MASTERCLAS MASTERC LASSS BO BOOKLET OKLET
Luca Mantovanelli
MAPPING THE MODES: VOL.2 INTERMEDIATE INTRODUCTION Hey folks, thanks for buying my modes masterclass! My intention here is not to give you the usual u sual guide to the modal system, with lots lot s of boring scale diagrams and stuff. Instead, I’m going to show you how you can create cool licks using outside notes, but in all positions, all over the fretboard. This is w hy this masterclass is called Mapping the Modes… we want to to be able to find the important target notes wherever wherever we are on the fretboard. This is how you become a fluent improviser. In this volume I’m going to show you patterns, approaches, descending triads, ‘’walking triads’’ and how to create a good phrasing vocabulary. For a basic guide to the modal system, sys tem, check out Volume 1. Let’s move on to our new practice routines…
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MAPPING THE MODES: VOL2 INTERMEDIATE LUCA MANTOVANELLI
THE 5 NOTE APPROACH � STARTING WITH PINKY
(Tab files: 5notes_pinky) This is related to something we did in Volume 1 - we’re creating little “melodic cells” (like mini phrases) where we approach a target note in different ways. A “ target note” is a strong melodic note which can be held over a chord. Normally, the root, 3rd and 5th are the most powerful target notes. Over a G major chord, these would be the notes G, B and D. The idea here is to take these simple melodic cells and work them through all our scale shapes, increasing fretboard knowledge and melodic flexibility. flexibility. For our first firs t pattern, we’ll start on the index finger (on a downbeat) and run through five notes, ending on a target note. Using the intrinsic layout of the five CAGED scale shapes (see Vol 1), we only have three possible fingerings on a single string: 1-2-4, 1-3-4 and 1-3. For example, if you look at the first scale shape (Tab file modes_5shapes_shape1_ modes_5shapes _shape1_tab) tab) you’ll you’ll see that we’re using 1-2-4 1-2-4 on the low E and A strings, 1-3-4 on the D and G strings, 1-3 on the B string and then 1-2-4 on the high E string. Each of these fingerings has its it s own pattern of scale notes and chromatic passing notes, leading to the eventual target note… 1-2-4 = 4-3-2-4-1 1-3-4 = 4-2-3-2-1 1-3 = 3-1-3-23 -1-3-2-11 The easiest thing is to play p lay through the exercises, referring back to the 5 mode shapes in Volume Volum e 1 to see how they relate to the five-note melodic cells. THE 4 NOTE APPROACH
(Tab files: files: 4notes_index, 4notes_pinky) 4notes_ pinky) Of course, you don’t have to create 5-note cells; this is the same concept, but using four notes. Also, to vary the rhythmic feel, we’re starting each phrase on an upbeat. Firstly, the 4 note approach starting with index finger: 1-2-4 = 1-4-3-2 1-2-4 1 -4-3-2 1-3-4 = 1-4-2-3 1 -4-2-3 1-3 = 1-3-21 -3-2-11 And then we have another set of exercises starting with the pinky (4th finger): 1-2-4 = 4-3-1-2 1-3-4 = 4-1-2-3 1-3 = 3-1-2 3 -1-2-3 -3
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MAPPING THE MODES: VOL2 INTERMEDIATE LUCA MANTOVANELLI
DESCENDING TRIADS
(Tab files: desc_triads_triplets) For each shape we can c an build triads from all notes, but we’re we’re just going to take one set of shapes, using the highest note on each string as the root. In volume 1 we played ascending triads, so now we’ll play them in descending form. This is harder as you have to know the whole shape in order to find the top note. You You can’t just find the root first firs t and then think about the other notes! These are the triads in each shape… Shape 1: A 1: A minor, D major, G major, B minor Shape 2: B 2: B minor, E minor, A minor, D major Shape 3: D 3: D major, G major, B minor, E minor Shape 4: E 4: E minor, A minor, D major, G major Shape 5: G major, B minor, E minor, A minor WALKING TRIADS
(Tab files: walking_triads) Now we know all the triads for each shape, we’l we’lll join them together in a linear fashion. In this exercise, we’ll we’ll be moving up and down the fretboard, using four sets of triads (strings 1-3, 2-4, 3-5 and 4 -6). We’re We’re also going to be using two t wo triads from the key of G major that we haven’t played in the previous triad exercises exercises:: C major and F# diminished. In each exercise, we’ll we’ll start from shape 1, gradually moving up to shape 5 and back down again. These are the triads in each sequence… Exercise 1 (strings 1 (strings 1-3): Bm, C, D, Em, F#dim, G, Am Exercise 2 (strings 2 (strings 2-4): G, Am, Bm, B m, C, D, Em, F#dim Exercise 3 (strings 3-5): D, Em, F#dim, G, Am, Bm, C Exercise 4 (strings 4 (strings 4-6): 4 -6): Am, Bm, C, D, Em, F#dim, G As you can see, we’ we’re re basically playing through all the triads of G major, in order (this is the diatonic sequence). 4 NOTE N OTE APPROACH � AL ALTERNATE TERNATE
(Tab files: 4notes_alternate) When we worked on the 4-note approach above, we had two sets of patterns… one set starting with the index finger and one set starting with the pinky. In these lines, we’re going to alternate between the two patterns. pat terns. For example, in shape 1, we’re playing the index-leading pattern on the 6th string, the pinky-leading pattern on the 5th string, and so on.
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MAPPING THE MODES: VOL2 INTERMEDIATE LUCA MANTOVANELLI
You could also take this further and reverse the order, so you’d you’d start with the pinky-leading pink y-leading pattern on the 6th string, the index-leading pattern on the 5th string, etc. With this exercise, we’re we’ re getting closer to the kind of thing you might play in a real solo. 10 LICKS
Again, I’ve made two backing tracks so we can work on a variety of scales and triads. The first five licks are played over a progression in Bb Lydian Lydian (Bb C D E F G A) which is relative to F major.. Also, licks 1-5 are based on just one shape each. major Lick 1: This 1: This is shape 5, and in bar 3 I play a 5-note approach starting with the pinky on 2nd string and 3rd string. Lick 2: Now 2: Now we’re we’re in shape 2. Note the D minor and G minor triads in bar 2, giving a Bb major 7 (add 6) sound over the Bb backing. Let the notes ring together at the end to give a cool complex chord sound. Lick 3: This lick in in shape 3 and we start with descending triads: Dm, Bb, F, F, C. Then I play p lay a series of 4-note patterns starting with index finger. Lick 4: Built 4: Built on shape 5, this starts with a classic countryish bending line followed by the descending triads Am, F, C. Lick 5: Now we’re we’re in shape 4, and this lick uses almost all the concepts we’ve covered. After the first couple of notes we have a 4-note approach pattern (starting with index) on the 5th string and then a 5-note pattern (starting with pinky) on the 4th string. Then there’s are 4-note approach patterns (index) on the 3rd and 2nd strings, followed by descending triads of. F, C, Gm and Dm. major. Lick 6: The rest of the licks are in A Mixolydian (A B C# D E F# G) which is relative to D major. We’ll We’ ll also be moving around from shape to shape. This lick star ts in shape 4 and I played 4-note (index) patterns across three strings. After using those sliding 3rd intervals to move through the shapes, I then land in shape 5 and play 4-note approach patterns on the 1st and 2nd strings in bar 3 (index, then pinky). Lick 7: The whole lick is built around the 4-note approach patterns. From the 5th to the 1st string we’re starting with the index finger, finger, and then we descend starting star ting with the pinky. pink y. The lick ends with three notes from the underlying A7 tonality… the major 3rd (C#), root (A) and minor 7th (G). Lick 8: Bars 1 and 2 are built around the walking triad pattern (using just two of the three notes at first). I then play a sequence of descending triads in shape 4: A major, Em, Bm and F# minor. Lick 9: Starting 9: Starting in shape 2, I play a 5-note approach line starting with the pinky on the 1st string, then a 4-note approach with pinky on the 2nd string. We then have a mixture of ascending triads with scale fragments (and some chromatic fragments)
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MAPPING THE MODES: VOL2 INTERMEDIATE LUCA MANTOVANELLI
Lick 10: Starting 10: Starting at shape 2 on the 2nd string, I play the 1st, 2nd, 3rd and 5th notes of A Mixolydian (A B C# E) followed by a little chromatic line on the 4th string. This is followed by the 5note approach starting with index on the 3rd and 2nd strings and a 5-note approach starting with pinky on the 1st string. Finish with a blues line. FINAL WORDS
And there we have it! Once again, i’ve also included a full solo for you to learn and extract extrac t ideas from. Take Take it slow and try to see where I have used the concepts behind the exercises/ licks in this volume in my own soloing. Just like in volume one, once you’ve got everything mastered, tr y to create your own licks and phrases with the concepts I’ve shown you so far. Be sure to work in different keys and over different backing styles too. Thank you, I hope you’ve learned a lot, and we’ll see you in volume three! Luca Mantovanelli. P.S Please scroll down to find the TABs!
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