfftttl Ffft-'''H<P-..-..W"(l

4l��rr--:.

-+ - /':\* . z v we @

mffiffiffiHffiffi

FFFFFIft'rffl

ffiffffn

bs

@ e @ f l

;d :@@ @z16)

1 aJ J

ar>,/F

mm|#I t f ? I Lffit t t t f lrrnTl| | | t lrffifr

- G , 6 ,

rrmtuJut l l i l trft+1.1.1ffi-rF

* @ @ @ 1 - '€,

I I I I L

f f i f f it+1.1+J H+1+1ffifi-l fi1-rfi

tr,Tn45

g

$ffiffi

t-Ft-iHr|rft1HJtt-l

nrmH+1+1ffifi1l'{'..H

HilIDn*Vs

ULmmftilfi l f t a lmrrnffnF

5 - o

Ex. 38 (cont'd)

Ix. IItrl.i++Tl t+1+1{ ,s,,$Hfl ffi H+]rrfffl FrFrn rttulffin ffiffi [ff;

/!-1mr

strlTrnLlll.ll

ffiHtf

z.-r

u,[HilF+]++[tt]-]Hfl+lrrm

@ 6

r'Yh-7;,

,s[I t a a | |i I H ' Iffffnrnn�TFTFffn-n

^ fi;., ^euylosaJ-- .l-rt+ 'sfir*'r&,

@dn-:/

zffs*'c

%'=,e@s , ,

1 | i lrr*tl*t-r-i-|#

I a arrrr::rn:

Itr,rfnrn-rfn *u-rrFrfl | | Hllr r l - rn r l l l i lr r r r n r l l l l lf f1- f l -1 i la | ll r t t t l , f f i

^nvs'1;gF+t u , , . o r , f f i *# , ,' & ) + t a U r

43-

@ O @ O @

6)

With few exceptiorrs, it is possible to find a

common. garden variety chord voicing for theguitar (of the type found in many chord eucyclo-pedias) that can be fingered to include all pos-

sible notes that may appear in the melody. I t is

obvious that i f the melody note is placed too low

ou thc staff, you will not have enough strings left

to form a satisfactory chord beneath it. There-fore. you will often find it both helpful and

r-leccssilry to transpose the melody up an octave(this is cal lcd " jumping octaves") several t imes

throughout the course of a solo. With experic 'nce

and f inesse. this car l be done without losir ,g

nrelocl ie cont inlr i ty. l t is possiblc however to play

a lon rcgister scale or melody (as low as the 4th

str ing blr t no lower) with some fragment of the

chorcl btncath.Erarnples 39, 40 and 41 show a rnelody l ine

u'r i t tcn high enough to play ful l chord voicings

bencath. and br ief ly explore the problem of

fincling chord fingerings that will accommodate

various melodic possibi l i t ies. These examplesshou, a 'G' diatonic scale harmonized with the I I ,V lnd I chords, the three basic chord typesfotrnd in diatonic harmony. Note: the addit ion oft i r c c \ t ! ' n s i o n s M a j . J t h , 6 t h , 9 t h , e t c . , o n l y

affcct the color and texture of the chord and donot charrge its scale ftrnction or its role in theprOgrr-SSlol l .

3 6

ff i f f itsr 'ffi..,f f i f f il-fH+l H-++l.lrTNfi FFFi-H4 , l r t l l r

*-6- 1 r)

-*-t+++11HHffi

ffiu++.1+t-H-.*{t-H+tlnrfl-l4 +

Ex. 40

--s- --E-.ililil l-uJlfilfl ftililul+u u++t][flt $tt

, .8 . , - * -H+#f u++Nffffft ffifn

FFF++I

H++N l-H+uffffn

3

Ex. 41

m m m ffir ffiffi ffi ftffi',ffi ffi ffi ffiffi ffi ffi

@ v -

@

3 t

Example 42.Refer to Examples

8 x . 4 2

Using the indicated chord, find a suitable fingering with which to harmonize the melodr3 9 , 4 0 a n d 4 1 .

Example 43. Now, as in Example 42 above. harmonize

making the necessary transposition to the key of 'A' in bar lthe melody to f i t the chord symbols indicated.br.r t do not change the melody.

Ex. 43

gr{ n nHfn

Dq

Any chromatic note within f inger nlnge eln l l rvays be harmonized with a given chordmav occasionallv be dissonant.

Example 44.form, although it

Ex .44

Fnal

vflT

ffiF{-.{.#u+IflH+1+tf-fl-ffl

3u

Example 45.chromatic tones.

Experiment finding chord voicings of Gm7 that can be

Ex. 45

Ex.46

-t*.1 -,1-r i

l l l , r l

J*J lbL1- !

E,xample 46 offers one possible solut ion to Example 45.

fFmffn-F) t a a t lrTHTlffr|flffrffl

G^t?

ma t a f i lFffIfifffff1t-l-.t-l-t-ll l l l l l

G#+s

FFFffiFffrft

H+$+ll..|-#

HfiGn1

Frrm|".#

u-lJJlH+{+1ilx!i l l | | l

GJ+r

ffirFrrrrnF{-}-f*{a t a l l lffffnffffnl l l l l l

6m slo

f f i f f if f i t f f iffif, [+rrrffn trd

6;r* G.("n)t U r

frl e a:rr*+Fti-i-*

Grnl

ffil+1+l-1IIHfrffi

G^1 IL

,w, -*f f i mr-*-{# F}*{-Fl

IJJJt-t LlflllHl# H]+flffffn rflrn

"ffT, rffiffffn nfifl|'.#| | l t f t t l n F l

ffffi +Hnn-l-l illd'J+tl e-q(&ra)

4d

39

Examples 47, 48 and 49 consist of the same

chromatically. ln each case the melody and the

other. Note the interestine extensions that occur

melody with major, dominant and minor chords descenci in;

harmony have their own force and are independent of cu.l,

as a result of this independence. See A maj. 7 in bar 3. ct .

F.x.47

Ex. 48

F;x.49

Dmn? Sme? Qnn't Brea gh,fi Amna hb^e'l G^e1 Gbne'ta

$},3 Ara hbtr Gt7 Ghts ? t ?

G^1 ds^q

f.]

Drs

..)hrt hb,q 6* Gbnn

+U

Fhr erq6bn1

Example 50 consistsvoicings of ntajor 7 chords

of the same melody as inascending chormatically.

Examples 47, 48 and 49 and demonstrates one set of

Ex. 50

E x . 5 1

, ,s , ,i l l f a lNTFfiffttf1l#t a t t l a

Itiltll l l ! r

t l^tt

?Inet?

f f i f f i f f i f f if f i f f i f f i r f f id^^'? h^e'l t),,,nta h^a?) y'o -^a * ^^ rGm1

4 d

Exantple 51 shows al ternat ive voicings and consists of the same melody as Example 50 above.

, * , ,i l t t a lFrffnt-+-l++.,1t l l l l rt f t l t +mml i | |

?i:t^h1

-$=uJ-t-llt+++t-lH++{]l-ffffttffi

VmA?

frt+++11n-ffilI-Fi-FHffind^0,

-r-H++Nrffilul-lJ.lHflilQnal

*ff"Ffl-TNI a l | t|..+.4*

t{++flf1t||lo.naa

ffiH++HH+1flffffn

Wnal

rftIHT+Hflffi-rl

Amn?

ffiffiili-H+fl�TFFN

d^etGrt*'l4a_

Wa{?

4 l

Examples 52,53,54, 55, 56,57 and 58 are short f ragments constructed to simulate standard pop tunes.Here the examples are presented in lead sheet form showing only the melody and chord symbols. Using thedevices previously explored in this book, develop chord melody solos for each of these examples, keepingthem as simple as possible. Concentrate mainly on finding chord voicings that sound good to you and stil lpermit the melody to be played. You may then compare your choice of voicings to those found, respectively,i n E x a m p l e s 5 9 , 6 0 , 6 7 , 6 2 , 6 3 , 6 4 a n d 6 5 . S e e P a g e 4 6 .

E x . 5 2

flbq 6^'1 evq €na1 ht D1

D"7a D;tbs Gbr$1

Ex. 53

tn

6v7

42

?1

Ex. 54

t x . 5 5

Ex. 56

D^'l q 6*{? g

D h a

Ex. 57

Gnel

g+rl Gne?,,,4-�--.*-

I

@ 1

++

Ex. 58

evcw

E b-ar

D/'r>\ d+W

G'b lbra) eq tF)

Bb-',: Ebr Abmrz

Ab,^7a?\ GrotT Cryn7

- l

p ̂ tbil AbnntF'm?

Examples 59 , 60 , 61 ,62 ,63 ,64 and 65 o f fe r some o f the poss ib i l i t i es fo r harmon iz i lg Examples 52througli 58, respectively. See Page 42.

Ex. 59

.fr"HIFHt a t a t affitnfffff1ffrrnlrft-l-l

D?4 +

, F , .i ? t t l l

lll1lH+++l[Ifil l l l l l

D'?

,+,t ? ? l I IM?TI1rrffHffffiffnn?,*tc4zlF^

I+, ,s,,a t a a f t I i l lt+*.I rrmTT*F TFNT1'-{-#l l-l-#

J-.I-lJ.t u+lllitHt ffif,G."1 GVr*o

ffil-u-.ll-l? l t t t IrrrrtlffiWg

-r- -9--I I I t a t l H | , I I

HUl TfTTT]r l l i l t r l f l i lH+Hl l-+++llf1ffi tutt.l

c c n

F,*a

t r I I t r E L g

H# ffiff tftfl ffiflnlj l t i l l i l t r i l l?l ulJl lHJ+|l H1#l r++f.+t i+i++lfffi trtt1l fftttl ftffi

G^1 Ch

"ff* rffil[Trn rffi{t+Hfl H++flf f i f f if lw

-(+1-iJ-+-.1t]-uui t t | | |ffi-ff1[ttf]l | | r_l_l

f f i f f iHlll-.t t-{+4.1-lFFFFH +++-l-.innfi Htlu*"

IIII-TTTImmr l i f l lH+t+l_|H1.i!-r bs

a ,I

/A\:/,(

46

m m f f il++{+1 f+t+Jlmfr +flilffi-rn fftr|F?*q $hq

. s ,tilluI t f a I InnTlTrTt-rl

H+ftirrnn,v'%v

gITITI-Il t ? ? t lrffiflmxffn-F,,r:%

@ ' e

u|-ri-rfli l ? a t lff-rr-H+FHHtft-jfffrn

F'fu,

r'fo

rfitrrFnt++ulffi6b%avL ' t

FFFFH

t-l++4-lI t f t I I[Fn-n|TnTll-t+ft-lnb

L

FFFFF

Hl+*lffitrt"1++l-1rnm

**o

FFffirrrnffif t t a t lrnnrFTFNnffil

6t+1 6t

@ @ @

Ex. 60

Ex. 61

g

@

T t r T

f f i f f itujl- l r i l l l lffiil ffill i l l r | | | l \

Frnlg q,6f)

ffi+lt+-.1-+-l-.1r t f l l tH++lffi-rHfnftl

.lAC'*V4 V-)

6\\:-/

ffiffrrfF{-**1t l a | l

|#I | | l a afft-rFf+-+-Hl l l l l l

+99+s, Ilv+trVJ_d-?---r-2,+

,8 , ,i l ? l l li l l t | lffiI i I I a affl1-HFrffirfl-Fn

+'b

affi FFF* FFFffi FFffi

[ H f f i r i l f , f f iirfi ftrt ifld hffii$ril $ri $ilt $fifDnq GB $s) C,ne Gn1

,s,, ,F..l l+$t rl i l IIll-u.t-t u-lj.l-ltt+-.lj.l rllfi l

H+11+ H+111rrnn ffnn

hb',/ob ?''ty"+ , d 4 b o ' r

@ @ @ @ @

@

T I I I

FFFffi FFFffiFl-# |-#rl| l lt ttt+i-.It+++l-t l++11.1Ft-f#-t tft+HItffi ffrfl-1

&naz A*

z r 7

@'

g[5[fnrFilTIffffiffffHffi

HiHDt

Il +

o?@

uEmnHi+l][tffiHffI

Arll , (h)4+ bL

@

FFFFt-FFt-1-l

$fiflt+ljtlHflfl

Cne'|I

ffiffinnn

#*n 1*ffi+sa#+s rnan4o7+ .-* -4 t

E�x.62

trFmr-l++Nl f l l lt.]i+i1-nnFr\t

@

q -

Ilffi|-]-{-+l f t f |

ffi+ffrT

F-q

,H\,t ? a a l l

l]]?flffi-rnffffflffrrnF{#

, l l l l l l

ovq A

-w-r t r t4 l lH-+lJ]l t t t t a

ffffhffffhffffflFr^rl.z' i ' t t fr+

ffi| | t i t Iffnfl

[ffiffnnu]2,

nffintTrffi| l t t l l

H++flfltlfl

6boVq3 t t

urIilTItffll-f+#li-rnrl

cB&

(

#"[Hnrn-l�TFFNrrn-nI

?!$

@

I

-s-1t+#1ffffiffffflFffft1l-ttltl

Dhn

"ffiMT[ffilffl-tflS*4+-

r>\( 5 JI

FFFffi FFFFNt-tffH Ffft-Ht'.Hl t#]

f f i H f f iHfN ffiHptb6 N?

Rr{.

ffi+t+i1rfitF

ffiAb^aq

4 .

@ '

ffiffi[ffi [ff|H++H t+++11rffrn rFn-Flhn dort

tW 4+-

' t@

FFFNrrrrn|i"+...+t f f a t IrFP1tlrFFTNt-l-.l-++ll i l | l

A

8x.64

Ir-lTfllffiHffi

trFFF

ffitrffia)l

RTMH+1+{ffiGme(l

6 @ b @ e

![ IIt lltrt t a a a a t l t a t t a t a a a liTt?l rrrrn rrFrr]Hi+l-t t-t+++] f+]{+Hl# H+lu H++11HH ffilil H4l r r r r l l | 1 1 i l i l

@ @ ' � 6

II

ffiH!+.FH

Htieq

F,,ffi{ "s"l l l+ l l l - l l l J . lH{-{-11 l-t+fl-lFfft-H rrrrFlr-.r-r-r-Lr rrrrH

Clnntl fff,Fn

'-ffi,HMffiilffn-nF+'l

ffiffiAo�l

, s . .i l i l f t

[ffirfttflrrffnfftffl

s,ffib'l

Ex. 64 (cont'd)

Ex. 65

| .3 -,; '3

*u*r,

-IT.t+++t{ffffHrrrrht-t-t-fHtilt

e^1

,s,t l a a t lffHTI

ffi{ffiw

@ @

+{--}.4+- |

ffiDs

-**i l a t t ,

ffiffieb.,l

Itr[T[n-]n-rrnH{-t-+t| | I f f Iffrrn|#

t-.t++-]-ll l l l l L

, 8 , ,I t ? t t arrfnffrrnffixffnn

drbq

-X"I I t a a a�TTFF

[ffirnrn(qq)

FFFfN|..H

HJ-1-1.1t.f+++lrrnTll i l | l

c1+q

rffif1-l-l-tltl-i-.1-1-.1 r

f f i f f iH#+ fffff1'' fttttl

z a ffffn\rmt/-- \

i.]++-:-1

,$, ,H++uffiffiil&^ort

JHF{+H

u-lJ-l-]$ilflHilI&*t

"*trfiffl#

H+fl1ffiFn?

ffiHffit-ftfHffrffrC1.g

ffiffifiH++H

Abn*1

E ' 6

Ex. 65 (cont 'd)

-T.if+11ffiilrrrrnftffi

F,,'.'l

FFFffi ffi ffiFMl t a I lrll'r nrffr fu

t++++{ flrFfl' ffiffiH+++t mf H+tfH1ffi rrrrl I it+t+t

@ l @ ' " @ @ c ' 6 t l

*IE .ffhr -X-Iffi ffiffiffiffi ffi#ffiffiil ffirr ftff|

eVr*rl4 2 _ -

vlTtfTilNi l l l f affi

H+11.1rrrrh****.tl | | t

WriT

TTI-n-fnffi

u-t-.1-l-.1H+l+lr|mi l i l |

eltbq

@

rFMil-]+iltttt-l-lffiffiAb^.

frl{#+1l-l-{-HL l I l r t

HH-]Abn*'7

F,4*-@

Itr.TFl-fNrMTIntTnffnnrrnnrrFmQn1

.+

rFh.' rffi-'r m mFH+1{ mrr

, rrnfi rn1-nAhr H1fi ffi -*

4 a , , . 1 - t

t r f f if f T t n r l l l l l

Hfl H+HJHti+t nnnr r r r n l l l l l l

ryT Mb>T

o 6 @ c

@

tffi"ilffi[ffi|ImA*V5

mF++-{+-.1H++]lFl'#

ffinev

O C 3 + O

Example 66 is a chord melody solo based on a standard cl iord progression and includes the structuraldevices presented throughout this book. Cont inne to explore other possibi l i t ies of the mater ial presentedhere, in appl icat ion to other tunes. The more of this you do, the more prof ic ient you wi l l become and youwill then begin to acquire an instinct for finding the right chord voicings. jr.rmping octaves, etc.. thus bringingyou within reach of extemporaneous improvising in a chord melody style of your own.

Ex. 66

D*th

ffiH#ffi-ffifu"1

FFffit-ffill-++lJ..lt t a l t lrrnTl! | a ln'rrnGtl

ffiirfff|-#+.1l ? | t t I|-|FFNrrnFrrnTlAh,r

@ O

I'

ffiffi

uj-ll.lH+++{ffftfl

nt[TmI i l l | l| | | l f f

�TFTFffrrFffit-n

trrrFFrrrnrfl-rnt--t-'t--f-+{t t a t I IFrrrnrnnAbq

5 2

Ex. 66 (cont'd)

tuu++flH#

,,S,, "*.t t t f | ++-++. tl - t ^ f f 1 ' 1 i l t t t l| # l l l l a lt t a t t t t - t - . 1 + . 1 - l| { ' . , # l l l l l lI | | t a l| # l l l l l lt t t t i l f ++ - { - t - . ][fffn 7fiullll

ab*'Z-n A*uGA't

61 a r^rTQ , u ' t ! )

Eb^?4tu

Ab'7rT\ 6'g

aT - ^ 6

--rx J-:J

o (

r[ffiH-.4-+{i | | a t lrntnfttfflrfi-fl-1

/lh' snc*,,t

E,rFffni l ? l f frnTn|#

FH+f]tlltr

Lt l D t .

ril'l+il +

J.

rETF]FTFJ'-1H+]+fH+t1rrFrnrfi-FnAn'?

TmTn

ffiffiA&av

ItffiffiffiHffiAn

]L

ffinTrnffiAnl 44

ItFFFFFT {TITfll l l l l l l #rrrrn tltl!f f i l l l l l lt t ? t t lf f i l l l l l l? t t ? t t f . l j - ] - l - . ]r rm i l l l l lr r r r n l l l l r l

d-rC.AiAAF'G)

^s, , .8. ,l l t l l t l l r r r ltflfl-l rlil llril | lt utu.]tt+lt-t fl-lJtl$tr H#l.iH.

@g T@l

5 3

Ex. 66 (cont'd)

T*1fi^,

rE,t t ? t a lrrrtrnrrn-nl-{-'t-{-{-{

u-t-lltt t t t t lnnn

A'7*1

rFffiffi

H-t1+lnffnffiMbq

ffiFt+-t+{Fl-t-fHffffF!'''4

- * -a t r l t l|#i l t ? ? lrFmllftt-tftl-fH.Hl-ffiA+7

-S'-t t t t , ,

ffiIHXnrm€nqH{

ert D^q W

6fi athfr-

xFFTF|.{.,'l#| ? ? t ln-n'nffnt1ffftftr|nnArtn

Itr[]-TTT

11++Nrfffflrrrrr1ftttflAb+tl

rffirr|n#t a t | | lrrn-nffi-ff1ffil t t t t t c a 4

F,r,'l r. De a*4,- \ - r t \

6

trrml-fmn| t l lrnrli | | trffn-]clv1

RTMHtrffi

Ff,',h

F

u-?-t+]l+-t++ll-t-t-ttlffirni l | | t i

8*q

t +

Gr l

@ u o@ ot--.

Ex. 66 (c

(x)mi l t t l lffi

I i l i l lITTII]I t r t l l

en't

ffit{+u.lHJ+Nffi$)

a - l

-+"l-tiFt+i

LT'IUt++t#ffitl

4 -

@

.>

FFFFF

t-tfti-t mffit Hfflll l l l l l | - . ## l l l l l ll i l i l ll - t - l t l t + i l l l l l lt t t t t l. g i l l | l

Cnq FneT

Itm

l i l t r

a t a i l lI ]T1Tl

c't-

r

ffiffi4 .

ffi

g

ffiffiffi,,ffff,0b'-......_.....

frU]JJ]

ffitru-l+1..1

F-9ru

t3t*zE^ '

! L rflTTN

ffi

l ? t t | l|#

H+]+lHtffil | | t

!

l-I-n]tI a a I a trHfflFFF**I

t+++#H+f+ll ' l F . ghbs

Ex. 66 (cont'd)

\\-/-f 3

tl%4 ;l.at

Amf>f1( o . '1 f f1 tfi"t arT?dffi

Itr.[f]Tnt t t t e at-ft-l-F1rrnTl| | t lnnnc6/q

ffir l l ? l lH++lH+u.]nrfl-lGt?

Fffiff,Tf1

flmffi9ttl

#rnrrfnftffij

ffit[fi|*r{

IItTTITNFRTTffffn'#

H-i-i-FffnnCn;7

@ @ @ ' 6