UbiGuitar

This is the list for diatonic V-I voice leading progression on 4 high strings and 3 common tones:

In these examples you can study voice leading between C Lydian chords and D Dorian chords:

Each chord has 3 common tones with the next one.
As you can see many different voicings are available.

This is a sample result of a new algorithm we're working on, related to chord progressions and voice leading management.
In this case we're looking for best positions on hight four strings for harmonization of a G Dorian scale with G minor chords:

• G min7 [X X 3 3 3 3] - G min9 [X X 3 3 3 5]
  
• G min9 [X X 3 3 3 5] - G min7 [X X 5 7 6 6]
  
• G min7 [X X 5 7 6 6] - G min11 [X X 7 7 6 8]
  
• G min11 [X X 7 7 6 8] - G min7 [X X 8 10 8 10]
  
• G min7 [X X 8 10 8 10] - G min6 [X X 12 12 11 12]
  
• G min6 [X X 12 12 11 12] - G min7 [X X 12 12 11 13]
  

This is the list of available chords:

• G min7: X X 3 3 3 3
• G min6: X X 2 3 3 3
• G min9: X X 3 2 3 3
• G min6/9: X X 2 2 3 3
• G min11: X X 3 2 1 3
• G min11: X X 0 3 1 3
• G min11: X X 3 3 1 3
• G min11: X X 3 5 3 3
• G min13: X X 2 3 1 3
• G min13: X X 2 3 3 3
• G min13: X X 3 2 5 3
• G min13: X X 3 3 5 3
• G min13: X X 3 5 5 3
• G min9: X X 3 3 3 5
• G min9: X X 5 3 3 5
• G min9: X X 5 3 6 5
• G min9: X X 5 7 6 5
• G min9: X X 8 7 6 5
• G min9: X X 8 7 8 5
• G min6/9: X X 2 3 3 5
• G min6/9: X X 5 3 3 5
• G min6/9: X X 5 3 5 5
• G min6/9: X X 5 7 5 5
• G min6/9: X X 8 7 5 5
• G min6/9: X X 8 7 8 5
• G min11: X X 3 5 3 5
• G min11: X X 5 5 6 5
• G min11: X X 8 5 6 5
• G min11: X X 8 5 8 5
• G min13: X X 2 3 3 5
• G min13: X X 3 3 5 5
• G min13: X X 5 3 5 5
• G min13: X X 3 5 5 5
• G min13: X X 8 5 5 5
• G min13: X X 8 7 5 5
• G min7: X X 5 7 6 6
• G min6: X X 5 7 5 6
• G min9: X X 7 7 6 6
• G min9: X X 7 7 8 6
• G min11: X X 3 5 3 6
• G min11: X X 5 5 3 6
• G min11: X X 5 5 6 6
• G min11: X X 7 5 6 6
• G min11: X X 7 5 8 6
• G min13: X X 3 5 5 6
• G min13: X X 5 5 5 6
• G min13: X X 7 5 5 6
• G min13: X X 5 7 5 6
• G min13: X X 7 7 5 6
• G min13: X X 7 9 6 6
• G min13: X X 7 9 8 6
• G min11: X X 5 7 6 8
• G min11: X X 7 7 6 8
• G min11: X X 8 7 6 8
• G min11: X X 8 7 8 8
• G min11: X X 7 10 8 8
• G min11: X X 8 10 8 8
• G min11: X X 8 7 10 8
• G min11: X X 8 10 10 8
• G min13: X X 8 7 5 8
• G min13: X X 7 9 6 8
• G min13: X X 8 9 6 8
• G min13: X X 8 9 8 8
• G min13: X X 8 9 10 8
• G min7: X X 8 10 8 10
• G min6: X X 8 9 8 10
• G min9: X X 7 10 8 10
• G min9: X X 8 10 10 10
• G min6/9: X X 7 9 8 10
• G min6/9: X X 8 9 10 10
• G min11: X X 10 10 8 10
• G min11: X X 10 10 10 10
• G min11: X X 10 10 11 10
• G min11: X X 10 12 11 10
• G min13: X X 8 9 8 10
• G min13: X X 8 9 10 10
• G min13: X X 10 9 11 10
• G min6: X X 12 12 11 12
• G min6/9: X X 12 12 10 12
• G min6/9: X X 12 14 11 12
• G min13: X X 10 10 10 12
• G min13: X X 12 10 10 12
• G min13: X X 10 10 11 12
• G min13: X X 12 10 11 12
• G min13: X X 10 12 11 12
• G min13: X X 12 12 11 12
• G min13: X X 12 14 11 12
• G min13: X X 12 10 13 12
• G min13: X X 15 12 13 12
• G min13: X X 15 14 13 12
• G min13: X X 12 15 13 12
• G min13: X X 15 15 13 12
• G min13: X X 15 12 15 12
• G min13: X X 15 14 15 12
• G min13: X X 15 15 15 12
• G min7: X X 12 12 11 13
• G min9: X X 12 12 10 13
• G min9: X X 12 14 11 13
• G min11: X X 10 12 10 13
• G min11: X X 10 12 11 13
• G min11: X X 12 12 13 13
• G min11: X X 12 14 13 13
• G min11: X X 12 15 13 13
• G min13: X X 14 12 11 13
• G min13: X X 14 14 11 13
• G min13: X X 14 12 13 13
• G min13: X X 14 14 13 13
• G min13: X X 14 15 13 13
• G min13: X X 14 12 15 13
• G min13: X X 14 14 15 13
• G min13: X X 14 15 15 13

This is a sample result of a new algorithm we're working on, related to chord progressions and voice leading management.
In this case we're looking for best positions on hight four strings for harmonization of a G Lydian scale with G Tonic/Lydian chords:

• G 6 [X X 2 4 3 3] - G add9 [X X 5 4 3 5]
  
• G add9 [X X 5 4 3 5] - G maj7 [X X 5 7 7 7]
  
• G maj7 [X X 5 7 7 7] - G maj7/#11 [X X 9 7 7 9]
  
• G maj7/#11 [X X 9 7 7 9] - G maj7 [X X 9 11 8 10]
  
• G maj7 [X X 9 11 8 10] - G 6/9 [X X 9 12 10 12]
  
• G 6/9 [X X 9 12 10 12] - G maj7/b5 [X X 11 12 12 14]
  

This is the list of all available chords:

• G 6: X X 2 4 3 3
• G add9: X X 0 2 0 3
• G maj9: X X 0 2 0 3
• G 6/9: X X 0 2 0 3
• G 6/9: X X 2 2 0 3
• G 6/9: X X 2 2 3 3
• G 6/#11: X X 2 4 2 3
• G maj7/13: X X 2 4 3 3
• G maj13: X X 2 2 0 3
• G maj13: X X 2 4 2 3
• G maj13: X X 2 4 3 3
• G add9: X X 5 4 3 5
• G maj9: X X 4 4 3 5
• G maj9: X X 5 4 3 5
• G maj9: X X 5 4 7 5
• G maj9: X X 5 7 7 5
• G 6/9: X X 2 4 3 5
• G 6/9: X X 5 4 3 5
• G 6/9: X X 5 4 5 5
• G 6/9: X X 5 7 5 5
• G maj#11: X X 4 4 2 5
• G maj#11: X X 5 4 2 5
• G maj#11: X X 4 6 3 5
• G maj#11: X X 5 6 7 5
• G maj13: X X 2 4 2 5
• G maj13: X X 2 4 3 5
• G maj13: X X 4 4 5 5
• G maj13: X X 5 4 5 5
• G maj13: X X 4 6 5 5
• G maj13: X X 4 7 5 5
• G maj7: X X 5 7 7 7
• G maj7/b5: X X 5 6 7 7
• G 6: X X 5 7 5 7
• G add9: X X 7 7 8 7
• G maj9: X X 7 7 7 7
• G maj9: X X 7 7 8 7
• G 6/9: X X 7 7 5 7
• G 6/9: X X 7 7 8 7
• G 6/9: X X 7 9 8 7
• G maj7/#11: X X 5 6 7 7
• G 6/#11: X X 5 6 5 7
• G maj#11: X X 5 6 7 7
• G maj#11: X X 7 6 7 7
• G maj#11: X X 7 6 8 7
• G maj7/13: X X 4 7 5 7
• G maj7/13: X X 5 7 5 7
• G maj13: X X 4 6 5 7
• G maj13: X X 5 6 5 7
• G maj13: X X 7 6 5 7
• G maj13: X X 4 7 5 7
• G maj13: X X 5 7 5 7
• G maj13: X X 7 7 5 7
• G maj13: X X 7 9 7 7
• G maj13: X X 7 9 8 7
• G maj7/b5: X X 9 11 8 9
• G maj7/#11: X X 9 7 7 9
• G maj7/#11: X X 9 7 8 9
• G maj7/#11: X X 9 11 8 9
• G maj7/#11: X X 12 11 12 9
• G maj7/#11: X X 12 12 12 9
• G 6/#11: X X 9 7 8 9
• G 6/#11: X X 9 9 8 9
• G 6/#11: X X 12 9 12 9
• G 6/#11: X X 12 12 12 9
• G maj#11: X X 7 7 7 9
• G maj#11: X X 9 7 7 9
• G maj#11: X X 9 7 8 9
• G maj#11: X X 9 11 8 9
• G maj#11: X X 9 7 10 9
• G maj#11: X X 9 11 10 9
• G maj#11: X X 12 11 10 9
• G maj#11: X X 9 12 10 9
• G maj#11: X X 12 11 12 9
• G maj#11: X X 12 12 12 9
• G maj13: X X 7 9 7 9
• G maj13: X X 9 9 7 9
• G maj13: X X 9 9 8 9
• G maj13: X X 9 9 10 9
• G maj13: X X 12 9 12 9
• G maj7: X X 9 11 8 10
• G 6: X X 9 9 8 10
• G add9: X X 9 12 10 10
• G maj9: X X 9 11 10 10
• G maj9: X X 9 12 10 10
• G 6/9: X X 7 9 8 10
• G 6/9: X X 9 9 10 10
• G 6/9: X X 9 12 10 10
• G maj7/13: X X 9 9 7 10
• G maj7/13: X X 9 9 8 10
• G maj13: X X 7 9 7 10
• G maj13: X X 9 9 7 10
• G maj13: X X 9 9 8 10
• G maj13: X X 9 9 10 10
• G 6: X X 12 12 12 12
• G 6/9: X X 9 12 10 12
• G 6/9: X X 12 12 10 12
• G 6/9: X X 12 14 12 12
• G 6/#11: X X 11 12 12 12
• G 6/#11: X X 12 12 14 12
• G maj7/13: X X 12 11 12 12
• G maj7/13: X X 12 12 12 12
• G maj13: X X 9 11 10 12
• G maj13: X X 11 11 10 12
• G maj13: X X 12 11 10 12
• G maj13: X X 9 12 10 12
• G maj13: X X 11 11 12 12
• G maj13: X X 12 11 12 12
• G maj13: X X 11 12 12 12
• G maj13: X X 12 12 12 12
• G maj13: X X 11 14 12 12
• G maj13: X X 12 14 12 12
• G maj13: X X 12 11 14 12
• G maj7: X X 12 12 12 14
• G maj7: X X 17 16 15 14
• G maj7/b5: X X 11 12 12 14
• G maj7/b5: X X 17 16 14 14
• G maj9: X X 12 14 12 14
• G maj9: X X 17 14 15 14
• G maj7/#11: X X 11 12 12 14
• G maj7/#11: X X 12 12 14 14
• G maj7/#11: X X 17 16 14 14
• G maj#11: X X 11 12 12 14
• G maj#11: X X 11 14 12 14
• G maj#11: X X 12 12 14 14
• G maj#11: X X 12 14 14 14
• G maj#11: X X 17 14 14 14
• G maj#11: X X 17 16 14 14
• G maj7/13: X X 14 12 12 14
• G maj7/13: X X 14 12 15 14
• G maj7/13: X X 14 16 15 14
• G maj7/13: X X 17 16 17 14
• G maj13: X X 14 12 12 14
• G maj13: X X 14 14 12 14
• G maj13: X X 14 12 14 14
• G maj13: X X 14 14 14 14
• G maj13: X X 14 16 14 14
• G maj13: X X 14 12 15 14
• G maj13: X X 14 14 15 14
• G maj13: X X 14 16 15 14
• G maj13: X X 17 14 17 14
• G maj13: X X 17 16 17 14

This is a sample result of a new algorithm we're working on, related to chord progressions and voice leading management.
In this case we're looking for best positions on hight four strings for harmonization of a G Superlocrian scale with G altered dominant chords:

• G 7/b5 [X X 3 4 2 3] - G b5/b9 [X X 3 4 2 4]
• G b5/b9 [X X 3 4 2 4] - G b5/#9 [X X 5 6 6 6]
• G b5/#9 [X X 5 6 6 6] - G b5/b9 [X X 6 6 8 7]
• G b5/b9 [X X 6 6 8 7] - G 7/b5 [X X 9 10 8 9]
• G 7/b5 [X X 9 10 8 9] - G #5/b9 [X X 9 10 9 11]
• G #5/b9 [X X 9 10 9 11] - G 7/b5 [X X 11 12 12 13]

NB: This is the tab (consider there are errors with alteration due to importing limitation).


This is the list of available chords:

• G 7/b5: X X 3 4 2 3
• G aug7: X X 3 4 4 3
• G b5/b9: X X 3 1 0 3
• G b5/b9: X X 3 1 2 3
• G b5/b9: X X 6 4 6 3
• G b5/b9: X X 6 6 6 3
• G #5/b9: X X 1 1 0 3
• G #5/b9: X X 3 1 0 3
• G #5/b9: X X 3 1 4 3
• G #5/b9: X X 6 4 4 3
• G #5/b9: X X 6 4 6 3
• G b5/#9: X X 3 3 0 3
• G b5/#9: X X 3 3 2 3
• G #5/#9: X X 1 3 0 3
• G #5/#9: X X 3 3 0 3
• G #5/#9: X X 3 3 4 3
• G b5/b9: X X 3 4 2 4
• G b5/b9: X X 5 4 2 4
• G b5/b9: X X 5 4 6 4
• G b5/b9: X X 5 6 6 4
• G #5/b9: X X 3 4 4 4
• G #5/b9: X X 5 4 4 4
• G #5/b9: X X 5 4 6 4
• G b5/#9: X X 5 4 6 6
• G b5/#9: X X 5 6 6 6
• G b5/#9: X X 9 6 6 6
• G b5/#9: X X 9 6 8 6
• G #5/#9: X X 3 4 4 6
• G #5/#9: X X 5 4 4 6
• G #5/#9: X X 5 4 6 6
• G #5/#9: X X 5 8 6 6
• G #5/#9: X X 9 8 6 6
• G #5/#9: X X 9 8 8 6
• G 7/b5: X X 5 6 6 7
• G aug7: X X 5 8 6 7
• G b5/b9: X X 6 6 6 7
• G b5/b9: X X 6 6 8 7
• G #5/b9: X X 6 8 6 7
• G #5/b9: X X 6 8 8 7
• G b5/#9: X X 8 6 6 7
• G b5/#9: X X 8 6 8 7
• G b5/#9: X X 8 10 8 7
• G #5/#9: X X 8 8 6 7
• G #5/#9: X X 8 8 8 7
• G #5/#9: X X 8 10 8 7
• G 7/b5: X X 9 10 8 9
• G b5/b9: X X 9 10 9 9
• G b5/b9: X X 9 12 9 9
• G b5/#9: X X 8 10 8 9
• G b5/#9: X X 9 10 11 9
• G b5/#9: X X 9 12 11 9
• G aug7: X X 9 10 8 11
• G #5/b9: X X 9 10 9 11
• G #5/b9: X X 9 12 9 11
• G #5/#9: X X 8 10 8 11
• G #5/#9: X X 9 10 11 11
• G #5/#9: X X 9 12 11 11
• G 7/b5: X X 11 12 12 13
• G aug7: X X 13 12 12 13
• G b5/b9: X X 11 13 12 13
• G #5/b9: X X 13 13 12 13
• G b5/#9: X X 11 12 11 13
• G #5/#9: X X 13 12 11 13
• G #5/#9: X X 13 15 12 13

This is a sample result of a new algorithm we're working on, related to chord progressions and voice leading management.
In this case we're looking for best positions on middle four strings for this progression:

• A min9, D #5/#9, G maj13.

Algorithm will ensure that only nearest chords are returned.
Each measure is a returned progression.

Have fun!

This is a sample result of a new algorithm we're working on, related to chord progressions and voice leading management.
In this case we're looking for best positions on four high strings for this progression:

• A min9, D #5/#9, G maj13.

Upper chord root has to be respectively: B, Bb and B again.
Each measure is a returned progression.

Have fun!