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Posts: 17
Reply with quote  #1 
Hey All,

Relatively new fan of Ted Greene and first time poster here.  Been playing guitar for 20 years or so and don't know how I was never exposed to his work until now... I'm under a rock I tell ya. 

In an effort to further unveil for myself the immediate usefulness of all 35 of the qualities in the V-System, and as a complimentary dimension to practicing and learning chord streams, I've mapped out where each bottom set V-2 shape naturally occurs in harmony using relative notation as coordinates (roman numeral chord names as coordinates).
How to Read the Chart Next to Each Shape:
Note that the term "Chord" represents a specific quality with a chosen specific root note (Like "C Dominant 7" and its four shapes).
-Note that the term "Shape" represents a specific shape in a quality without a specific root note chosen (Like Quality 1, Shape 1).
-The chart to the right of each shape is divided into specific key types; major, minor, harmonic minor, and melodic minor.  
-The roman numeral triads indicated in these charts share the same bass note as the shape they reside next to.  That is, the lists to the right of each shape aren't meant to highlight what each shape is functionally (although frequently it does, I would guess), but rather highlight WHERE each shape occurs naturally in harmony.
-The roman numerals are all color coordinated using the same palette with permission from the guys at to make it easier to see where any particular shape occurs at any particular scale degree at a glance.  (Just visual scan for a red 'I' across all six pages to get a feel for it.)

Take the dominant 7th quality on the first page (the first quality at the top of the page consisting of 4 shapes).  Lining up the bass note of the shape and the bass note of the indicated roman numeral triads, we can see that the first shape of the dominant 7th quality occurs at the 'V' chord of a major key, at the 'VII' chord of a minor key, at the 'V' chord when chords are built from the harmonic minor scale, at the 'IV' chord from chords built from the melodic minor scale, and at the 'V' chord from chords built from the melodic minor scale.
How Often do these Shapes Occur Naturally in Harmony?:
It's also interesting to note, at a glance looking at all 35 qualities, how different shapes naturally occur much more frequently than others in harmony (and is probably by no means an indication of how often or in what capacity these shapes are actually used in the real world).

Implications Beyond the V-2 Family:
So, I haven't done a ton of playing around with the other families (still focusing on learning/studying V-2 mainly), but I'm pretty sure these coordinates transfer seamlessly between them.  As an example, the first V-2 shape of the plain dominant 7th quality should have the same coordinates as the first V-3, V-4, etc shape of the same quality.

Final Thoughts:
Anyway, let me know if I can clarify anything.  I just attached this coordinate work on top of my existing "V-2 35 Qualities plus Modes" sheet found in the "From Students" section, so the mode stuff is still in there for now.  I may remove the mode stuff at a later date when I get some time because one can figure out the mode just by looking at the chord type, "I" in a major key means Ionian, "ii" in a major key means Dorian, etc.

As an aside, I am using odd labels for the modes, and for that I'm sorry (my wife is a real composer and cringes when I refer to Super Locrian as Mixolydian#7#1).  I think of all of these patterns and stuff in terms of relative dots in space and the theoretic labels became kind of secondary.  There is an index of modes at the end with 3-note per string shapes to help with this.

Finally, I'm still learning, so while I feel the work is pretty solid and adds an interesting bird's eye view of the physical link between different qualities and links within a quality, I have very likely made a few mistakes.  Feel free to let me know and I'll make the appropriate changes.

Have fun!


Posts: 1,769
Reply with quote  #2 
At a quick glance I see that your first chord for "quality #6" has a major 7th.  
From the chord name I assumed it was going be a dominant 9 with a #5.
Is that correct?
Perhaps you need to change the name to Cmaj9#5 no3, or as Ted would write it, Cmaj9+ no3.


Posts: 17
Reply with quote  #3 
Ah, yeah, it looks I missed the "maj" in Cmaj9+ no3.  I'll get it fixed up when I get home to my lappy.  Thanks, Paul.  [smile]


Posts: 17
Reply with quote  #4 
Howdy!  I'm just consolidating the links and otherwise cleaning up the thread.

In addition to the main content, all sheets include:
-- The Modes from the Major/Minor, Harmonic Minor, Melodic/Jazz Minor, Diminished, and Whole-Tone scales which fall naturally over each Quality.
-- A Mode index of 3-note-per-string shapes for all 5 scales labelled in the context of their originating modes.

The original unorganized full list of all Bottom-Set 35 V-2 Qualities, including where each shape in a Quality naturally occurs in the context of 5 common scales.  (The 5 "Learn me first" Qualities are on the first page):

The 20 Bottom-Set V-2 Qualities which naturally occur in the context of the natural Major/Minor scale.  
(The 5 "Learn me first" Qualities are highlighted.  All Qualities are ordered by prevalence to encourage an order of learning past the main 5):

The 15 remaining Bottom-Set V-2 Qualities which DO NOT naturally occur in the context of the natural Major/Minor scale, but do naturally occur in the context of the 4 remaining common scales (Harmonic Minor, Melodic/Jazz Minor, Diminished, and Whole-Tone.  Ordered by prevalence):

Bottom-Set V-2 Shapes Grouped by Natural Major/Minor Scale Degree
 (Each packet also includes the Qualities where each shape comes from):


Posts: 17
Reply with quote  #5 
Here's that little Etude that plays through all the Bottom-Set V-2 Shapes that occur on the 1st scale degree in a natural Major key (Just read the sheet like a book to follow along, the root note is A).  This play through can be applied to any of those "shapes grouped by scale degree" sheets.  Just be warned that playing through the 3rd and 7th scale degree sheets in this way sounds absolutely hilarious:

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