Vertical Structures

0:12

0:07

G7

2413
& bbw
w
w
w

D/C

C7

2413

2314

nw
w
#w
w

bw
w
bw
w

3
2
4
3

3
2
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3

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4
2
4
3

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G7

B7

D7
5fr

2413
& bnbw
ww
nw

2413

bww
bb w
w

3
2
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3

6
5
7
6

E7
8fr

11fr

2413

2413

bbw
w
w
bw

w
bbw
w
w

9
8
10
9

3
2
3
2

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G7

D/C

D7

D7
8fr

2413
& bbw
w
w
w

3
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3

2413

2314

nw
w
#w
w

bw
bw
w
bw

3
2
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3

5
3
5
4

2413

bw
bw
w
bw

9
8
10
9

2
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0:52

D7/F

D7

F7
3fr

2314

2314

G7
4fr

5fr

1324

324
b1w
bww
w

0:42

nww
w
#w

bw
& bbw
w
w

#ww
w
#w

5
3
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5
3
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5
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5

0:59

1:01

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G7

D7

G7
9fr

14
bb2 3w
bw
w
w

2314

bbw
w
& bw
w

5
3
5
4

11
9
11
10

G7

14fr

b1w3 2 4
bww
w

2413

bww
bw
w

6
5
6
5

3
2
4
3

1:30

G7

G7
9fr

2314
b
w
bbw
w
& w

1:21

11
9
11
10

G7

5fr

5fr

b1w3 2 4
bww
w

6
5
6
5

2413

bw
bww
w

15
14
16
15

The Diminished Form!

!

The
diminished interval is the Fourth Primary appearing on the circumference of the circle at!
!!
!
four
points. When meeting in symmetry with each other they form an equilateral Diamond.!
!
eg. 15
!
E

D#

F#

C#

G#
B

A
Bb

5 Vertical Augmented Inversions!

! Groups)
(Commen
!

Adjacent String Groups

3

2 1

6 5

G C# E Bb

5 4

II

III

5 4

II

E Bb C# G

C# E Bb G
!

Non-Adjacent String Groups

3

2 1

6 5

III

5 4

II

E Bb C#
C#

Bb E G

Some of the most valuable elements found within the common groups are based upon !
!
opposition.!
!
!
The third primary, (the augmented triad) reveals itself horizontally within two types of inverted!
!
alterations. One of them, (major) being the result of any singular descending tone, while the!
!
other, (minor) is the result of an ascending tone. !
!

These particular string groups provide what's needed to create a practical library of chord !
!
forms, along with their alterations, and inversions.!

Transformations of the Diminished Form!

eg. 23

to V7th and Mi7b5 Clusters

V7th (tones in descent)
6
3

2 1

5 4

2 1
6

5 4

2 1

2 1

II

5 4

II

A
G C# E Bb Dim

F#7

C7

D#7

6
2

5 4

5 4

5 4

1
6

III

III

5 4

III

A7

II

5 4

III

5432

5 4

2 1

II

II

6543

5 4

B
C7

2 1

E Bb C# G Dim

5 4

2 1

5 4

D#7

D#7

2 1
6

5 4

II

2 1

II

5 4

II

5 4

4321

A7

F#7

G C# E Bb Dim

A7

C7

F#7

2 1

2 1

2 1

6 5 4

2 1

F#7

D#7

2 1

5 4

2 1

2 1

III

5 4

5 4

2 1

5 4

2 1

III

III

5 4

II

C7

A7

II

G E Bb C# Dim

5321

6 5 4

6 5 4

2 1

2 1

II

II

6 5 4

II

6 5 4

6432

E
C# Bb E G Dim

A7

C7

F#7

D#7

Mi7b5 (tones in ascent)

6
5 4

2 1

5 4

2 1

II

5 4

2 1

II

2 1

2 1

II

II

5 4

II

6543

5 4

A
Emi7b5

Bbmi7b5

2 1

5 4

2 1

C#mi7b5

2 1

III

5 4

5 4

2 1

5 4

2 1

IV

III

5432

5 4

III

Gmi7b5

III

E Bb C# G Dim

B
C# G Bb E Dim

Emi7b5

Bbmi7b5

C#mi7b5

Gmi7b5

E Bb C# G Dim

2 1

2 1

2 1

6
5 4

2 1

5 4

5 4

2 1

2 1

II

Gmi7b5

5 4

2 1

Gmi7b5

C#mi7b5

5 4

2 1

III

5 4

2 1

III

2 1

5 4

III

Bbmi7b5

III

III

5 4

2 1

2 1
6

6
6

Bbmi7b5

Emi7b5

2 1
6

G E Bb C# Dim

5321

5 4

II

C#mi7b5

II

5 4

5 4

II

Gmi7b5

6432

5 4

5 4

II

II

2 1

2 1

II

II

5 4

II

5 4

II

4321

E
C# Bb E G Dim

Emi7b5

C#mi7b5

Gmi7b5

Bbmi7b5

!
Finally, prior to an introduction for basic linear studies, it's important to add another !
!
consideration based upon the intervals of the guitars normal tuning: E, A, D, G, B, and E. The!
!
!
intervals between these tones are as follows. E to A, (perf 4th) A to D, (perf 4th) D to G, !
!
(perf 4th). It's here, (between G to B) that the interval changes to a ma 3rd, then continues with!
!
B to E once again as a perf 4th. So far, (throughout these studies) the movement of single !
!
tones, (either in descent, or ascent) has proved successfull as a formula. It holds true when it's !
!
applied in vertical manipulations as well. A demonstration unfolds in the following examples. !
!
!