This book, a follow-up to Guitar Soloing, is the next step-an advanced player's guide to mastering the art of melodic improvisation. • CD includes 22 tracks for demonstration and play-along • Scales, modes, arpeggios, technique, creativity and visualization exercises • Rock, blues, jazz, and other styles • Sequences, phrases, and licks
Book $9.95 CD $10.00 = Pkg $19.95 Par ts not sold separately
ISBN 0-634-03100-7
0
11111111 1111111111 1111 73999 9 5636 HL00695636
8
I able of Contents Introduction . . ... .. .. .. . ................. . ........... .. .. ..... . . . .. . ..... .. ... 4 About the Authors .................... . ...... ..... ... ... .. .... .. ...... . ... .... 4 Chapter 1
Modal Interchange ....................... . ................. . ....... 5
2
The Melodic Minor Scale . ... . ............. .. ....................... 11
3
The Phrygian and Locrian Minor Scales ............................... 16
4
Double Stops .................................................... 21
5
The Lydian Scale . .. .. .. .. .. . ... . ... .. ..... . ...................... 27
6
The Lydian Dominant Scale .. . ..................................... 31
7
The Altered Scale ................................................ 36
8
The Dominant Chord ................ .. .. ......... .. ...... . ... ..... 41
9
Secondary Dominants in Major Keys . .. .. .. ................. . ... ... .. 45
10
Secondary Dominants in Minor Keys . . . ... . ...... . .. .......... ... ... . 49
11
Chromaticism ... . .. . .. .. . .. .. .. . .. . .. .... ... .. .. .. .... .. ..... .. . 53
12
The Whole Tone Scale and Augmented Arpeggio .................... ... 59
13
Diminished Sounds .. . ... . .......... ... ............. .. ... .... ... .. 64
14
Slash Chords ...... . ... . ... . .. .. ..... . ....... ..... .. .. ..... .. ... . 70
15
Chord Scale Playing ...................... . .. ..... . .... . . ......... 75
16
Spicing It Up .................................................... 78
17
Putting It All Together ................................ . ............ 82
Afterword .................................................................. 91 Guitar Notation Legend . ... . ...... . ........... ... ........................... 92
Introduction his book is a guide to learning and mastering the craft of guitar improvisation on a professional level. Two of M.l .'s top instructors lay out a comprehensive , step-by-step approach to developing the chops and musicianship to help you play professional quality solos in any style. Each chapter gives you diagrams, exercises, techniques, licks, and an "insider's view" on how to apply each and every sound. The play-a-long CD is packed with great grooves to help you practice applying the concepts presented. Also included are sixteen licks and six solos- one at the start of each track. This book will provide you with an advanced approach to understanding and using the fretboard creatively! It can be used as a continuation of the concepts iintroduced in the M.I. Press book Guitar Soloing, or as continuing education for the advanced guitarist. Take your time and play it through from cover to cover, or work on each chapter as needed. Enjoy, and happy soloing!
T
About the Autho1rs Daniel Gilbert is a New York City-born guitarist who has been working at Musicians Institute since 1979. He has written much of the school 's guitar-based curriculum, including Single-String Improvisation, Funk Rhythm Guitar, and Applied Technique. Along with his busy recording schedule, Daniel continues to do club gigs, sessions, and seminars in California, as well as Japan, the East Coast, and Europe. He is currently working on his sHcond album of rock, jazz, and blues-based instrumental music. (His first album, Mr. Invisible, is distributed in Europe.) Beth Marl is is the current Department Head of GIT (Guitar Institute of Technology), where she has been an instructor since 1987. She holds a Masters degree in music from USC, a B.A. in music from UC Santa Cruz, and is a Vocational Honors graduate of GIT. While working her way up the musical food chain, Beth has performed with a wide range of artists including Harold Land , Brownie McGee, Louis Beillson, Helen Reddy, et al. She has also been involved with various music videos, recording projects, and has composed numerous film scores, while maintaining a career as a professional "sideman" in L.A.
Dan and Beth are also co-authors of the Ml Press Guitar Soloing book/CD package published by Hal Leonard Corporation. They also appear in the companion instructional video, Guitar Soloing.
4
Objectives •
To recognize modal interchange in chord progressions.
•
To analyze progressions that use modal interchange.
•
To understand the different ways to practice over modal interchange progressions.
•
To improvise over progressions that use modal interchange.
EXERCISE 1 : Creativity Exercise This exercise comes from Guitar Soloing, part one of this series: Sing any short melody or lick, and then try to copy it on your guitar. This is a critical part of developing a ''fusion" between yourself and the instrument. The more you have fused this connection, the more you will be able to directly communicate your creative musicality and "find your voice" in a natural way.
Modal Interchange Chord Progressions Up to this point, you may be accustomed to thinking of most chord progressions in popular music as "major" or "minor'' in tonality. Modal interchange is the practice of borrowing chords from the parallel key (a key with the same tonic note). In the most typical situation, this would involve a major-tonality progression using chords from the parallel minor key. The standard approach to creating melodies over chord progressions is to use a key center approach, which involves grouping adjacent chords into a scale and using that scale over all the chords to produce melodies. Playing over modal interchange chord progressions can be seen as a variation of key center playing. The improviser must be thoroughly familiar with major and minor scale harmonies, but it is also useful to think of Roman numeral interpretations for modal interchange chords, in which each chord in a progression is assigned a numeral that can be sharp or flat, depending on the tonality of the progression: • Major Scale Harmony: I major(?), ii minor(?), iii minor(?), IV major(?), V, vi minor(?), vii minor~ 5 • Minor Scale Harmony: i minor(?), ii minor?~ 5, ~Ill major(?), iv minor(?), v minor(?), bv1 major(?), bv11major(dom.7) Each of the following progressions utilizes modal interchange. Note the "odd" chords arnd practice thinking of them as "iv minor;' "b v1 major," or "iii minor." Fig.1A G
Cmi
$'i/ / /
*
/I/
7
/
17 / /
/
iv minor
Fig. 18
111# i
Fma7
/
Ama7
*'£? Fig. 1C
/IL / 1Fdg
I
7
I
7
I
7
I
2
7
I
7
I
7
,/
I
~
7 >-
Gmi
z=z=z
z
iii minor
I r,, z,
~VI major
D
I,
>> zz
2
>
I ,, I
iv minor
c 7
1 ='
~V il
~ l
5
Playing over Progressions that Use Modal Interchange Once modal interchange chords have been located within the progression, it's sinnply a matter of switching to the parallel minor scale when soloing over them. Let's practice over the pmgressions given above. When first learning to do this, it is helpful to play a constant eighth-note improvisation, forcing our hands to shift into the new scale smoothly. Play the following exercise based on the progression from Fig. 1A: Fig. 2
-..
C mi
G
.. ... .. - -. - - - - - - - -- - -- - -- - - .. r
j
I
I
I
L. -
I
t.
-
..
I
ll
.
... ... A
I
- .... -.., ..,- - ..,. .... - ....,
-..,
v
..,
..,
v
'fl-
..
L,_
I
I
..
..,,..
... ..,.. ft
.., A
,..
v
....,
,.
-..,
v
,.
,. v
....,
:cr ~J
,.
v
v
a
v
J J ~J
a 2
5
5
a
g
II
II
Notice that when you switch to the parallel minor scale, the melody stays in approximately the same position on the neck. This forces the player to be smooth when transitioning from one scale to the other. The next example is based on the chord progression from Fig. 1B. This example uses more rhythms (a mixture of quarter, eighth, sixteenth notes, and triplets). Play it in as many different positions as possible: Fig.3
..
Ama7
j
.. It "
.. - --.. I
1-_ 3 ~
t.J
.
-
~
'T"
-...,
....
,.
v
I
v
ll
- --
-
....
-
,. v
,.
-..,
Fma7 fl-
. -.
~~~
...
L. -
-
3
__,
..,..
A
v
~Jf -
,.
- ....
..,
..,
v
I
,.. v
I
c r ~j ~r .
...
5
6
8
II
I
The next example demonstrates the concept of changing only one or two notes of a repeating musical motif to fit the change in harmony. This is a very effective tool for making modal interchange sound smooth: Fig.4
- _.. - -..
D
•
"
~
t.J
'T" I
....n ..,
6
... A
c
Gmi
I\ ...
-- -
. - .....
~
v
I
--
.
...
;
...
A
r
•
:
.....
- -
I
s.. v
.. v
... A
•
-
-- - _!~ I
..
..,
~
II
..
...
I
5
II
. .,.
Chapter 1 Begin slowly, and for musicality, add your own performance techniques, such as bends, vibrato, hammer-ens and pull-offs, different rhythms, etc. Here are three more ideas to use over chord progression 1B. The first uses a repeating motif. (Try it with an R&B or Bossa groove.)
Fig. 5 Ama7
;
l
I
i
"
" "'
"'
,
lt
11
"
-
-:J'
.
.,.
~
- -·
... -
.... .. .... .
.ll
.... ....
"
-
•
I
•
...
. . "
Fma7
--
i.....-
...
p
v
"
....
-
- ..
-
-
~
"
,. v
..
~- .
. ..,,.
.., p
p
~- L
-
H
::
'-- J ~
..,"
.., p
v
..,.
,. v
-
v
6
a
5
..,
I
This idea uses A major pentatonic and its parallel (A minor pentatonic) with a chromatic passing tone.
Fig. 6 Ama7
Fma7
J
This variation explores the use of double stops.
Fig. 7
t Ei1 ~II EXERCISE 2 In the space provided below, write your own musical motif over example 1B. Adjust the! necessary notes to reflect the movement between A major and A minor tonalities.
$.#I i
Ama7
Fma7
II
7
Analyzing Modal Interchange Progressions Each of the following progressions uses modal interchange chords. Locate these chords and practice thinking of them in terms of Roman numerals. Play the progressions and try to hear the modal interchange chords. Fig. SA G
Bmi
~ #! /
2
,,
I
2
,,
I
,,
2
,,
I
,,
I
c ,,
F
Cmi
I
I
,,
2
,,
7
,,
I
7
,,,
,,
2
,,
,,
z
E~ F c ,, ,, ,, ,, ,, ~ ~~ ' ~,~'~,~'~! ~/~ / ~~~------~---~ Iz , z I z z
G
Bmi
I
I
I
I
2
7
I
7
I
,, =II
Fig.88 E~ma9
A~ ma7
Gmi7 z
,,
,,
z
,, I:r
,,
z
o b7sus 0~7
,,
z
2
,,
2
,,
E~ ma9
I ,,
Gmi7 2
2
7
Abmi7 ob9
Mma7
,,,
2
,,
I
2
,,
I
I
l
I
2
I
=II
Improvising over Modal lntercha1•ge Progressions Now that you've located the modal interchange chords, it's time to try improvising over the progressions. As you play over each of these progressions:
1. Play a steady eighth-note study in the same pattern. 2. Use different rhythms while keeping position shifting to a minimum.
3. Play a motif that changes only the necessary notes to fit the modal interchange cl1ords. 4. Play a steady eighth-note study that uses arpeggios only (first, use major aind minor, then seventh arpeggios). 5. Be able to do all these things in at least two patterns. 6. Try hooking up the entire neck while switching between major and minor tonalities.
Chapter 1 Lick The following example, set over the Chapter 1 Chord Progression, demonstrates all of the ideas listed above. Play th rough it slowly, using different patterns, positions, and shifting t13chniques. Add bends and any other performance techniques you "hear."
-" - ... It
,,_
~
~
-
tJ
.
•
-
... ~
8
A
v
-
A
v
...
,. \I
..
I
.
T
&&
- -
A
v
A
v
... ...
-
-
--
..
1.-
-
A
v
- .I
I
...
A
u
... ...
A
v
...,,
...
I
~
v
c r1 rJ 2
4-'
-=:.
5
I
5
I
Chapter 1 j\
-
I+
~
"
-
.
..
.,
- -
"
'-1
.. ...
-
- ..- ,. ..-
,
.... .
v
~
I+
v
v
v
II ~ I+
.
"v
I
II ... ~
, ,,
t)
,.
.
-.
I
-
....
--
,
Ema?
L
z:I
:7
z
:I
....
,
z :11
;z.:7
---
z:11
2
.
- ..- ...
•
.
,
~
- ..._..
..- . .
2 ...
:I
z:I
z :I
:7
I
1:
I
z :I
:11
z :I
I
:I
z :I
I
Ami7 z:I
z:I
z:I
I,..;
·- ·- - -
---
.. . ....,
~
z
z
:I
I
:I
I
2
:I
.., p
v
p
v
v
.• ,.' "
z :I
I
:I
B7
,, z
z:I
I,
z:I
z :I
z:I
I
z:11
z:I
z:11
2
I
:7
,
:I
z.:I
I
I
:I
,
:I
/
J
z:I
I
:7
l
:7
:I
>
Glmi7
-, I
I
z:7
I
:I
z:7
:11
z
I
:I
c•mi7
Flmi7 - :1
z:11
:11
B7
Glmi7
B7 :I
~~
4
I
Cma7
z :11
z:11
I
Chapter 1 Chord Progression
I
I
r-l J
"
4-
I
~
--
Cma7 I
--
2
-
-
-- -
JJ~
-
. .."
-
~ I
v
,
.
(J I
~
.
.." . . ....
• - -
.-
r
2
v
-
...
,
I
,
-
.
Ema7
I
L....-'
-
....
-
- - - - ...
I
I
-
I
.
-
..
-. ." ..-
-
Ffmi7
~
'
,
-
........,
Ama7
~
...
-
I
- •l 'U -
~I
.
.
,
v
I
.
~
.
v
..- .
.-
I
t)
-
-
- .
...
~·
..-
- - -
"
t
- -.., -
-;
,
I.-
-
..
- - - -4
I
'
.--
:7
z.
I
:I
z.
I
Ami?
,
:I
I
- :1
z
:I
Bmi.7 I
:I
,
~'
/-
play 3 times I
:I
=II 9
Chapter One
REVIEW
1. Be able to recognize modal interchange in chord progressions. 2. Be able to name modal interchange chords in Roman numerals. 3. Be able to play the given chord progressions. 4. Be able to play the given melodic examples. 5. Be able to improvise over each of the given progressions using all six of the given methods.
10
)The Melodic Minor Scale
Objectives •
To learn the construction of the melodic minor scale and its application.
•
To learn fingering patterns of the melodic minor scale.
•
To learn sequences and phrases that demonstrate the sound of the melodic minor sc:ale.
•
To apply the melodic minor scale to chord progressions.
EXERCISE 1: Melodlc Contours Often, melodic lines can be analyzed in a graphic context as melodic contours (or line shapes). Any given shape can be spread out over many bars or contained in a single measure. Her•e are some examples: 1. The Sine Wave
This shape is very symmetrical 'and often indicates stepwise scale or arpeggio movement. It can also imply the use of chromatic passing tones. ·
F II 2. The Sawtooth Wave The sawtooth, with its sharper drop-off, can often imply the so.und of a scale, motif, or "thematic or arpeggio sequence. A classic example of this is the "group of tour" sequence.
3. The "nian~le wave This sh8J?0 denotes an ascending and descending sequence. The example shows a "g1roup--of-five" sequence in the harmonic minor scale.
..
Examine the mekx:lies given in the last chapter in terms of the three shapes above. H1ow.are they connected? Wl'.lat sort of "moods" do .they create? We will discus$ melodic contours further in exercises to come. 1
11
Construction o'f the Melodic Minor Scale 1
The melodic minor scale can be most easily seen as a variation of the natural minor scale. Simply raising the sixth and seventh degrees of the natural minor scale yields the melodic minor scale. Building this scale from a tonic of C, we get these notes:
1/2 step
c 1
/
D 2
\_
1/2 step I
Ev ~3
F 4
G
A
5
6
B/ 7
"
C 1(8)
The improviser should be able to construct this scale from any tonic.
Applications o'f the Melodic Mino1• Scale By harmonizing the melodic minor scale, we can easily see some of the chord types over which this scale can be used. The i chord is a minor triad with a natural seventh, known as a minor major 7 chord. The melodic minor scale may be played from the root of this chord. The scale can also be played over a straight minor triad (using the same root as the triad) if the improviser wishes to hear that melodic minorscale ''flavor:' The melodic minor scale has a very bright sound to it. It resembles a minor scalei in the first four notes, and a major scale through the remaining notes. This scale also yields modes (scales) which have become widely used in many forms of jazz and fusion music. These modes will be shown in the final chapter of this book.
Patterns o'f the Melodic Minor Sc:ale Fingering patterns for this scale are variations of the patterns of the natural minor scale. Feel free to change fingerings or even work out fingerings based on three-note-per-string pat!terns. Begin by learning patterns 2 and 4, then move on to the remaining patterns when you feel confid1ent that you can use the first two. (Since Patterns 2 and 4 are to be learned first, they will be listed first on each pattern diagram throughout this book.) Fig.1
pattern 4
P l il· l ! l ~l
pattern 2
I l: l i i =iil~ l · I
pattern 1
m~ m-{2~
12
>-+------+-<·1)...-.1.-- - I
Chapter 2
Sequences and Phrases of the Melodic Minor Scale Take each of the following groups of notes and sequence them ascending and descending through the two-octave melodic minor scale: Fig. 2: melodic minor sequences
a .A ·"
tJ
-•
...
-.., - - -,
I
- -.,
-
..,
v
LI
-
3
- .. - - - - -- - - - - -
v -
"
J
3
J
3
v
"
•v
..
-
A
·-
A
..,
•A
•v
•A IV
3
-
- --
..
,.
-
v
•v
3
-
-
..
·- -
v
v
3
..
v
.. F J j
II
-
II
s
..,
v
3
6
b.
A
'"
tJ
-•
.
.,-
..-
.
~
-
..
-
-
-..,
-..,
-
..
-
-
~
~
...
3
II
... I
ll
g
v
..,.
..,.
-
A
A
..,
v
v
~
c.
A
--
" -t.l
• ..
--
..-
..-
-
..,
.
,, _
-
-
.,-
-...
.,
...
I
.ft
g
d.
A
.
""
tJ
I
.n
....
-
-
.,
g
-..
-
v
...
..
--
v
..
•
..
..
..,.
"
.,
-
-
- ..
-
....,
,.
.,
-
..,
v
,.
-
,.
,.
v
-
.. - -
,.
-..,
-
-
,.
3
v
v
II
6
5
II
A
-
v
~
..,
..,
"
..
~
,. v
..
•
.,-
..-
n
Play the following phrases over the suggested chords. Try playing them in as many different patterns as possible. Add your own performance techniques, and try all kinds of picking p1ossibilities (alternate picking, hammer-ons and pull-offs, etc.). Some of these phrases use chromatic passing tones and arpeggios of the melodic minor scale: Flg.3
.
C melodic minor
- :: - ... . j
I
· ~
~I
-
.- I
I
I
g
- ·'" ,.
ll
- ·-
v
•v
..
.,
IV
-
~ ~
~~~ ~~ •
I
.
,-
I
... I
-
,.
"
.." -. '".. - - . -. " ,.
•v
v
..
.." ..
.,. ov
ft
v
.. v
A
v
... •v
-
JJ j
,.
.., -1:
,. v
II
..13
D melodic minor
--
- I\
~
• ff .
#
TI
--
- ..
-
t.J
L
...
- .,..
.,
I
-
- .
,.
.,
v
v
,.
I
-
...v
v
j\
ll
.1->-'J' -
..
ft.
-
...
-
......
...v
.
.... v
-
~·
~
q-.r
• -
If•
.. .. -., - ... .,- ., ,,. .. ~
...
.
v
.,
.0.
.
·-
v
-
v
I
-
.
~1!
•
I
v
il
E melodic minor
I
--
.,
.,, -
-
,.-
......
-
-
... "
.,
-
3 J#J J J l
II
1-
II
.. - -
-
v
8
4
5
5
J
-
~
..
..
II
Applying the Melodic Minor Scalee to Chord Prog·r essions Improvise over each of these progressions with the suggested melodic minor scale. Use the sequences and phrases provided above. Try to "hear" this scale and make up your own phrases and sequences. Use different rhythms and, as always, apply your own performance techniqu es. Over this first progression , you can use the C melodic minor scale over the Cmi(ma.7) in the second measure and the C Dorian mode over the rest of the chords: 1
Flg.4
a.
$£i. i b.
~
C mi I
Cmi(ma7)
7
z
Dmi
~
i
I
7
-7
7
z7
I
A7 l
7
z
7
z
7
z7
Dmi z
7
z
7
I
7
I
7
I
,
-7
z
G7
A7
Dmi
7
7
7
I
I
F7
C mi7
z
I
7
/
z
A7 z
7
z
7
Iz
-7
7
7
G7
Dmi 7
l
7
I
7
7
I
z
7
I
7
:I
/
A7 ?
7
EXERCISE2 In the space provided, write your own idea based on the melodic minor scale-ye>u might want to use a predetermined line contour for your "lick":
14
=II
Clllapter 2
Chapter 2 Lick This idea works over C mi(ma9) (the chapter 2 chord progression) . Play it in 4th position and sweep the triplets:
'
I
~
"
-..
-
L
t.
...
.·--
..
I
3
...
, A
A
I
A .... ....
,.
.
..
-
.·--
-
,
-
~Al
' '
II
'~'''~~~
~
A
~
- - - ~
A
A
A
~
Chapter 2 Choi'd Progreaalon Cmi(ma9)
• i'b& I
/
Chapter Two
Cmi(ma7) I
z
Cmi7 I
z
z
Cmi6
#
,
>
. play 12 rimes
/
=II
REVIEW
1. Be able to construct the melodic minor scale from any tonic note. 2. Know where to use the melodic minor scale. 3. Be able to play at least two 2-octave scale patterns of the melodic minor scale. 4. Be able to play the given examples of phrases in this scale. 5. Be able to improvise over the given progressions.
15
The Phrygian and .Locrian Minor Scales Objectives •
To learn the construction of, and applications for, the Phrygian and Locrian minor scales.
•
To learn fingering patterns for the Phrygian and Locrian minor scales.
•
To learn phrases demonstrating the use of these scales.
•
To apply these scales to chord progressions.
EXERCISE 1 : More on Melodic Contours Having an awareness of a solo's melodic contour is a critical component of music:ality. Does your solo develop, have points of peak intefsity, tension and resolution, or tell a story fmm beginning to middle to end? \ Here is one possible solo contour:
25-32
17-24
9-16
Now try out this short four-measure free-form contour. Play it in the scale of your choice, making "jumps" and smooth movements as the shape dictates:
Construction of the Phrygian Scale The Phrygian scale (a.k.a. mode) is a minor-tonality scale. It can be seen as a variation of the natural minor scale; lowering the second degree of the natural minor scale gives us the Phrygian scale. From a C tonic, the Phrygian scale would contain these notes: 1/2 step I '\ I
c
DP
F
1
b2
4
1/2 step I '\
G 5
Be able to construct the Phrygian scale from any note.
16
I
AP b5
c 1(8)
C h apter 3
Applications· o'f the Phrygian Scale Play the Phrygian scale and note the sound; it is a very "dark-sounding" minor scalH. This very distinctive sound is due to the lowered second degree. Its use is most often restricted to a chord progression in which the root movement is up a half step, as in the following progressions: Fig. 1 D~ I
,
I
,
,,
, z
l
,
II
D~ ma7
Cmi7
~ ~~·,.~ i /
/
2
I , 2
2
2>
zI
--
In the example above, the first chord is minor. For a Spanish "Flamenco" effect, this scale can also be played when the first chord is major, as in this example: Fig.2 D~ 2
2
,
I
l
,
2
II
When a single minor chord is played, the improviser may actually use any minor scalH he or she prefers; it just depends on what sort of "flavor" one wishes to convey. (Note: what other instruments are playing may affect your scale choice. If they are spelling out a different scale, you must be aware of it, and you may have to use that particular scale choice.)
Patterns o'f the Phrygian Scale Fingering patterns for this scale are based on lowering the second degree of the natural minor scale. Begin with patterns 2 and 4. After learning to make music with them, continue with the rest: Fig. 3
pattern 4
pattern 2
pattern 1
17
L
Phrases and Progressions in the Phrygian Scale The following phrases demonstrate the sound of this scale. Play them over the suggosted chords: Fig. 4 C Phrygian
-
"'
I y
y
-
-- - - I
-
-
'
. ...... T
,.
~
v
v
A
~
A
~
v
v
v
p
A
v
v
v
A
A
p
v
v
v
-
• -
,.
.
,
v
p
..,.
A
~
v
v
--
-
-
.
,.
A
v
v
,
• -
#
.
,
,.
A
,.
v
v
rt:
-
,.
v
I
~8 9 H 8
I
lj
I
v
v
• Key signature denotes C Phrygian.
D Phrygian
•
I
• Key signature denotes D Phrygian.
..
A Phrygian
- --• II
y
•
-- - - ... - --
I
r
-
I
•.
; I
t)
~
v
"T"
..
......
- ,,-
p
A
v
A
A
v
I
. p
-
-
A
v
I
I
-
•
-
- .-
-,,
-
I
A
~
v
v
.
I
I
I
- -
~
-, "- -. -
A A
-
- -- - -
-
A
v
v
v
v
5
- . I
~
5
'1
II
• Key signature denotes A Phrygian.
Now use pieces of these phrases and ideas of your own over the following Phrygian chord progressions. Use a clean or distorted tone and add bends, hammer-ons, pull-offs, vibrato, slides, and chromatic passing tones! Fig. 5 a.
E~rna7
Dmi7
~fz*J r,
r7
r,
1
zI
,
E~ ma7
Drni7 I
,
2
I
z7
I
z
7
z
I
z7
I
I
2
7
7
7
z7
I
l
=II
*Key signature denotes D Phrygian.
b.
~&~~·i
G~
Fmi 7
,
,
G~
Frni >
Iz
7
I
>
z
G~
Frni
7
I
,,
Iz
7
I
I
l
7
G~
Frni I
I ,.
7
7
,
z
,
I
z
z
G
F
z>
z7
=II
*Key signature denotes F Phrygian .
G
r
r
z
r
• Key signature denotes E Phrygian.
18
z
7
z
z
7
F
Emi z
7
z>
z>
I
7
z>
I
I
>
z>
=II
Chapter 3 Why does the Phrygian scale, played over its tonic minor 7 chord, create a "Gypsy/ Flamenco" sound? The flatted second scale degree really sets up this effect. That's why a progression that moves between two chords in a half-step motion, as above, generates this same kind of tonal coloration. The half-step movement is the strongest motion in music.
EXERCISE2 Scale sequences are another common device that can highlight the Phrygian scalo in a very effective way. Try the following "1-2-3-5" sequence in the G Phrygian scale-a faster tempo with a percussive pick attack will imply that "Gypsy/Flamenco" sound. continue through 2 octaves
F] 0 II
•Key signaturo denoies G Phrygian.
Construction, Application, and Patterns of the Locrian Scale The Locrian scale (mode), like the Phrygian, is based on an alteration of the natural minor scale. To get the Locrian scale, lower the second and fifth degrees of the natural minor scale. From a C tonic, here's what you get:
1/2 step
c
/
1
'\
1/2 step L
/
0?
F
b2
4
\_
L
GP bs
9b b?
c 1(8)
This scale actually has a diminished sound, due to its lowered fifth degree. This gives it a dissonant, unstable quality. Because of this, the Locrian scale is not very widely used in Wes1tern music. Its use is most often restricted to the minor 7~ 5 or altered dominant 7th chord in a chord scale type of analysis, which we will explore in later chapters. For now, a single fingering pattern of this scale will suffice in order to hear its sound quality, but for your reference all fingering patterns are given below:
Fig.6 pattern 1
i I
l
19
I ii
• I
I
I
I
Chapter 3 Lick This Phrygian-scale lick works over a G Phrygian tonality (the chapter 3 chord progression) . Play it fast, and p ick every note!
-
Gm
*
I
~
..
-
-
~
t
-
- - -
-
"T" I
...... A
•A I V
.. II
•A •v
'ff}-1-2 -'1·:
•A
.. .
•A
..
AP
•A •v
- - - - r
~
)--
• A 'V
.2
I V
•A
18
12
I
10
13
I
IV
*Key signature denotes G Phrygian.
A'P
Gm
Gm
II
•
A'P5/2
G5
-~ · ~b& i /
Chapter 3 Chord Progression play J8 times
/
=II
*Key signature denotes G Phrygian.
Chapter Three
REVIEW
1. Be able to construct the Phrygian and Locrian scales from any note. 2. Know where to use the Phrygian scale. 3. Be able to play two patterns of the Phrygian scale and one pattern of the Locrian scal1e. 4. Be able to play the Phrygian scale phrases. 5. Be able to improvise over the given progressions, using the Phrygian scale and all per1ormance techniques.
20
Double Stops
Objectives •
To construct and play lines that use double stops.
•
To learn the shapes of major and minor thirds on all string groups and play the harmonized major scale in thirds.
•
To learn the shapes of major and minor sixths on all string groups and play the !harmonized major scale in sixths.
•
To learn the shapes of octaves on all strings and play the major scale in octaves.
•
To apply double stops to chord progressions.
EXERCISE 1: Melodlc Conto~Continued In the space provided, draw two of your own melodic line contours. Use the classic wave shapes (from Chapter 2, Exercise 1), free-form, or any variation of your choice.
II
II Now, PLAY them!
Using Double Stops A useful addition to the improviser's vocabulary is the use of double stops-playing single-note lines harmonized in intervals. Any interval may be used in double stops; they can be used diatonically or in parallel configurations. In this chapter, we will explore the use of diatonic intervals of thirds, fourths, sixths, and octaves. On the guitar, this technique can be practiced in several different ways: in position (across the strings), shifting positions (up and down the neck horizontally on the same strinn group), or a combination of the two.
Using Diatonic Thirds It is helpful to "see" the shapes of thirds on adjacent pairs of strings. When played on string groups 6-5, 5-4, 4-3, and 2-1 , major- and minor-third intervals look like this: Fig. 1: Major and minor 3rds on strings ©®,
® © , ©@, and @CD
Major 3rd
Minor 3rd
I I
21
On the 3-2 stri ng group, major- and minor-third intervals look like this: Fig. 2: Major and minor 3rds on strings @@
Major 3rd
Minor 3rd
I I Here is one way to ascend and descend one octave of the C major scale in diatonic: thirds: Fig.3
-' - ..
•
t)
...
-
,.
I
......, .0.
ft
ft
"
ll
v
-
-
.x
v
I
ft
" v
.
..,:?
-
-
.
..-
-
-
.=
I
...A
I
y
-
..
v
v
- -
-.. y
.
. A
J
II
~
II
•
J j
II
~
~
II
u J
I
.
;r v
ft
" v
~
~
Or, you can ascend and descend on one string group by shifting position: Fig.4
..
- - - •-
-
... ......,
- ".
,_
t i
I
.0.
,.
" v
ft
ll v
-
J.. v
-- -- -- -
-
..
..
I
I
,.
·-.
·"-,,,
JX
I
·-... J 'I
J;I
,,,
J;I v
--
I
--
-
·-,..,
·-,.
·"--
-
J 'I
JX
I
v
I. v
I
Practice ascending and descending the C major scale with a mix of both approaches. The following exercise shows a line played in diatonic thirds over a Cma7 chord: Fig. 5
-
II
II Practice thirds in all keys using both approaches. Try applying this approach to diatonic phrases you already know, adding the note that is a diatonic third above or below your main noto.
Using Diatonic Fourths Again, it is helpful to see the shapes for this interval on all adjacent pairs of strings. Here are the intervals of a fourth and an augmented fourth, as played on string groups 6-5, 5-4, 4-21, and 2-1 :
22
Clhapter 4 Fig. 6: 4ths on strings @@, @©,©@,and @CD
Perfect 4th
Augmented 4th
I I On the 3-2 string group, the same intervals look like this: Fig. 7: 4ths on strings @®
Perfect 4th
Augmented 4th
I I Now play the C major scale in fourths, crossing string groups vertically, then horizontally up and down any given string group. Fig. 8
·"
tJ
- ...-
•-
'T' I
,,
.... D.
,,
If
IC
~
- -·-
-
.-"
~
I
,,"
;i
v
-
-
II ~
~
...
lC
..
'I
I
-
..
...
~
I
I
.
.J
.
J
'I
I
-
-
-,,"
,,;i
".
~
I
lC
-
;gg
d -
-
If
IC ,,
,,
-
This line demonstrates the use of fourths over a C7 chord: Fig. 9 II
,
•
~
-
#
e
:
::
_.
b~
-
-
...-......-
-
tJ
... ...... I
A
l
I
A
•
.... '.:'
,,
-
II v
·JX
,,,
II v
..
....
v
,,
•,.v
J J.
-
~x •v
A
x
v
II
I
Using Diatonic Sixths Diatonic sixth intervals can be played on non-adjacent pairs of strings. On string groups 6-4 and 5- 3, the intervals of a major sixth and a minor sixth look like this: Fig. 10: Major and minor 6ths on strings @©,®@
Major 6th
Minor 6th
I I 23
Here are the same intervals on string groups 4-2 and 3-1 : Fig. 11: Major and minor 6ths on strings
©®, and @©
Major 6th
Minor 6th
I I Play the C major scale in sixths ascending and descending, mixing up both approaches: Fig.12
II The following line demonstrates the use of sixths over a Cmi7 chord: Fig.13
II
II Practice sixths in all keys using both approaches. Try applying this approach to dliatonic phrases you already know, adding the note a diatonic sixth above or below your main note. NOTE: Sixth intervals on adjacent strings are also possible, however, we will continue working with string groups that skip a string, as these are more easily visualized. The improviser should also be acquainted with adjacent string groups.
Using Octaves Octaves are an especially pleasing sound, making the melody stand out by doubling it. Here are the shapes for octaves on all the different string groups: Fig.14
1111111 Now practice moving up and down the C scale, mixing up the string groups: Fig.15
id 24
S 3
J
E
F
f f it f f
II
Chapter 4 Here is a line in octaves that works over a Cmi7 chord:
Flg. 16 A
"'
... I
... ft
g
I
- ..
.. •
- ..
... .,
,...
...
~
..... .,"'
.
..- ..
~
~
. ..
-
..... p
.,,.
...,
..,,.
..,
...,., -.
-
"
.,,.. ,.
..,
.,..
-
..,
.,,. ,. ...
Improvising Tips
-
::
-
.....
,.
,...
"
... .,..
•
-~
,...
...
l
II
-..,
-...
\
1. Begin by using short phrases, moving stepwise up and down\ne harmonized scale. 2. Use long time values or slower tempos to make it easier to "grab" these shapes. 3. Think of just playing the same line you normally would, but adding a diatonic interval above or below your chosen note. 4. Play a motif twice: first in single notes, then in double stops.
Chapter 4 Lick Here is a double-stop solo set over a 12-bar blues with a slow shuffle feel (the chap1ter 4 chord progression).
25
;.
4
Chapter 4 ~hord Progression
~
1,1
A7
i
D7
·:i1
z
z
,0 7
~
•11 ,
~
•1#
7
;;1
;t
z7
2
7
/
,,
z
;;1
7"
01°7 z
;;1
I
z7
z7
,
z:I
,, z
z
z
;;1
2
7
,
I 7·
7
,
7
7
I
~
, z~
,,,.
:7
z7'
J,
"' A7 . :7
I
z
07
E7 7
A7
I,
,
;;1
7
I
:7
,
:7
z:7
I
;;1
2
A7
z
7
~
,, I z _,
,
7
\
7
z
7
z7
z
;;1
p/ay3 times 7
,
.7
z
7
/
-7
r .
2
7
2
7
=II
~
EXERCISE 2 In the space provided, write your own double-st~p solo tnat follows a pre--estalblished melodic contour lil")e. Try to use a variety of double stops and add.performance techniques.
II
II
Chapter Four
REVIEW
1. Be able to play the C major scale harmonized in thirds, fourths, sixths, and octaves. 2. Be able to play a phrase demonstrating each interval presented. 3. Be able to improvise using double stops.
26
: .~he Lydian Scale
Objectives •
To learn the construction and applications of the Lydian scale.
•
To learn patterns of the Lydian scale.
•
To learn motifs and phrases based on the Lydian scale.
•
To apply the Lydian scale to chord progressions.
\ EXERCISE 1 : Creativity Exercise Immediately after you hear a great player, go home and play your guitar! The osmosis (and the general vibe) of that inspiring player will still be very fresh in your mind and body. So, if you can re-create and imitate the feel, phrasing, and "magic" of the music, you can raise your own musi~tl voice to a higher level.
Construction of the Lydian Scale The Lydian is the fourth mode of the major scale-in other words, the F Lydian scale contains the same notes as the C major scale. It can also be seen as a major scale with a raised fourth degree. From a tonic of C, here are the notes of the Lydian scale:
c 1
D 2
E
G
3
5
A 6
B
c
7
1(8)
Applications of the Lydian Scale The Lydian is a major-sounding scale that can usually be played from the root of a major chord. In the chord-scale system of thinking, it can be played over major chords that use the #11 , such as ma?(# 11) or 6/9(11 1) chords (due to its raised fourth degree). In terms of key center playin£1, the Lydian scale can be used over progressions that utilize a major II cho rd . T he following progmssions use variations of this major II chord sound: Fig. 1
*
~ #i
D7
Cma7 C>
z>
I>
z>
z>
z>
z>
]
• Key signatUJ"e denotes C Lydian.
~
#
c
i
2
7
DIC
G/C zI
l
7
2
7
l
>
G/C z>
z>
I
>
:ii
A major chord which is prepared, i.e. preceded by its V, uses the major scale. Unprepared major chords sound good with the Lydian scale.
27
Patterns 'for the Lydiani Scale These fingering patterns for the Lydian scale are based on a variation (raising the fourth degree) of the major scale. As always, begin with patterns 2 and 4, learning the others only after these two are at your disposal for making music! Fig. 2
Moti'fs and Phrases 'for the Lydian Scale Motifs are short groups of notes that constitute a musical idea. A phrase is a musical idea comprised of several motifs. You can work motifs through the scale as sequences, or simply collect them as musical material to be hooked up into longer phrases. The following examples contain both motifs and longer phrases. Sequence one or two of the motifs and learn to play the longer phrases: Fig. 3
*
-" ~ ~
u
tJ
..
I
... n.
-..,
g
-
-
-
- -... -
...
.-
-
•
...
-
..,
..,
•
5
"
•
f
~
I
r
E
3
·-
-
-
v
I\
v
8
9
10
IV
II
II
*Key signature denotes C Lydian.
"~
~
u
-
-
-
... ~
-
~
•
~
-
tJ
~
'---.J
-
28
-
~
-
v
v
..,-
-
-..,
v
-
v
-.
v
... 5
l
II
I
Chapter 5 Try playing all of these ideas in different keys and fingering patterns. Always apply performance techniques! Here are more licks that use the Lydian sound. All examples are from the C Lydian scale:
Fig.4
-'
~ *
tJ
..
-
...
...•
.....,
--
-
.a.
..
•A v
A
-
-
-
..
..
...
-
.,
I
I
-
-
..
"
I
I
I
"
A
-
-
.,..
...
v
•A
.,A
v
J ~
--
-
-
II
...
•A
v
•A v
v
*Key signature denotes C Lydian.
"~
-
-
#
-
..,,.
"-
I
I
l
II
tJ
"~
~
tJ
..
..
3
--
.. A
-
A
p
v
v
. v
"J
..
3 I
I
- -
A
-.
-
- -
-
v
#
-
p
..,
~
fL.
"
3
A •A
.
"
v
...
.,.. IV
...
.
-. ... 3
-
" •A
v
- ...,.., ...
'V
.
..,
3
"v
-.
., A
~
.
::
- -
-
-
.~ ~
" J
v
. -
*
"
EXERCISE2 In the space provided, write your own Lydian scal~based idea.
II
29
:
5
•,
Chapter 5 Lick This is a triadic sequence that uses C major and D major triads to outline a Lydian sound. (These triads are part of the Lydian harmony as the I and II chords.) Use this idea over the Chapter 5 chord progression. Also try it over Cma7, Cadd9(#11), and C6/9(#11).
.' t
*» »
*. -
I
-..,
- ·- v
..., ... -. ..,- ... •v
•v
•v
-
- ·-·- - ..·-. A
A
-
v
v
- -.. ...·- .. ...·- ..
v
*Key signature denotes C Lydian.
Chapter Five
REVIEW
1. Be able to construct the Lydian scale from any tonic. 2. Know when to use the Lydian scale. 3. Be able to play two fingering patterns for the Lydian scale. 4. Be able to play the Lydian scale motifs and phrases. 5. Be able to improvise over the play-a-long progression.
30
·--- ~ --
1,, _,-..,
I
'T"
.0.
-
-
,
,
. ,.. ·-
r-:rJg J
. -. v
"v 1
9 1
t II
II
.'T he Lydian · Dominant Scale Objectives •
To learn the construction and applications of the Lydian dominant scale.
•
To learn the patterns of the Lydian dominant scale.
•
To learn motifs and ph rases based on the Lydian dominant scale.
•
To apply the Lydian dominant scale to chord progressions.
EXERCISE 1: Pedal Tones The use of pedal tones (or "pec;faling") is an improvisational device that hooks ancl holds the listener's ear by creating a point of re!erence from which to develop motifs into phrases. While it is not necessary to select a strong chord tone as your pedal tone, it's a good place to begin. This example shows the most common form of pedaling: alternation between the pedal tone (C) and an ascending or descending line. Try playing it backwards too! C blues turnaround
3
3
3
3
3
tr--
~
II
EXERCISE2 In this example, the pedal tone is used less frequently, but still unifies the phrase as the nnotifs shift.
=
Bossa J 120 0
!a~§m~@~~~~~mB~~U'~ 9
3
3
Experiment with this type
31
Construction o'f the Lydian Dominant Scale The Lydian dominant scale is the fourth mode of the melodic minor scale. It can be seen as a variation of the major scale by lowering the seventh degree and raising the fourth. From a C tonic, you get these notes:
c
D
E
G
A
c
1
2
3
5
6
1(8)
Be able to construct the Lydian dominant scale from any tonic.
Applications o'f the Lydian Dominant Scale The Lydian dominant scale is a dominant-sounding scale (hence the name). It can be played from the root of any dominant seventh chord, or a dominant seventh chord with a # 11 (like a 9# 11 or 7# 11 chord). This scale has a "jazzier" sound due to the lowered seventh; it almost seems a bit dissonant. This scale will have many uses in the chord scale system of thinking, to be discussecl later. For now, simply use it wherever you would use the Mixolydian scale-Le. from the root of a dominant seventh chord.
Patterns o'f the Lydian Dominant Scale The following diagrams show Lydian dominant fingerings based on a variation (lowering the seventh al")d raising the fourth degrees) of the major scale. Begin with patterns 2 and 4, moving on after you have them at your disposal for making music: Fig. 1
32
Chapter &
Moti'fs and Phrases 'for the Lydian Don1inant Scale Sequence one or two of these motifs, and learn to play the longer phrases:
..
Fig.2 II
•,-
v
-
•
'fl.-
•
1::
H
10
12
.0.
.... ....
v
•
#
•
11 -
1::
H
. --- -
#
- -
.-
,,
.
- --
..,
-
~
•
t
--
.
-
11 -
..
-
•
-
-.
-
.-
v
-
-
v
3
'
t)
-
-
:: "
- -
·-'"
v
-
"
v
-
,,
v
·-,,,
-
.,
-
r
-
I
-
3
- -,, ·- ,,- u
v
;
-
I
.. ".. ·-'" ·-,,,
--
·-"
II
I
a
-
--
-
·o
8
- -
"
-
. - -3---.
-
"
"
9
-
~r
-"
a
•
r 5
l
II
~ II
...
v
.
-
.
,,
y-
~
3
--
I
I
r-
-
J
v
-
-
.-
-
,,
..,"
v
-
~
j
:r
II
,,.
11 -
- --
·-
-
..
·v
'1
II #
,,
::
3
·v
8
v
II
Try playing all of these ideas in different keys and fingering patterns. Always apply performance techniques!
Progressions 'for the Lydian Don1in.a nt Scale The following progressions use the sound of the Lydian dominant scale. Improvise over them using motifs and phrases. Again, use all performance techniques to achieve a musical sound.
33
~ -·
6 Fig. 3 C7
~i
I
I
C9(#l J)
C7sus L
I
7
I
I
,
I
I
C9 2
7
2
7
C7 I
C7sus
,
.,
,
I
I
I
7
C9(1 1l ) 2
>
2
>
C9 2
>
L
>
I
I
=II
On this progression, start out using the D Lydian dominant scale, then switch to the B Lydian dominant scale when the chords change:
Fig. 4
-~ I# i
~
D9 r7
rI
7
7
z-
z-
I z7
r
r>
I
r>
I
>
> L
T
z:>
7
r
Ir
>
z->
rI
rI
89
*#
rI
r>
r>
Ir
r>
7
r>
> "l:
7
z-
IzZ
r7
r7
7
z-
I z7
r7
> "£
r7
EXERCISE3 It is not uncommon to encounter the Lydian dominant sound in blues-based progmssions. Here is an example of this sound in a blues context. Play it with a .shuffle feel: . 3
II
Chapter 6 Lick This idea uses triads to outline the sound of the Lydian dominant scale. Use it ove!r the Chapter 6 chord progression:
34
=II
Clllapter 6
.•
Chapter 6 Chord Progression C9(hl)
-»
Chapter Six
I
I
»
7
I
>
C9
,
-I
I
I
C9(hl)
C9sus I
»
/
I
z.
I
z.
I
;t
I
z.I
?
C9
,,
play 6times
,
I
ill
REVIEW
1. Be able to construct the Lydian dominant scale from any tonic. 2. Know when to use the Lydian dominant scale. 3. Be able to play two fingering patterns of the Lydian dominant scale. 4. Be able to play the given motifs and phrases. 5. Be able to improvise over the given progressions.
35
~. :The
Altered Scale
~ ·>:
Objectives •
To learn the construction of, and applications for, the altered scale.
•
To learn patterns of the altered scale.
•
To learn motifs and phrases based on the altered scale.
•
To apply the altered scale to chord progressions.
EXERCISE 1 : Phrasing Exercise To develop control over your phrase lengths, practice "t(ading fours" with yourself. When practicing alone, play four measures of a solo, then four of rhythm guitar. Alternate in this way through an entire song or chart for five minutes non-stop. Try this with eight-bar, two-bar, and one-bar phrase lengths. Pay attention to maintaining good time and fitting your phrases exactly within the prescribed _:spaces.
Scale~
Construction o'f the Altered
The seventh mode of the melodic minor scale, the altered scale has a very active and complex sound. It is sometimes called the super Locrian mode or the diminished whole tone scale. Its construction reflects the most common alterations applied to dominant chords, i.e. the sharping and/or flatting of the 9th and 5th degrees. Imagine taking the basic elements of a dominant chord (root, third, and lowered seventh) and adding the lowered and raised 9th and 5th degrees. From a C tonic, the notes of the altered scale are:
c
E
G~
B~
c
1
3
~5
~7
1(8)
(There is no "correct" way to spell this scale; the repetition of note names is unavoidlable.)
Applications o'f the Altered Scale, The altered scale has a very dissonant sound. Typically, this scale is used to create tension that is released when the chord resolves. It is usually played from the root of a dominant seventh chord that contains an altered 5th and/or 9th degree, as in the following progressions:
Fig.1 G +7( ~9)
~i
r
7
,:w 36
Cmi
7
/
T
Ir
7
/
z-7
7
T
7
z:
Ir
7
/
r7
Eg r
7
..
2"
r7
r7
I
r7
2::
7
I
Cma7
r7
7
L
r7
I
7
7
r7
r
7
r7
Ir
7
,
r
r
I
,,
r
Ir
7
7
z:
C lh apter 7 These progressions have a "jazzy" sound to them, but the same type of movement oftem occurs in pop music. For now, play the altered scale from the root of a dominant seventh chord, switching to the scale of the key center when the I chord arrives.
Patterns for the Altered Scale Begin with patterns 2 and 4, learning the others only after these two are at your disposal for making music: Fig. 2
pattHrn 1
Motifs and Phrases for the Altered Scale Because the altered scale is so dissonant, it is advisable to learn some motifs and phrases using this sound. When first learning to improvise with this scale, you may find it challenging to use it musically. Possibly the least satisfying way to use the altered scale is simply to "plug it in" and run up and down the scale. Sequencing the altered scale is a good way to begin to work with its sound, as the repeating sequential motifs lend focus and direction to the chromatic notes. The following example is from the A altered scale:
,. ..
Fig. 3
j\
. tJ '
... I
.....0. """
b'fl'-
ft
A
v
v
#
.,
..
-
-·- - ·-
"
I
-- - ·I
I
I
A
5
"
-
- .,.
A
ft
A
v
v
A
v
...-
A
., p
A
v
-
v
A
v
v
-
f;
I
..
-~
-
" "
J JJ
II
v
- -
v
., p
8
A
v
8
'1-
5-
37
Here are some studies that make use of the altered scale. The last two resolve the altered chord to the I chord: Fig.4
C altered scale /\ ~
"'
tJ
-
~
~
It ..
I r
~
~e
~~
~
..
It ..
F bf
'"
....
A
:r
-
u
.0.
....
•
-
.."
A
IU
g
A
.,-
u
v
,,
..
A
v
..
A
v
"v
#r
8
9
11
II
II
C altered scale
~
/\ ~
""
tJ
r
~
#~
~
-
..
I
"
..
"
·~ -
"
3
..
...
,, A
"
I
ic t
I -
F ti
A
u
., A
.,"
.0.
....
.."
"
v
g
•
....
A
IV
...v
....
...
H
v
•v
8
19
II
Cma7
/\ ~
)~
.
-
lo ,,
It.Ti o
I
tJ
.,...
'T' I
A
-
v
IV
.0.
.... ...,,
.·--
v-
.,
v
~
-
I
--
.-
I
I
..
....
A
v
A
A
G+7(19) j\
.t.l
I ~
v
~
-- - --
-
--
-
A
v
•
A
ov
,_
~
I
A
l
...
....
•v
....
A
v
I
·-..
~ -
I
I
I .I
I
v
A
12
v
19
II
Cmi7
... .0.
- .---
,, A
.."
A
u
I ..
•A
ov
I
- -
-
...
"v
I
-
-
....
...
•v
v
I
'V
JJ
'i
19
8
Try playing all of these ideas in different keys and fingering patterns, and apply performance techniques!
38
II
II
Chapter 7
Progressions for the Altered Scale The following progressions use altered dominant chords that require the use of the altered scale. Improvise over them using motifs and phrases in the scales shown. Use all performance techniques to achieve a musical sound and try to repeat phrases and motifs: Fig. 5
~i
A altered scale~
I
D major
A +7(19)
Emi7
,. r
,. r
z::>
r
I
,, r
,, r
I
D major
B +7(~9)
Dma7 7
,. r
I
r
r
z:>
I
r
,,
r
~
~f, i
2
>
l
>
z.7
I
,,
B~7sus
,. z
B~7 2
>
2
7
I
r
,,
I
G minor Gm7
B altered scale----i
Ebmaj7 I
7
2
>
z
z~
rI
r7
D altered scale----i
D+7(19) I
I
7
..., I
I
,.
2
••
I
7
l
,,
II
EXERCISE 2 The "cheap and dirty" method for producing altered scale sounds can be found by "slip-sliding" with your ideas. This exercise uses a short motif that is diatonic to the key (on the ii chord), then slides it out (up a half step) over the V7 chord, returning in measure 3 to the key center of the I chord. This. is a simple and fun way to work with altered tension and resolution.
Chapter 7 Lick T his idea uses densely clustered notes on the V7 chord. Use it over the Chaplter 7 chord progression.
39
•
Chapter 7 Chord Progression
C7alt
~j/
Fmi7 l
z
z>
Iz
>
z>
Chapter Seven
z>
,>
Iz
>
play8 times I
>
REVIEW
1. Be able to construct the altered scale from any tonic. 2. Know when to use the altered scale. 3. Be able to play two patterns of the altered scale from any tonic. 4. Be able to play the altered scale motifs and phrases. 5. Be able to improvise over the given progressions.
40
z>
z>
Iz
>
I
>
/
=II
. The Dominant Chord
Objectives •
To discuss three different functions of the dominant chord.
• To apply different scales to the functions of the dominant chord. •
To play over progressions that demonstrate the different functions of the dominant chord.
EXERCISE 1: CREATIVITY EXERCISE If you have ever had to solo with a broken string, you know that limitations can require creative solutions. Try removing some strings and improvising with the remaining ones. Experiment with string skipping, single-string, and double-stop lines. Limiting yourself in this way will help to keep your solos from becoming up-and-down scale exercises.
Static, Functioning, and Non-Functioning Dominant Chords The dominant (or dominant seventh) chord can have several different applications in chord progressions. Its intervals (especially the tri-tone between the 3rd and ~ 7th) give it a very "active" sound. How this quality is used in progressions can help guide the improviser in using difh:irent scale approaches over dominant chords. When the dominant chord is heard as a I chord sound, or does not resolve to another chord, it is called a static dominant. In this situation, the improviser may use the Mixolydian, Lydian dominant, major pentatonic, or blues scale sounds. These progressions use static dominant chords: Fig. 1
~## i
~
07 I
7
87 z
7
/
I
/
2
7
z
,
7
7
2
I
7
I
7
I
7
,
7
I
E7
###I
i
z7
2
7
7
z
7
I
I
7
I
7
-7 2
I
7
I
-7 2
-7
z
z
7
,,
Iz
,,,
I, I
7
I
7
,,
7
2
7
I
4j
When the dominant chord resolves up a fourth or down a fifth to a major, minor, or another dominant chord, it is called a functioning dominant, because of the way the tritone interval resolves. Over functioning dominants, the improviser may use the Mixolydian, major pentatonic, or al1tered scale. Which one you use depends on the stylistic approach you choose. These progressions use functioning dominant chords:
41
Fig. 2
a.
09
-~ ·~ i
Gl3
7
7
L
A7sus
b.
~
c.
1##
i
$£¥t
-7
rI
B~
r7
7
r
r7
7
7
z-
IT
7
7
7
R
7
Ir
r7
7
c,
r7
r7
7
I
L
r7
7
r
7
r7
r
4
7
D
Ir
A.lsus hi
~
r7
7
Ir
I
r7
T
B'v
L
r
A7sus A7
Emi
r7
L
r7
r7
7
z-
Bmi
Dmi T
Ir
7
z-
D(add9)
hi
T
7
';£
A7
r7
r
I
zZ
r7
T
A+7
Cma9
7
r7
7
7
z-
T
:I I
Dmi
I
r7
r7
r
7
r
7
7
T
:II
. Note that extensions and alterations of the dominant chord do not affect its function in the chord progression. When the dominant chord resolves to any chord other than those shown above, it is called a nonfunctioning dominant. The improviser may use the Lydian dominant, major pentatonic, or Mixolydian scales over these chords. This progression demonstrates a non-functioning dominant:
Fig.3 Fmi7
F9 2
7
2
7
r7
z
7
2
7
I
7
/
2
7
2
7
A~ mi7
A~ ma7
Gmi7 2
I
7
2
7
2
7
I
Fj
7
These scale choices are just a starting point for the improviser. These sounds must be absorbed by the player, then added to with his or her own choices.
The Static Dominant As you can see, the style of music is a critical factor in choosing the scales for at given situation. Using an E7 as an example, we can make it sound "country" by using a lot of the major pentatonic scale. It could be made "jazzier'' by using the Mixolydian scale-even more so with the Lydian dominant scale. The blues scale would naturally give it a "bluesy" sound. Of course, the rhythmic accompaniment would have to suit each of the styles above. Interest could be piqued by combining the atpproaches. Play each of the following examples with a rhythmic background in the style designated:
Fig. 4 Country sound
-
11
tJ
~ II -n -.•- '·
'·
E7 ~
-
- ·- --
- - -- I
I
T I
a.
.... ~
·-..
.,"
... .." IV
-.., .." -..,
.., "
-
- - - - --.... I
..
.., "
.. -.., .. " "
..,
.. '---
..,"
• -- --
fl..
..
1J
I
..,
·a
12 9 " ..,
.,"
..
~ I~ 14
42
JJJ -
I
12
II
-·
II
9
I
Clhapter 8
The Functioning Dominant The functioning dominant is also open to wide stylistic interpretation . Besides the obvio1us rhythmic ways to play this progression, it can also be "dressed up" in extensions and/or alterations. Play each of the examples over the indicated chords. Note the scale choices:
Fig. 5 Funk
I
Dmi7 I
"
I
- -
t)
...
-. ·- -
I
IJ.
"'
'"
I~
al>+7(19)
Altered scale
.
-- ·--
•
·- .. ·- - ·-
- ..
v
--,
-
.. ..
v
.. l!*
v
A
•v
..
Cmi7
~!>.
•
I
F7
·- - .. - --I
v
A
A
v
v
I
l
TI
-
- ... -.. -
I
-
.. ..
·- ..
.. ·-...
v
•v
v
v
~-- A ltered
Bossa Gm?
..~
-·
II
II
8
I Altered scale & passing tone1
scale -~
1 Fma7
07 9)
The Non-Functioning Dominant Again, keep stylistic considerations in mind as you play the following examples over non-functioning dominant chords:
Fig. 6 Latin
" ~· u
t)
-
I
"
-
-
....
-
-
Fmi7
-
•
I
v
v
-
-
•
~
-. - - - ..- .. .. ..- -
v
.u
F9
v
A
v
v
A
v
v
ft
Gmi7 #
•
-
--
-
::
-·
I
..-
..
A
A
v
- - - ..- -..
A
v
v
~
-
v
v
Country Rock
"t)
T !
.u
....n
c
... • ..
-
I
- -. ... - - .. v
r
v
v
07
F
- "
. .- ..- - -
--
I
I
,
•
. .
,
- v
v
.. .. ..
v
v
v
- -
-
...
v
G
--
-
.., II
43
Chapter 8 Lick Here is a functioning-dominant example to be used over the Chapter 8 chord progression. Note the scale choices:
•
I
Chapter Eight
,,
Chapter 8 Chord Progression
7
>
I ,_
>
B~7
F7
C7
7
/
2
>
7
>
z>
2
>
2
>
I
z.>
I
,,
play JO times I
>
z
,,
:i i
REVIEW
1. Understand and be able to recognize the different ways a dominant chord can function. 2. Be able to choose the proper scales over static, functioning, and non-functioning dominant chords in progressions. 3. Be able to improvise over the given chord progressions.
44
•• 11n
Secondary Dominants Major Keys Objectives •
To learn how to improvise over major tonality chord progressions that use secondary dominants.
EXERCISE 1: Phrasing Exercise Working on your phrasing is one of the most enjoyable parts of becoming a creative soloist. How you weave together your musical ideas really shapes your personal style and sound. Here a.re a couple of suggestions: • Make it a regular practice to sing along with your playing. This will force you to breathe in your solo-something guitar players often forget to do. It will also inspire phrases that sound and feel good to you because they are not limited by patterns, shapes, and guitar techniques. • Use "call and response" in your solos. Be aware of communicating a question anct answer, a story, or a conversation. Use repetition! • Listen to the masters. How do they connect their phrases into longer solos?
Improvising over Secondary Domin•!lnts Using a Chord Scale Approach Secondary dominants are dominant chords of degrees other than the tonic (i.e. the V of ii, V of iii, etc.). They can occur in major keys on the I, ii, iii, vi or vii 0 chords. A chord scale approactl to playing over secondary dominants is based on what type of chord the secondary dominant is a V of. If the secondary dominant is the V of a minor chord, use the altered scale from the root of the dominant; if it is the V of a major chord, use the Mixolydian or Lydian dominant scale from the root of the secondary dominant. These choices will work whether or not the secondary dominant is a functioning dominant. For each of the progressions below, locate the secondary dominant and list the pos.sible scale choices:
Fig. 1
~i
Cma7 I
7
A7 7
?
I
7
I
7
I ,.7
Cma7
~i ~i
2
7
2
7
7
z
7
z
~
zl
7
I
7
I
27
7
>
2
7
z7
07 2
7
2
7
2
7
-;;,
l
I
G7
-;;, l
I 7
-;;, l
2
7
Fma7
E7
Cma7 z
Dmi7 7
I
27
7
2
7
2
7
2
I
7
F"
:L7
7
2
7
-7
z
I
z7
z
7
7
=II
z7
=II
2
G7
Dmi7
Dmi7 z
I
2
7
2
7
G7
.,7
,.
7
z7
2
~
z
7
2
7
4jjj
45
i:
9
),
~i ~i ~i
Cma7
87
,,
z
I
,,
I
Cma7 7
I
l
7
,, z
7
,, z
Cma7 l
7
l
,,
7
l
Emi7
z7
z7
z7
7
l
l
I
7
I
F7 I
I
7
z
7
z7
,,
I
I
,,
I
I
7
Fma7
C7
,,
I
Dmi7
I
7
z7
,, z
I
,,
I
7
I
7
z
I
,,,
,,
z
,,
,,
l
7
z7
l
I
,, z
7
I
G7
,, z
7
l
,,
,,
7
z
7
z
:ii
z7
z
Dmi7
Cma7 --.,,
I
G7
:ii
z
F7
,,
I
7
I
4QB
7
The last example is a special case, as the F7 cannot be the V of another chord in the key of C. In this case, use the Mixolydian or Lydian dominant scale from the root of the F7 or the !Blues scale from the tonic of the key center. The two studies below demonstrate the scale choices over both situations (V of a minor and V of a major):
Flg. 2 G7
4
1 Cma7 I
~
-
I
I
07
-
I
..
. -., - - .,- ... T
D
.,
.,
.,
,. ,.
G7
----
- -
--
.. -., - - -. -
..., .,..
-
-~
I
t
Dmi7
-
.,
:II
s
,
..
.,
..
-
-
---.Ii! ( E F r :II
.
-.
...
.,
ft
-...
5 1
4
5
5
1
""
:II
You can see that the scales must be under your fingers so you can change in and out of them smoothly.
Using Arpeggios Using arpeggios, or chord tones, is always an option . This approach should be combined with all others to yield interesting note choices. The following example demonstrates the use of arpeggios over secondary dominants:
Flg.3 G7
~r
r
19 9
46
r 12
• •e
:II
Chapter 9
Using the Key Center Approach Sometimes the improviser can remain in the key of the progression without changing scales. This will work when the tempo is very fast and care is taken not to accent certain tones. Try playing this at a very fast tempo:
Fig.4
~~~~~~~~~ ~--t--t--~--+----+------+---~-~ It is not possible to cover all the possible ways that secondary dominants may appear. By• mastering the approaches given and being flexible in analyzing progressions, the improviser will be ablo to handle these situations in a short time . Remember to always be musical and use all the performance techniques you have up your sleeve. Here are two exercises that mix various scale choices (including blues) and arpeggios in secondary dominant situations:
Thls example features (mostly) triadic harmony. The V7/vi could be "covered" by playing the E altered scale (ifs the V of a minor chord) or chord tones: Slow ll/8 Shume feel C blues
le
11
F Mixolydian
F 1\
~
•
I
I
I
.. -··
>.:.
... ...·!V
II
11
E7
G altered/Mixoytydian I G7
•
I
ov
~
.,
.
. v
C blues/Lydian dominant
c
!:
I
-
..- ...
07 arp.
Ami arp.
E7 arp.
....
..
-
-
I
·tV
.. -
I
~
-
.
.·-.. ... .. ... .. ·-·.. ~
'
c...• ·'
I
"' •
...
....
..
I
I
-~.
....
·--
·- ..., ... ·-. .. ·,
v
•v
•v
47
:
9 EXERCISE 3 This one illustrates a mixture of possible choices over four secondary dominant chords: C blues scale variation (with 6th)
C7
,,
·-
-
I
"
,
'
.... ....
A
A
v
v
·-
I
·-
A
u
'V
'V
11"11
•
I
-
'1
·-
.a
..
•
I
A Mixolydian
•v
A
A
v
v
3
..
..
.·
rf
Jl -
..
07 arpeggio (with ~9)
..
A
v
•e
..
j
12
•
I
9
I
G altered/Mixoylydian
07
€ 11
13
d
ft.
II 13
I Chapter 9 Lick There are many more effective ways to improvise over secondary dominant situations. A very simple but useful approach is to target the "non-diatonic" note of the specific secondaliy dominant chord and use it in a repeating motif. Here is an example of this concept, to be played over the Chapter 9 chord progression:
" tJ
•
-
... ....... I
.n.
I
A
v
1:
-. - -. v
v
I
-
-A
. .. ·-
.. -
~·
-
v
v
'
z
~
v
.---. . -_ru ~ #f ,_
v
'V
v
--" -
v v
v
-
-. v v
~ f tJ II
9 19 16 1- 4
~ ~
~
Chapter 9 Chord Progression
A7
,,. z
!.
v
.A
v
R&B ballad Cma7
Chapter Nine
I V
- _. / !-
-·-5 -. - - -
-. - ·--. .. -A
v
•
~I /
•
-
-
-
.
,,. z
Dmi9
,,. z
,,. z
,,. >
,,. I
G13 I
,,.
I
,,.
,,. z
I
,,.
,,. I
,,. z
play 4 times z
,,.
=II
REVIEW
1. Understand how to choose scales in a chord scale and key center approach to secondary dominants. 2. Be able to improvise over all the progressions given, using all approaches.
48
•• 11n
Secondary Dominants Minor Keys Objectives •
To learn how to improvise over minor tonality chord progressions that use secondary dominants.
EXERCISE 1: Back to Basics One of the most commonly heard complaints about solos is that they sound too much like scales. After cutting your teeth on scales and arpeggios, it is important to break them down into various intervallic combinations to forge your own voice. Using the notes that lie within the scales takt3S practice! Here is a basic G major pentatonic scale in diatonic 5th stacks. This sound works well in modern rock/pop, fusion, and other contemporary styles:
This lick uses interval skips: Ex.1 8 Ami?
.
--
j
~
-
I
.......
I
-
-
..
':'
-
-
I
I
- .. . -.
'T'
a
-
-
~
v
.. ,-,
-
-
..,
...
-
-.
'
-
..
-
-
v
-
..
-,
v
... "'v
Secondary Dominant Progressions ii n Minor Tonality The following progressions demonstrate secondary dominant chords in the key of A minor. Play each of them to get their "sound" in your ear: Fig. 1
a.
-~ i
~
C7
Ami 7
r
7
z-
7
z-
r
7
Ami
i
7
T
I
7
T
r
7
~
,,
r
7
7
T
r7
I-L-
I
~
Dmi r
7
7 ~
r
7
E7
F
r
F
/
-L-
/-
I
7 ~
Ir
7
7
T
r
7
~
r
I
7
'2:
7
:II
7
:II
T
E7
Ami
,,
-T
/
=7-
r
49
:f,.
'10
c~ i
Ami
~
Ami
2
i
L
7
7
e~ i
Ami
f.
Ami
2
$!
7
7
z-
B7 2
7
7
l
7
;t
7
7
z
2
,
7
7 ;t
7
2
7
z
7
z7
A7 2
7
2
7
7
/
Dmi
7
2
I
7
z7
7
r7
7
I
7
.,
7
r7
7
2
2
z7
z7
z7
F
IL
7
7
2
Iz-
7
z-
z-
7
l
G
/
2
z
7
z7
I
I 7
I
7
:II
7
:II
G 2
7
7 :I
Dmi 7
7
2
E7 -7 7
z
7
2
21
7
F7 7
r7
z-
7
7
F
Ami
Iz-
7
z-
7
c
F7 z-
I
7
I
G z7
I 7
7
Ami
07 z7
Ami
E7 7
r
7
Iz7
7
z-
7
:II
r7
z:
This last example uses a dominant chord which frequently appears but cannot be a secondary dominant. (It is not the "V" of a chord in A minor.) In a chord scale approach, you rCOUld use the F Mixolydian or Lydian dominant scale over this chord; in a key center approach, use the A blues scale.
Using the Three Approaches The "rules" in minor-tonality chord progressions that use secondary dominants am the same as in major-tonality progressions. For the chord scale approach, if it's the V of a minor chord, use the altered scale from the root of the chord; if it's the V of a major chord, use the Mixolydian or !Lydian dominant from the root of the chord. The key center approach would be to simply remain in ttle minor tonality (using the minor, minor pentatonic, or blues scale sounds). The arpeggio approach (the use of chord tones) is also appropriate. Try playing over each of the progressions above using different stylistic feels and tempos.
Fine Tuning The importance of stylistic considerations cannot be overstated. All the theore1tical options are always available to the player, but some may be too "jazzy;• "rock," or "bluesy" for the niven context. Of course, mixing approaches tastefully can also create interest, even though it sounds cointradictory. Each player must interpret the progression in his or her own way, staying within (or pushing!) the boundaries of the music while creating interest. The chords of a progression can be "dressed up'" with extensions and/or alterations; this does not change the basic functions of these chords, though it might affect your scale, tone, or stylistic approach. Here is the same progression in three different harmonic and rhythmic flavors, each containing different scale choices. Here you would use the Mixolydian scale on the secondary dominant:
Fig.2 16th-note Funk J =110 Ami7 Ami9
$i 50
/
z
7
2
7
C9sus 2
7
2
7
C9 2
7
7
7
Dmi9·
Fma9 z
7
z
7
z
7
2
7
/
F
Dmi7 2
7
2
7
2
7
:I I
Ch•apter 10 Here you might just use the A minor scale, minor pentatonic, and the blues scale. Fig. 3
=
Eighth-note Rock J 120 Ami
~i /
2
>
2
7
c
Csus I
>
2
z7
l
z>
F z>
I
>
Dmi 2
>
z
l
z>
z7
z>
l
11'
I
>
:II
Here you would probably use the A minor pentatonic and/or blues scale: Fig. 4 Country Rock J = 90 Ami
, z
, z
C7 I
7
,,
F
,
>
Dmi z>
z>
2
l
:II
Obviously, you are also using stylistic phrases in all of these genres, even though your theoretical choices are still available to you. Experience (and a developed ear) will guide you to me!lodic-and interesting-choices.
EXERCISE 2: Back to Basics Another interesting way to mix the notes of a scale and make your solos more interesting is to use octave dispersion. There are several possible formulas that work well for this. Here are a feiw G major scale variations:
51
:
10
Chapter 10 Lick Another common secondary-dominant progression is the "cycle of Sths" type. Play this next example over the Chapter 10 chord progression and analyze the notes and scale ctloices that were used:
-"
3
JI
tJ
-·- ,-
-
-
v
..
-- "
JI
-
-
~-
~
~
-
- .. .. .
..,
/l-
r
I
-
-
v
/ #-
- ...
v
I "
I
..,
p
..,
-
p
..
~·
_.., -.,
•
~
-
I
-
- ..,-
- .,- - .,.
p
v
.,
-
-
II*
~
p
-
-
..,
.,
v
.,
~ ] J 5
a
- -
.,
v
..
-
-..,
-
~
5
~
5
8
5
1
8
I
--
-
v
"
-
;..
v
...v
.
.-
p
v
.-
..,
I
- -
..,
,...,
I
;,
v
...
..
v
-
- -
~
•
-
.. ... Jl
..,
v
tJ
-v'
,
p
f
p
v
.,
· ~
w
~
:J
1
I
q3
II
5
I
v
v
Chapter 1O Chord Progression G7
>
I
r
r
z
>
z>
z>
z>
z>
z>
z>
z>
F7 ,
r
Chapter Ten
>
r
z
>
z>
z>
z>
z>
z>
/
play3 rimes
,
>
z.>
z>
/
REVIEW
1. Be able to play the given progressions in different keys, feels, and tempos. 2. Be able to improvise over each of the progressions using the different approaches (ailso in different keys, feels, and tempos). 3. Understand how style affects any given progression.
52
=II
,~·· Chron1aticisn1 "
Objectives •
To learn how to finger the chromatic scale.
•
To learn some techniques on using chromaticism in melodies.
EXERCISE 1 Another important way to add "color" without relying on a scale-based approach is with extended arpeggios. These 7th arpeggios have been extended to the 9th scale degree. Note that, while the root
has been kept in both octaves, many players prefer to eliminate the root (especially in the upper octave) to avoid a dense scale-like sound. Experiment with playing these both ways: Ama9
A9 3
3
3
Ami9
3
Ami9(1>5) 3
3
3
e[ J-
II
3
Using Chromaticism In melody playing, chromaticism can mean the use of a series of consecutive half steps between pitches, or the use of tones that are a half step away from the notes of a given tonality. This usually lends a feeling of tension , or greater energy, leading to the next note or phrase. Chromaticism , with its use of consecutive half steps, can also add smoothness to one's melodies. Placement of the~ chromatic note on the strong or weak beats (such as the "one" or the "three") will either add to or take away the tension or energy of the phrase. The duration of a chromatic tone is also important; a chromatic tone played as a quarter note will get a lot more attention than the same note played as a sixteenth. The most important aspect of chromaticism is how to resolve these kinds of phrases. For now, tq1 to resolve chromatic-type movement by a half step to a chord tone!
53
The Chromatic Scale The improviser shouldn't simply race up and down the chromatic scale. This scale is being introduced more as a way to deal with fingering chromatic phrases. Here are some exercises with the chromatic scale that are useful for their applications in melodies. This first example of a chromatic scale will keep the guitarist in the same position on the neck. The outof-position notes can be executed with a slide of either the first or fourth finger, dlepending on the direction of the scale: Fig.1
,.. ... t)
- ... ;·•
.,"'
"v
•
-- -
1t•
-
,.
.,.
v
•v
"
"
-
,.
...
.,.
"'v
"'
v
-- -v
--
"
"v
.,"'
-
"
,.
.....
v
..
.., "'
"v
-
.....•v
#r f f
• J
~-
~
8
19
9
6
;J
I
'1
I
IV
•v
9
:II
8
The next version of the chromatic scale changes position as it crosses the strings: Fig.2
-v' -.. .. "' v
-v
j\
It*
"' v
f: f:
..
-
it•
- --
.. "
,.
•v
fl. 'fl.
"' v
-
v
•v
.., ~
v"'
"' v
" "
,. v
- --
-
...
..,
-
»-
- - -
"'v
v
rr
#r
• J
5
4
8
6
b• !,.. II ..
l.-
,.
~
v
v
.,,"'
"' v
- ·I
- v
"'.,
"v
-- --
- -- -- -
...
.,.
,. v
•v
"' v
-
"' v
- -..... v
,.
.,,
- .-
- .....,. ..
v
"
54
••
;]
I
'1
I
"
~
"' v
- -
. .. - - -.,, ·v
-
-- -
"
..
4~ J -· fl
·: #
8
=!I
:II
Chapter 11 This exercise demonstrates some common sequences that may be applied to the entire range of the chromatic scale:
Flg.3
a.II
-
.. -
-
~
-
~
-
-
~
I
-
I
I
I
I
f
"
, , t)
... - .n ....
.. -
I
v
v
v
...,
-
..,
b.,..
-.., -
..
·- "' t)
3
...
- ..,-
I
..,
.0.
.... ...,
v
v
v
v
v
- --
-
3
3
..
- - - -.., - - .. ..
v
I
-
-
..
v
- "-
... - ..
A
v
v
-
v
..,
I
3
-
- - - - "u
v
v
..,
- - ..
..
v
I
I
3
v
..,
..,
v
--- ---
..,
3
~
6
-
v
v
8
v
3
v
v
1-
-
-
'1
qr ~F
3
- - - .. -
v
E~E ~r iiiii=• II v
!F1
6
5
II
c II
--
..
-
-1 (1
-- ·-·- - --
n
--
-
..
-..,
--
,, _
·-.,
..
,.
.
t)
...
.,
- "I
v
.0.
v
-..,
.
..
,.
v
..
v
..
v
v
v
~~
#~
5
6
II
II
u
Adding Passing Tones to Scales Chromatic passing tones may be added at will to any scales. A little of this technique c::an be very interesting; too much will be predictable. Play the following examples and take note of where the chromatic tones are falling (on strong or weak beats):
Fig.4 In the D Dorian scale, Dmi7
.
In the D Dorian scale, Dmi7
- j
~
11"
- - -- -
.
......, .I&
I
I
-
I
t.
"r
I
-
... "'
... IV
...
IV
·-.
... v
.,
A
... v
.-
,
.. ·-.
... 'V
-
j _J
....
·~~
II
55
.
11
Adding Chromatic ••Lovver Neighb•ors'' to Arpeggios Another application of chromatic tones is to use the notes that are a half step under the tones of an a rpeggio. On each note of this arpeggio, the chord tone falls on the downbeat, the lower chromatic neighbor on the upbeat, then the chord tone is repeated: Fig. 5
Gmi7 arpeggio
- j\
I
~
~
~
~~
t .J
~
~
-,J
..,,
• lJ# •
-
.,
--, -
-
-..,
..,
_]
.., • lJ# •
"
~~
-;
"1
!j
~#i ~
I
'T' I
..
.u.
...
rll
3
3
2
6
5
.
~
a-:
..
.,
-
~
-
.
.
.,
.,
~
.. .,
- .,v
v
6
3
2
I
3
For more tension, play the chromatic neighbor on the downbeat: Fig. 6
Gmi7 arpeggio
-·
1#..m 2
3
2
..
3
II
5
II
Moving an Idea Chromatically Sometimes it can be effective to move a phrase or motif up or down chromatically. Try this: Fig. 7
A blues tonality
,.,
·-tJ
~
ll
-,_.·-- -
"
"T' I
....... .0.
I
-
.,
-
I
-
I
-
I
- - - - ... .,
v
I
-
.,
'
v
v
"
v
--
I
,_ I
I
,. v
This technique works very well when used sparingly!
56
.., 9
-
".,
..
·- ..
.,
y
-
•
-. - u
"'
~
~
"v
.,
..
-
::
Chapter 11
EXERCISE 2 Another useful way to apply the chromatic scale is with the technique of enclosure (or targeting). This is done by simply adding an upper and lower neighbor tone to any arpeggio or chord tone. The effect is to surround or emphasize the strong chord tone by "setting it up." This exercise encloses an F major triad arpeggio: target tones:
5
3
1
EXERCISE 3 Another common targeting device is to use two, three, four, or even more consecutive half steps to lead into a chord tone from above or below. Delaying the arrival of the targeted tone c:an actually strengthen the overall direction of your line:
...
F7
-.. - '
"P
-
f!.
~
'fL
~
--
.---
,..---..._,
I ~·
-
3 A
v
-
I
A
v
., ~
A
.,
!J.
'""
'""
- A
'·
.,"
,,. v
I
.,
b ;._,
II
-· A
x
Iii J.. v
-
EXERCISE 4 This idea adds chromatic lower neighbors to arpeggios and combines other material. G blues tonality
-·
II
~·
Chromaticism can be used over any progression. It can add a sense of smoothness to one's lines. The most important thing to keep in mind is the resolution of these chromatic ideas. For now, a good rule of thumb is to try to resolve these lines to a chord tone by a half step. Always remember the stylistic factors governing the use of any technique. This chapter merely scratched the surface of chromaticism; you should spend some time experimenting with it and come up with your own chromatic ideas.
57
Chapter 11 Lick This idea should be analyzed for its use of chromaticism. Use it over the Chapter 11 chord progression .
,., crJ=J .h ...
J
11
I
l-l'J
I
-
~
-
t.
·-·-
,
- ,
-
-
·,. ···v
"'
•
ll-
t)
-..
11
9
~
..-
•
-
J
1: ••
,.
.,,
"
"
v
,._
·-
- ..
.,.
.,. "'
'V
'V
'V
IV
·~
c.n =J P> Fl3 ,, ,,, z
•
i
., •
2
I
B~ l3
,,
;t
,,
z.
,,
Iz~
z
7
I
,, z
7
,,
z
,,
z
I ,, z
/
I
,,
z 11
,,
,,
»
Chapter Eleven
z
,,
I ,, I
F13
- ··-
l
I
·-
~
·-·-
- "'
·--
'V
_!J &J...... 3 II 3
.,,;,
v
,,,
,,
I,,,
»
13
~a
14 13 11
13
II
,,
z.
I
I 11
/
,,
,,
z
I, z
I,,,
I
.a• -
,,
z
z
,,
I
07(19)
,,
z 11
z
Fl3
C7{19) z.
---
f d•
~·
J
I
Fl3
S-"7
Gmi7
~
7
"'
13
Chapter 11 Chord Progreaalon
B ~l3
,,
·-
-
- I,.. k....-.___ ~
-
I
44
.-3-.
-
-.l
"
-
~
..-
'V
•v
..
-
I
-
·- ·-
·-·-
,_
'V
it ..
-
~
v
r-4--..
-
:
_,
19
2
,,
07(19) z
,,
z
,,
I ,, Gmi7
z
,,
1-,, I
,
,,
i'
z
z
z.
C7(19) -7
l
,
z
playJ litNS
z
,,
=II
REVIEW
1. Understand what chromaticism is and when to use it. 2. Be able to play an ascending or descending two-octave chromatic scale, using either of tile given methods. 3. Be able to demonstrate the techniques of adding chromaticism to your melodies.
58
he Whole Tone Scale •and Augmented Arpeggio
-~
Objectives: • To learn the construction, application, and· patterns of the whole tone scale and the! augmented arpeggio. • To play phrases and exercises that demonstrate the whole tone scale and augmented arpeggio sounds.
EXERClSE 1: Phrasing exercise .~
Can you ·always repeat the lick; motif, or phrase that you just played exactly? Can yo1u copy your own ideas? Having enough control to dp every day durin·g your pract~ time. ·· . ·
Construction o'f the VVhole Tone Scale The whole tone scale, as the name implies, is constructed of whole steps ascending (or descending) to the octave. From a tonic of C, this yields the following notes:
c
D
c
E
This construction yields only six tones (plus the octave). There is no official "spelling" fm the whole tone scale, so the scale degrees will not necessarily correspond to the note names. This scale has a very dissonant and active sound. Technically, there are only two whole tone scales: one starting on C, the other on c#. When looking at the scale above, you will notice that the C whole tone scale has the same notes as the D, E, F#, G#, or A# whole tone scales; constructing this scale from c# yiHlds all other possible tonics.
Construction o'f the Augmented Arpeggio The augmented arpeggio, just like the augmented chord, contains a raised fifth degree. The formula for the augmented arpeggio is 1,3, #5-giving the following notes from a C root:
c 1
E 3
This arpeggio contains the same notes as the E augmented (E- Gl-C) and the G# augmented (G#-C-E) arpeggio.
59
Applications of the VVhole Tone !icale and the Augmented Arpeggio The whole tone scale is most often used from the root of an augmented or aunmented seventh chord; a C+ or C+7 chord would use the C whole tone scale. Naturally, the C augmented arpeggio may also be played over these chords. Most often, the augmented chord is working as some kind of functioning dominant chord, as in the following progression: Fig. 1 G+7
Gma7
~i r
7
,,
r
r7
,, ;r
I
7
T
Cma7
,,
z-
,,
-'7
:z:::
'Z'"
I::z: 7
Cmi7
r7
zZ
7
T
Ir
7
7
T
r7
z=-= :II
This scale has a very interesting sound. Note the extensions and alterations it contains:
1
~5
3
2(9)
~7
Clearly, the scale itself is dominant in quality (containing 1, 3, and ~ 7), with alterations of the 5th and a natural 9. Some players will use this scale over a static dominant chord with very dissonantsounding results. Some progressions take on a whole-tone sound by their root movement (rather than their chord intervals), as this one does: Fig. 2
~
I
i
z7
Ebs
o bs
GS z7
I
,,
z7
I
z7
FS z7
-,, z
o bs
GS z7
I
2
7
2
7
-'7
2
EbS
--1
»
I
7
FS
/:=?
z7
=II
Although each of these chords contains a perfect 5th, the root movement spells •out a whole-tone sound. In this instance, the whole tone scale may be applied.
Patterns for the VVhole Tone Scall e Due to the symmetrical quality of the whole tone scale, there are not necessarily five fingering patterns for this sound. The patterns given should be practiced starting on each fing1:H. When you do this, you will notice the same repeating shapes: Fig.3
60
Chapter 12 Whereas the previous shape stayed in predominantly one position on the neck, a threie-note-perstring structure requires a shift on each string:
Fig. 4
Patterns 'for the Augmented Arpeggio The augmented arpeggio also has repeating shapes. Practice these shapes starting on different fingers and roots:
Fig.5
1Nhole Tone Scale and Augmented Arpeggio Exercises and Phrases Try some of these sequences up and down through the whole tone scale and augmented arpeggio:
Fig. 6
"
~
tJ
I r.
-•
-
•
-- -
-
"
I
e
.,. A
•A
v
,.
.,.
9
v
-
., ft
A
,.
v
v
"
~.:;
tJ
v
-
.-
"
A
ft
"
"
v
.. "
.,,
...
......
"v
v
.,"
".,
~
~
•A
-
v
-
..,
....
UA
..
r
-
,. v
~
.,,
...
u
"""'
\I
-
\I
A
A
-
"9
..,
v
I
I
-
I
-I
-
-
.,
II
.. \I
v
v
-- - • ,.
_A '
-
I
.
A
"v
-
l#
-
•
"
•
_
-
I
.0.
A
v
-
"
I
.. -
"P
......,
- -
v
~
"
'V
"P I ...
I
v
. - ..... ..,
I
..
"P
.0.
I
-
v
it ..
IV
..
~it ..
J
I
.. ...
-
.. f:.
L
A
.., A
"'
.. ·- ... ,.,
... ... ,.., 'A
v
'"'
,.,
•A
.. .....
-
,,/j . .
,..,
- --
I
I
I
..,
... .. - -
A
"'
I
v
A
-
I
v
IV
..,
v
-- ~ j J JII I
,. v
,
-
..,
A
v
-,
A
v
61
{
12 These phrases combine scale and arpeggio movement. Note the suggested harmonies: Fig. 7
--"
F5
05
-
~
-; :j ~ -; If* r
~
tJ
... ... - .. I
. - .. ..
n.
"
g
11
t)
... I
-.., .ll
.
* -
,.
,.
v
-
85
v
,. v
v
v
----
...
...
,.
v
,. v
...
.
.. ·- .. . ·,.
,..,
v
'
I
-
"
v
n" -
D~5
B5
F5
05 F5
- * -- - - - J 3 JJ J •
"
TI
,.
,.
..,
.., "
~
v
...
... ...
,.
,.
v
v
'1
5
a
4
v
- ~
-. -
.
- -
- ...
-I
I
If*
A5
,..,
..
-
I -~
I
-
!
a
- It...
... .. .. - ·.,,.., ·,.
,. v
v
,..,
".,
---.
"
n-
TI
l
I
I
.,"
...
,. u
"I
-
.,
·1c: E §~ 11
10
9
11
'1
~r
9
the
Part of the beauty of the whole tone scale lies ·in r'e~tltive shapes and symm€~trieal patterns ·it ~~nerates-especiaily for guitarists! Here Is an interesting fingering for the whole tone-~scaJe that works its way down the neck as it ascends! ,
Chapter 12 Lick This series of phrases combines whole-tone scale and arpeggio movement. Use it 1over the Chapter
12 chord progression:
62
II
~I II
I
Chapter 12
•
• ~
I
G+7
Dmi9
r
"I
Chapter 12 Chord Progression
"I
z-
Chapter Twelve
"I
z-
r
"I
"I
z-
A+7
Cma9 "I
:l":
- "1
z-
- "I
z-
r"I
- "I
z:
"I z-
r"I
I z: - "I
play6 tinus
z-"I
<
r"I
=II
REVIEW
1. Be able to construct the whole tone scale and the augmented arpeggio from any root. 2. Be able to play the whole tone scale and the augmented arpeggio using the given fingering1s. 3. Be able to play the given phrases using the whole tone scale and the augmented arpeggio. 4. Be able to apply these phrases (and your own) over the given progressions.
63
-~ : Diminished
Sounds
Objectives: • To learn the construction, patterns, and applications of the diminished and dominant diminished scales and the diminished seventh arpeggio. • To improvise over progressions that use diminished sounds.
EXERCISE 1: Phrasing Exercise When you come up with your own phrases, write them down and work on linking them together in musical ways. Writing helps you to "hear'' ways to fit ideas together, without the pressure of "doing it in real time:' Recording your phrases is also very helpful...LISTEN to how you sound!
Construction o'f the Diminished Seventh Arpeggio Let's begin our discussion of diminished sounds with the diminished 7th chord. T lhis highly "active" sound {due to its flatted fifth) has two functions: as a passing chord, or as a substitute for an altered dominant chord. This yields two possible scales-the structures of which are most easily derived from the diminished 7th arpeggio. From a C root, the notes are:
c
G~
B~~ (A)
1
bs
bb 7
The diminished 7th arpeggio is built by ascending in minor-third intervals. Any of the tones in this arpeggio may be labeled the root: C 0 7,
Eb 0 7, G~ 0 7 , and A 0 7 arpeggios all contain the same notes!
Construction o'f the Diminished a1nd Dominant Diminished Scales The diminished and dominant diminished scales can be drawn from the diminished arpeggio by connecting its tones ascending "whole step-half step" or "half step-whole step:' The "whole step-half step" scale is known as the diminished scale. Built from a C tonic, it contains these noteis:
c
D
E~
F
A
B
The "half step-whole step" scale is known as the dominant diminished scalei. It contains the following notes from a C tonic:
c
ob
E
G
A
Applications o'f the Diminished a1nd Dominant Diminished Scales One use for either of these scales is simply to create tension. They could concHivably be played from the root of any chord to create dissonance. Most of the time, however, these scal1es will be used to create diminished sounds over diminished 7th or altered dominant chords in a progression. The
64
Chapter 13 diminished scale (whole step-half step) can be used from the root of a diminished chord. (D 0 7 uses the D diminished scale.) The dominant diminished scale (half step-whole step) can be used from the root of a dominant 7(b 9) chord over which you want to make diminished sounds. (G7(b 9) uses the G dominant diminished scale.) Looking at the alterations that the dominant diminished scale contains ...
R
b9
#9
3
... you can see that its notes will also fit a 13th chord with a #11 and a #9 or b 9.
Applications ot= the Diminished Seventh Arpeggio The diminished 7th arpeggio can be used from the root of a diminished chord, or from the b9 of a dominant 7(b 9) chord-a o b 0 7 arpeggio can be used over a C7(b 9) chord, for example. This will actually spell out the tones of a dominant 7(b9) chord . All diminished sounds repeat every three frets (every minor-third interval). There-fore, the C diminished scale, the C dominant diminished scale, and the C diminished 7th arpeggio all contain the same pitches as their Eb, F#, or A diminished counterparts.
Patterns ot= the Diminished Seventlt. Arpeggio The diminished 7th arpeggio contains repeating shapes. Here is one pattern that remains in one position: Fig.1
This shape moves up the neck and can be seen as a minor-third interval ascending in
bs. intervals:
Fig.2
Practice these shapes beginning on each finger, and you will see the same shapes repeating every three frets.
65
'
'13
Patterns ot= the Diminished Scale This diminished scale fingering remains in approximately one position:
Fig. 3
This pattern of the diminished scale moves up the neck:
Fig. 4
Patterns ot= the Dominant Dimini!;hed Scale This dominant diminished scale pattern remains in the same position:
Flg. 5
This pattern of the dominant diminished scale moves up the neck:
Fig. 6
Be able to play all three of these scales in at least one fingering pattern from any note.
66
Chapter 13
Diminished Exercises and Phrases These examples are based on the diminished 7th arpeggio: Fig. 7
G0 7 arpeggio
--
v•
~
t
.. I
... .D.
.
....,
IJ
"-
Int
-
- ..
-
-
.
....
..,,.
..
•
:;
~ Int
tJ
..
.,_
-,;
--
3
3
..
-
..
-
I
I
v•
,.
ft
...
.,
3
-
.,,.
..
Int
~
-
.
...
,.
.,
ft
3
.- - - - -
.,
ft
rt IJ
..
- -
.- ... .- -., . . . . . . .. .,-
.u.
-
.,
-
T
-
v-
...,
ft
-
--
.,
..
..
~f
. .,. ... ... .... ... .
..,,.
..
.,
-
'
-
@ II
.. ..
. ,,
":J
ft
I
I
4
1
3
I
These are phrases and exercises using the diminished and dominant diminished scales. Remember that these can be moved up or down a minor-third interval, due to the repeating nature of the scale tones: Fig.8
G diminished scale sequence
-J J ~---f------63 ~
..
I\
v Int
....,
v
v•
..
-·- ,-
..
... - ... ... ...., v
..
..,,
-
..
.,
.. --- ,-.
.., ft
,. v
v
..
.."
... ...
#
... ..
,.
.,
.,
-
,,_
II
I
4
Ff diminished scale sequence
" tJ
.
T
D
"
IJ
Jl -
...
,. .,
,...,
...
....,
- ·--
.
,.
-
-..
-.,
....,
,...,
I
.
·-
-
..-
....
,.
.,
I
-
-
5
3
..
II
67
..
G diminished scale phrase II
.
~ -
-
"
t)
... ... :0.
u
~ -
.." .-
,, "
- .-
-
v
"
- - -
r-
"
." ... - ." "
I
•
. .. - -
r ,,
"
2
v
"
.." ...
,.. "
tt1
JJ
v•
1
II
""
Diminished Progressions These progressions use diminished and dominant 7~ 5 sounds. Apply the shapes and exercises above to them . Move the diminished ideas up and down in minor-third intervals. Try to msolve smoothly into the chords that follow the diminished sounds. In this first progression, use the sb diminished scale over the sb0 7 chord, returning1 to the G major tonality for the remaining chords: Fig. 9 s b0 7
Gma7
~· !
z
7
z7
I
z7
z7
z
7
Ami7 2
7
l
7
2
,,
D9sus
~ z7
z7
2
,,
I
z7
I
D9
=r
7
7
I
T
• ~
Use the G dominant diminished scale over the G7(b9) chord, returning to the C minor tonality for the remaining chords in this progression: Flg. 10 # ma9
~ffe'·i,~ i /
2
7
2
z7
7
Cmi7/Bb
Cmi7
G7&9) I
7
I
7
I
7
z7
2
,
7
7
2
7
z7
2
7
I
7
/
=II
Try combining the G diminished scale with G blues and minor pentatonic over this one: Fig.1 1
obs
G5
~
~lz
i
z7
I
7
l
sbs
A5
7
2
7
2
7
l
G5
7
2
7
E5
G5
z7
l
7
sbs
E5
,.
/
7
z7
:II
Chapter 13 Lick This lick, based on the diminished seventh arpeggio, can be used over the Chapter 13 chord progression. {E 0 7, G 0 7 ...) 3
r--
n t)
--
~
-
.....
... .- I
.0.
g
68
v
3
I
I
"
r
"
-
I
-
."
-
v
v
v
I........_
3
- - - "
• I
3 r
"
"
"
-
v
-
I
-
,,
-.,,.
-
'!'-
•
• 3
3
-,, .. II
,, "
-
- ..
!'-
J
l
f :::J•
3
I
etc.
,,
.. ·-. .. ,
I ..
14
12
H
II
Chapter 13 In some styles of rock, the power chord moved in the tones of the diminished scale might require the use of diminished sounds:
ES
• •i
,.>
•
Chapter 13 Chord Progression
FIS
GS
ES
z>
z>
z.>
,>
Chapter Thirteen
B~S
z>
z>
os
ES
,>
z>
c•s z>
,>
B~S z>
,>
GS 2
>
fts
play 4 times
,>
z>
:II
REVIEW
1. Be able to construct the diminished and dominant diminished scales and the diminished 7th arpeggio from any note. 2. Understand where to use diminished sounds. 3. Be able to play at least one pattern of the diminished and dominant diminished scales andl the diminished 7th arpeggio. 4. Be able to play ideas that demonstrate the diminished sound .
69
•,
·s lash Chords
Objectives: •
To be able to analyze and improvise over slash chords.
•
To understand the four different categories of slash chords.
EXERCISE 1: PHRASING EXERCISE A creative way to vary your phrasing ·is to play ' . . p<>,ints in the measure:
·
amotif and ex~riment with starting it at different . ./
,.
Ballad
Analyzing and Improvising Over Slash Chords A slash chord is a chord which contains a bass note other than the root. In chord notation, the note on the right is the lowest tone; the chord is on the left:
Cma7/G The use of slash chords can add a different movement to the bass or simply give a chord progression a different flavor. Almost all slash chords can be improvised over using materials we've already covered. Slash chords can be analyzed as one of four categories, examined below.
Inverted Triad or Seventh Chord The first question to ask yourself about a slash chord is whether the bass note is at member of the upper chord. If so, it is simply an inversion of that chord:
F/A The notes of an F major triad are F, A, and C. Is the bass note of this slash chord (A) a member of the F chord? Yes. Therefore, F/A is an F major triad in first inversion (the bass plays the! 3rd). What you play over this chord depends on how it appears in a progression:
Fig.1
~ 70
~
i
I
7
B~
FIA
F I
7
,
7
I
7
7
7
z
7
z
7
z
7
z7
B~/D z
7
2
7
z7
2
7
,
7
z7
,
7
=II
Cl11apter 14 In the progression above, the F/A chord is the I chord in F major. In other progressions, it could be a IV or V chord in the major tonality. Or it could have different functions in the minor or blues tonality. The context in which a slash chord (or any chord) appears is important when it comes to choosing the proper scale to use over it. Seventh chords can also appear in this way. The C/B~ chord is a good example of this . The B~ note is not a member of the C major triad, but it is the ~7th of a C7 chord. Therefore, C/B~ is a C7 chord in third inversion. The following progression uses these sounds. Analyze the slash chords and choose scales for this entire progression:
Fig. 2
c
~i
~
C/E
zI
2
I
zI
I
I
I
Emi I
I
F z7
I
zI
zI
/
Ami zI
I
-7
I
l
l
L
/
Dmi
I
zI
-.,
zI
2'
I
7
zI
2
r7
,
:1
GIB
G
I
I
r>
/
Dmi/F Dmi/A zI
I
G/F
G
z~
z
I
zI
zI
:II
Incomplete Ninth, Eleventh, or Thirteenth Chords Another way that slash chords are used is to get a specific voicing of a chord in which all the notes can't be played. When seeing these kinds of chords, begin with the same question as abovei: is the bass note a member of the upper chord-a 3rd, 5th, or 7th? If not, then name the chord from the bass note and analyze the tones of the chord against the bass note. For example, let's take the chord G/C. C is not a member of the G chord, so start analyzing each of the tones of the G triad against the C bass: • G is the 5th of C • B is the 7th of C • D is the 9th of C Although there is no 3rd, this chord could be called a Cma9. Certain charts will actually say Cma9 (no 3rd). Writing G/C is a quicker way to achieve this voicing. What do we play over this chord? Again, context is very important:
Flg. 3 Gma7
GIC
Emi7 I
2'
,
r
>
>
I
I
2
7
2
>
zI
/
CID
Ami7 z
7
l
I'
I
I
I
2'
z>
7 .I
I
>
:I I
In the progression above, G/C is the IV chord in the key of G, so you can use the G major scale over both chords. Analyze each of the follow,ing chords, writing down some possible scale choices: • D/E ~~~~~~~~~~~~~~~~~~~~~~~~~~--~~~~ • Gma7/A~~~~~~~~~~~~~~~~~~~~~~~~~--~~~• Gml/C~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
71
Analyze each of the chords in this progression and choose scales based on your analysis:
Fig. 4 Dmi7
~
~
i
2
FIG -7
7
z
z
7
z
7
z7
A+7
CIF 2
7
I
7
2
7
2
7
z
7
2
7
2
7
2
7
2
7
2
7
2
7
=II
A Misspelled Root-Position Seves1th Chord Sometimes players will notate a familiar chord in an unorthodox way. This might be done to achieve a certain voicing, or because it is the easiest way for them. Again, by analyzing the tones in the upper chord against the bass note, you can determine the sound they are striving for. Analyze and make scale choices for the following: • Ami/F - - - - - - -- - - - - -- - - - - - - - - - - - - - - - - • Emi/C - - - - - - - - - - -- - - - - - -- - - - - - - - - - - - -
Sometimes, writing chords in this way gives certain voicings that the composer is looking for.
A Difficult Sound to Represent with a Standard Chord Symbol Much of the time, slash chords represent altered dominant sounds. Representing tlhese sounds as slash chords is a shorthand way of achieving the effect that the composer is trying to convey. Analyze each of the following chords:
A/E~ -------------------------------~
•
• Gmi/A - - -- - - - - - -- - - - - - - - - - - - - - - - - - - - Keep in mind that the context in which these chords appear is important to a good scale choice.
Progressions Analyze and improvise over each of the following progressions. You don't need to learn any new scales! All of these sounds have been encountered before. Be flexible in your approach, considering the entire progression and the styles notated for each example:
Fig.5 Gospel-blues
~ 72
~##I
E/G#
E
i
2
7
2
7
z7
Bbo7
A 2
7
I
I 7
I
7
2
7
E/B 2
7
I ., 2
C0 7 2
7
z7
A/B
clmi7 z7
I ., 2
7 ;t
2
7
B 2
7
=II
Chapter 14 Eighth Pop ballad
GIA
Dma7
~
j#
i
z
'7
z
Ab/Bb
~#
2
'7
2
'7
z
'7
z
Eb ma7
'7
'7
z
Db/Eb
r---=z
'7
GIA
Dma7
z
2
'7
I
2
""7
'7
I
I
FIG
Abma7 - 7
-7
'7
z
I
'7
7
z'7
z'7
CIF
Bb/C
Dma7
'7
z
'7
GIA
Cma7 I
'7
z'7
I~
z'7
2
'7
z '7
A9
I
z '7
7
'7
2
'7
I
7
:II
Chapter 14 Lick This idea not only deals with playing over slash chords, but also shows how to maintain continuity in you r melodies as you play ove r key changes- instead of just "slamming on the brakes" as the key centers shift. This continuing idea links the "A" and "B" sections by using ties over the bar lines. Play it over the Chapter 14 chord progression.
,,
-
JI
• u
::
.
- -
t)
I
..
.,
H
j
JI
:::::-.
-
-
,
-
~
3
..... . - ... ..,
,
- ..
I
I
3
--
-
- •
..,
-
-- - -~"
-
....,
3
..
..,
3
,
...
-
- I'- ~
10
~
fL
-. -.., #
·-· \' I
... .. .. " .,.. ..,
-
'"
... -. -.., ...,.., .. - -.., - . ..,
b11-
F
====
t.
TI
I
...., .. ..,
/ fT
~
-
..."'
II
·· ~
73
Chapter 14 Chord
Prog~ssion
r3 '
<"-=n>·
[A]
~
11 i ,>
.!ID
Emi9
~
FIA
Dma9/A
•1
z>
'
z>
2
.,.
7
I
7
,, z
B9sus
., . /
z>
Emi9
,, z
,, z
,, z
I ,,
I
;t
>
I
,
,,,
,, z
A13(\.9)
Emi9/A I
.,
z>
z
7
7
;t
/ .II
7
I
.,
play 3 times I
I
=II
In the space provided, write your own melody over this slash-chord progression, keeping stylistic considerations in mind: 16th-note Fusion-Funk G/C z
,,
. I
7
Chapter Fourteen
z
,,
z
z7
,
Tl
I
.,
7
z.
REVIEW
1. Be able to recognize slash chords. 2. Be able to analyze a slash chord by placing it into one of the four categories. 3. Be able to choose scales for slash chords. 4. Be able to improvise over slash chords in progressions.
74
-~hord
Scale Playing
Objective: •
To understand and apply the chord scale concept over chord progressions .
.-·..~XERCISJ: 1: Phrasing Exercl9e ... . .. . . .
j.
'
A common improvising pitfall' exists in usirig limited rhythmic ·values as ·a basis ·for phrases. Guitarists 'often flll enti(e measures with nothing but ·.sixteenth. notes until the very e~d of a solo, le~ViJ;lQ nothing bl.it a ·final whole note to break up the monofony. To avoid this, focus on using or.u~ or two new rhythm~ ·or rhythmic shifts· in your.motifs. TrY.tllis exercise,·Which uses rhythmic modulatio1~. to develop the ~bility. to shift SJT1oothly between.short and·longer·note va~ues. Apply mel6dies to.this exercise or use small ~gments of it in.your improvisi_ rig to ~ulate rhythmically: ~· 3 ---..,
(£3 J
J ·.J
J
II
Chord Scale Thinking Up to this point, we have largely used the key center approach to improvising over pmgressionsthat is, grouping adjacent chords into a scale and using that scale over all the chords to produce melodies. Modal interchange and secondary dominant harmony are variations of key center playing. In chord scale playing, a scale is chosen for each chord in a progression based on the sound of the chord itself (extensions, alterations, function in the progression, sound ''flavor," etc.). This aipproach can work well when the harmony of a progression does not fit readily in a key center approach. It can also work as an alternative way to play over a key center type of progression. One system is not better than the other; they are simply two different approaches that can lead the improviser to different note choices. Ideally, both of these approaches will be at the command of the improviser.
ChorcUScale Relationships There are many improvising texts based on this approach, and they all begin with a "table" of relationships. This table should be used as a reference until the scale choices become second nature:
75
.
~
15 Fig.1 Major, ma?, ma6, ma9 ma7(h 1), ma7111 (1
Major scale, major pentatonic
S)
Lydian scale
ma7(#5)
Lydian augmented scale
mi7, mi9, mi11
Minor pentatonic, Dorian, Aeolian, Phyrgian
minor( ma?)
Harmonic minor, melodic minor
mi6
Melodic minor, Dorian
mi13
Melodic minor, Dorian
dom7,dom9
Lydian, Mixolydian, blues, major pentatonic
1--~~~~~~-~~-~~--~~~~~~--~~~~~~---'-~~--1
dom7sus, dom9sus
Mixolydian, major pentatonic
dom9(# 11), dom 13(h 1)
Lydian dominant Dominant diminished, altered scale
dom 13(19b9)
Dominant diminished ,
Diminished
Diminished scale
Augmented, dom7(#5), dom7(#11)
Whole tone scale Locrian, Locrian #2
Applying the Chord Scale System Let's look at some progressions using this system. Play the following progression:
Fig.2 Fmi7
-~i/
Ema? 2
7
2
,,,
7
I
7
I
7
z7
2
,,
2
2
7
=II
There is not one scale that both of these chords belong to. Using the tablei of chord/scale relationships, write down all the possible scale choices for these two chords. Which ones do you use? This depends on the improviser's ear. Which choices sound right? Record these chords and try all possibilities, making note of which ones sound good to you. Let's look at another progression:
Fig.3 E~ ma9(#ll)
Cma9
rI
rI
I
z
,,
,
r
Drni9 2
,
,,
,,,
G9sus
r7
2
7
F?7
G9(1II)
/
/
=II
First, analyze the progression without paying attention to extensions and alterations-remember, these do not change the basic function of the chord. You can see that this progression is in the key of C major, with E~ as a modal interchange chord. Do the extensions and/or alteration:s change these
76
Chapter 15 choices? Since the E~ chord contains a #11 , the E~ Lydian scale would fit more closely than the C minor scale. (The C minor scale contai ns an A~ note, and the E~ Lydian scale contains an A q- the #11 of the E~ chord.) The G Lydian dominant scale would color the G9# 11 chord exactly, whBreas the C major (the scale of choice in a key center approach) does not contain the# 11 note. These scales reveal only a one-note difference between the key center approach arnd the chord scale approach. But the chord scale approach makes the listener hear each chord as a separate entity; the key center approach would not in this particular· progression.
•
Chapter 15 Chord Progression
Analyze this progression, writing down all scale choices. Look for key centers when possible, and if those can't be found, use the chord scale approach. Then improvise over the play-a-long CD::
• •
Pb
Gmi7
i
,, z
,, z
.,
,,
,,,
I
,,,
I
Ffma7(hl)
,,
,, z
B~mi7
F7{t9)
Pb z,,
,, z
,, z
,, z
z
::JI
,, z
Iz,,
z.::JI
,,
z
2
,,
I
,,
I
,,
::JI
z
l
,,
,,
z::JI
z
,,
,,
E"9(111)
E"9sus
,, z
I
::JI
z
,, z
,,,
::JI
;t
I
z
,,
play4ti~s .l
,,
z
=II
The chord scale and key center approaches should both be fully understood and mixed freely. Some progressions are more easily analyzed using key center thinking; with others, only a chord scale approach will yield workable scale choices. Of course, arpeggios can always be used! Refer to the table of chord scale relationships often until you memorize it. This is not as intimidating as it may seem; constant exposure to different kinds of progressions will do it automatically. Keep in mind that style can affect these choices!
Chapter Fifteen
REVIEW
1. Understand the chord scale approach to improvising. 2. Begin memorizing the table of chord scale relationships by constant exposure. 3. Be able to make scale choices for the given progressions.
77
pieing It Up
Objectives •
To learn to use pickups and fills effectively.
•
To learn the modes of the harmonic minor and melodic minor scales.
Pickups A pickup is a note or a short series of notes (a couple bars or less) that precedes and "sets up" the main phrase or thematic statement to follow. In popular music, pickups are normally useid to create:
1. A brief intro or "set-up" to start a song. 2. A way to link together sections of a song (verse, chorus, bridge, etc.). 3. A recurring "hook" that can repeat in various places in the song or solo. Most often, the pickup preparation is a smooth lead-in to the next idea, but sometimes it can act as a radical contrast to it. What determines the type of pickup to use? Stylistic considerations are crucial in choosing your approach to creating a good pickup idea. Here are a few possible pickup ideas to "set up" the solo or melody that you might play over a slash chord progression (the Chapter 16 chord progression). Stylistic considerations catll for blues and Mixolydian sounds. Try to continue with your own solo based on the provided pickup ideas:
Fig. 1 3
"'
"
.. I+
l
~'"
t.J
!':-. !'>. ~· t
q•f
112
-
i
12
I
Ill/
.ll
II
112
12-t ll! T
g
~
It is also common to play off the V7 that precedes the tonic (or first chord) of the pt1rase, section, or theme. Here are two examples of superimposing a 87 arpeggio to set up the E chord. The second example sets up the ear for the diminished sounds that occur in bars 2 and 3 of the pro~1ression by using the C note and creating a B dominant diminished sound. This could later be modified and recycled into the fourth measure of your solo.
Fig. 2 .. I+
.
-11.11l l
-
'· -
-
e.
.fl-
...
with ~ 9 -
~
3
41
I
.ll
L ii
78
..
·... ·-•v
..
-
-
- -
I
e
::
..
·-"'
-"'
·-,.
..
~
~
J
Tl
¥
~
·,.. ·rv
..
·,.,
f r r 11
9
12
II
II
Cha pter 16
Fills Another part of bringing excitement and professionalism to a performance or recording is to add fills to the basic song. There is no official structure or format for adding fills, and it is very easy to "overdo it." Fills, like pickups, occur in almost every popular style. The main purpose of a fill is to hiighlight the phrase, melody, or solo at a point where a space, rest, or breath has occurred. You are playiing during a break in the action-filling around something. In deciding when or how much to fill, style is critical, and instrumentation can make a difference. You may be called upon to play fills in a "call and response" manner with a vocalist or another melodic instrument. The melody and phrasing of that musician will create spaces for you to fill in ideas. The ends of phrases, motifs, or long sections are all excellent places for fills. In a vocal situation, listen to the lyrics. Be aware of the story being told and its emotional content; you can complement it with your fills. Sometimes you can copy the other's melody exactly, or with a slight variation. Short, stron!~ ideas are needed for effective fills-not overplaying! Listening to the bass and drums will also give you fill ideas; if you fill in rhythmic unison with the band, you are creating a very strong device called an "ensemble figure." Here is an example based on Fig. 1, this time with a melody and lyrics, to show two typical fill placements: Fig.3 Gospel-Blues I\ ii
_ ,,
lt
-
E
J =75 E/GI
-
~
A
,,
-
t.I
... ... ..,
Blue
jeans,
.,"
., "
-
A
I\ ii
- -- -- -lt
#
tt.
~
fill #1 - --
k.
r:=- fill #2 ----i
- ..-
ctmi7
C0 7
. ,.......,,
NB
.. - -
•
shoes,
.,
-
... .
ooh
Strat · o · cas • ter,
...,
...•
.,"
."
...
=II
ba ·by I got the blues. A
~-------- fill
- -- - ,
B
El r
3A
"
"
~
ten· nis
I
. --
-
.-fill #1-,1 1 E/B h. ,.-...,, It ....
B~ 07
-
.,
~~
" v
#2
-
t.I
... ... ..,
.... .. ...·- .. ..
I
,.,
.0.
Chapter 16 Lick Here is another pickup idea that could set up whatever solo or melody you play over the Chapter 16 chord progression: lt
I\ ii
,.
t.I
.
'T'
Q.
"....
-
..
~
..
i.,,....
It ....
> bP.,
b~
#
'
-
~
.. ...... .... ·-....,.
·-,., •4
...... . ,
....
...... .
,...
...
·-
'
II
~ 79
~.
'16
• E/GI
E
~ •1#1 i /
Chapter 16 Chord Progression
z7
B"°7
A
I,.
z7
z7
7
7
I
z7
E/B z7
Iz
cfmi7
C0 7
,,
,,
z
I
,
,
»
I
2
AfB
,
7
B
play4ti~s
/ / :II
,t
EXERCISE 1 In the spaces provided, write your own pickup and fill ideas for the Chapter 17 chord progression. Play them along with the CD. j\
-
..
t)
...• ......
..
A
A
or
·.
.
......
.. '
.
'
....
...
.'
'
-,,
- - -
.
II
.. -
• .
-
',
II
Modes of the Harmonic Minor Flg.4
J
IJ J J J
J
4th mode: Dorian #4
..
~~ 80
F
#J
J uJ
J
J J J IJ
6th mode: Lydian i 2
,J
J J J
3rd mode: lonijan 15
2nd mode: Locrian natural 6
J
.-
J
J
5th mode: Phrygian dominant (Phrygian nat. 3)
&J
bJ
1zJ
JZJ,J ttJ
7th mode: "altered"
J
Modes of the Melodic Minor Fig. 5
;
J
£ J &J
J
&
I;.
J J
p
2nd mode: Phrygian ls
~
J J J
~J
I i
11J
J J
J
~J
J &J d
6th mode: Locrian ~ 2
nJ
J J J
3rd mode: Lydian augmented
&J
J
I;F J J J
~
J l,J
&J
J j
~w
J
5th mode: Mixolydian ~ 16
4th mode: Lydian dominant
,
#J
~J
J
IJ
& J
~w
1zJ
~w
d
7th mode: altered
~
~: Putting
It All Together
Objective •
To analyze and improvise over different chord progressions and styles.
EXERCISE 1: Phrasing Exercise Here is another repetition exercise to help you "copy" your own phrases: Play an idea, copy it with some small melodic and/or rhythmic variation, and then play an "answer" idea. Here is a demonstration: Rock
J =160 cs
FS
GS
cs
f3tiJ J
II
Now it's time to put all the elements together and put them into practice. When looking at a new chord progression, always begin with the key center approach. Remember that modal interchange and secondary dominants are variations of key center thinkin~J . Any chords that don't fit into the key center system can then be analyzed using the chord scale app1roach. Arpeggios may be used with either approach to spell out the harmony to the listener or create melodic interest. Each of the progressions below has specific elements that need to be taken into account when improvising. Remember that style, taste, and experience will constantly reshape your playing. The ear is the final judge! Following is a series of solos, each with a corresponding chord progression and audio track. Use the solos as launching pads from which to develop your own ideas.
82
Ch.apter 17 SOL01 Try this country-rock lick over Chapter 17 chord progression 1.
-· r r-bF I
II
83
•
Chapter 17 Chord Progression 1
This progression has a country-rock feel. Make sure you understand the function of the slash chords. Country Rock E
~ 1#11 j /
/
J=95 B
A/B
/
/
z
2""S
/I (
z
I
v f
AIB ,.
f
B
I·z..
z
12.
~ ~
•111
zI
zI
I
zI
-1
-1
z
zI
I
Fl7
zI
z
z
z.
I
,
zI
,I
I
I
II
zI
Fl7 z
I
I
zI
z
z
z
z>
Clnni7
zI
I
Ff7
,>
I
zI
/
z
z
c •mi7
C l mi7 I
/
Gl7
Gl7sus
E
1,#1
r>'
I
I
z
Flmi7
...... z
,. I
2
I
I
z
z.
I
zI
,,, z,,
-1
/
I
z.
z
A/B
. 1 I
B I
;'
/
z
»I
=II
SOL02 Play this blues-rock solo over the second chord progression.
..><,_ -
II ~ ~ n ~· u
tJ
-
p
v
! A
.......
"
L
"
- -__, '~ k
- -
-
"
...
I
I
I
t
t
I
/
.
"''" ... ...
-
~ ~
.
r '•
,.
,.
p ·
• ~
..,.,
-
-
v
,. ..
........:;
-----
_
-
-
-----
I
/
--.;;. v
84
a
I
...
-
-
~- ¥&71 l I '----3 ---'
~
.
I
I
i
r~
.. .. .. /
,-.,.
I
i
/
/
Ch1apter 17
,•
~
Chapter 17 Chord Progression
This progression has a blues-roek feel. Even though the first six measures might indicate the major .the .song. Experience will assist you in making the scale, t~is may not be appropriat~ to the feel proper stylistic, adjustments to your scale choices:
of
.
=
Blues-rock.eipth-note feel J 110 A .E
~ 11# i
7
L
7
I
/
E
,
7
7
Flfui 7
7
z
z
I
> 2
7
I
I
7
1 .
;t
D
G
,
7
z7
7
z
I
7
/
z.
2
, r
7
7
Jf
;t
F
play4 times
/
z7
=II
SOL03 This ballad solo goes over the third chord progression.
~"'"' -_/';
!'
-6-
-
,.-..,,
~
~~U---~-----1-----------,4----f--l'-8*- ~ II
,,.......,.
>
r-- 3 --.
-
~
" " t)
·-·
\"I
-
-~ -
~
..,
,.' ..,
., ,.
.,
~
---
- --
"'-"
A
.,- ..,
.
.
V
A
II
'/ fl-·
I
~
•
-·
--·
t)
·,-,
- - -- - -
.A
v
A
v
A A
v
..,
v
A
..,-
V
A .,
A
., "
...
"
~
~·
l
~
·- ....
;,.
,.,
v
•v
'
A
~:
e
. if ..
"'
-
A
-
3 --'
,.
-.
xv
A
v v
,.
~-
-
,-.... -
,. .,
~
"
--..
-~
v
- ..
,
"
',,.
°T
-·• lf..... .
~
A V
A
v
... xv
. 7
~
!/
•1f'II ,-....
n
xv
;.. v
~
v
-. : -...-~
v
85
•
Chapter 17 Chord Progression 3
This progression has a slow sixteenth-note ballad feel. Slow tempos can preSE•nt EJ challenge, as every' nuance of a player's choices can come under close scrutiny. In addltiQO, there can sometimes be several ways to analyze a progression, and they all may have merit. Be flexible, a,nd remember: if it sounds good, it's right! Use the solo above as a launching pad for your own ideas.
J =70
16th-note funky ballad Gmi7
Cmi7
• ~"I ,, ,, < ,,
• • •
~b
~I,
z
7
I
-:;J1
7
z.
I
I,
»
7
z7
z7
#
I
, >
z7
· E~ma7
,Cmi7
~? >,
-7
z7
z
z
7
7
I
z7
>
E~/F
.,,
z7
z
7
,
7
E~
>
~
7
I
,
z.
z7
z7
:11
z.
:11
»
z
,,
Gl!B
G7sus
,,
I,
7
#
:11
,
:11
- :11
;t
E~ma7
Cmf7
,
»:11
7
#
A~
FIA
,
7
;I
z.
Cmi
7
z
Cmi7/8"
Cmi7
Cmi
7
B~ z
Gmi7
z
>
F I
Cmi7/8"
,
z7
;t
,.
lo
:11
z.
=II
SOL04 Play this over the funky sixteenths chord progression below. ~
II
, .,
v
... ... I
.'1
""'
86
-
•
ll ~
a
~- ·
--.
,.
('_,..--.... _~ _ .
-
-·
..... ••
fr
:
n
-
~
- j
I
I
A
~
v
v
/ ~
I
I
T\! ,;.:;
,-,
~
A
~
A
A
v
v
v
v
vv
/
· ~ ~oo I
I
fl! \V/
-",....,..
~ A
v
5 5 7
;;:s ., a
I
Ch1apter 17
. t:
~
\
....
-_,
-
~ -~
-
, 1
' ,.,,
•A
,.~.
''
.,. a
..
,._
--
-·
:
~
·,-..~
- v
.. ,,.. .. ,. IV
I~
,.,..
,.,.,
,., .....
~
~
v
v
.
j,.
.,.., ._
_,--.._
,,
~
-J
,.
I
'~
"v
..,
•ft I&.
l
11
$
Chapter 17 Chord Progression 4
This progression has several slash chords. Be careful to deduce their function in the pro,gression.
.i / / / Funky 16ths
J = 110
DIG
/
/
I
/
Cma7 •
rI
rI I r
r
zI
F7sus
rI
z-I
2
I
>
I
z.
I
rI l r
Ami7
I
rI
I
,f
zI
=II
F7
I
l
2
I
Cmi7
Bmi7 I
;t
I
;t
CID
,
=II
87
SOLOS Play this one over Chapter 17 Progression 5 with a bossa nova feel.
..
,
"
4
-
k - - -··
.
r-- 3---i
---
,... ~·
--
t
-
.,
.. ..
-
--
I
.ft.
-
A
"
I
~
---
.,- -
-
~
ft
"
'
v
~ --f:r
-
... ..
,..
v
.. _..,-.,.. •v
A
-
.A
v
r I
v
'A
•v
g
"- ..
' }» _ ,
, Jr
- -
-
.._
.---
-
-
-
~
.,
~· u
-
tJ
..
- ,.
\I
,
I
1
,, A
1°"9
.,
-
A
I
.,A
-
.., A
..,
_,-A
.. .... ,,
.,
A
......_,,-
..
-
- ..:--. .. •
v
•
l•
A
"
,.., A
-
~
Efttd
~
... v
II ,,-...,
,...., ..
ft
, ...
-
•
ft
olft
"'
~
ft
..
..
Chapter 17 Chord Progression 5
This progression can be a little deceiving. What is the tonal center? Sometimes the first chord is not the key:
=
Bossa J 120
DIE
II:
88
I
Ama7
, z, , ,, 2
I
, z,, z,, ,,, z
Bmi7
Cma7
,, , z. 2
,, , z. #
r,,
play 4 times
,
;;;ir
r,,
r,,
·.1 ::1
Cl11apter 17
SOLOS r-- .1---.
II 3 3 3 let ring - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - --i
•
Chapter 17 Chord Progression 6
Play this last one with a strong backbeat feel. What is the tonal center in the first four bars? In the B section, do you need to play a different scale for each chord in the third measure, or is it too fast to make the switch? Refer to the solo above for suggested solutions.
(Al
1218 Rock Emi
~- i [ID
~·
7
J. =90 D
7
z>
l
>
z7
f
z>
z>
c
D
G z>
/
z>
I
z>
D
Emi
Ami z>
GIB z>
z>
I
>
I
z>
z>
z>
Ami z>
B7/DI Emi Emi/DI Emi/D Emi /CI I
>
z>
z>
z>
,
7
z>
z>
2
c z>
z>
7
=II
G z>
I
>
z7
=II 89
•
;
17 At this point, the player needs to practice improvising over as many progressions as possible, developing a sense of style and a vocabulary of phrases. Listen to as many artists and tunes as you can ; experience is the best teacher. This is an ongoing process that will continue to accelerate your growth. Keep going!
Chapter Seventeen
REVIEW
1. Be able to use key center and chord scale thinking to come up with scale choices for tt1e given progressions. 2. Be able to construct melodies over the given progressions using all devices.
90
Aftervvord
T
he material presented in this book will give you the physical tools with which to construct melodies that can be used in solos or as part of tunes. Mastering these elements is an ongoing process, but the main goal is to MAKE MUSIC! In addition to the control of scales, arpeggios, etc., this book gives you the ability to make good choices over just about any harmonic situation you will encounter. Be thorough , take your time, and always remember to experiment and make these sounds your own! The resources provided here will come together to help you develop your own sound and style.
91
Guitar Notation Legend Guitar Music can be notated three different ways: on a musical staff, in tablature, and in rhythm slashes.
D RHYTHM SLASHES are written above the staff. Strum chords in the rhythm indicated. Use the chord diagrams found at the top of the first page of the transcription for the appropriate chord voicings. Round noteheads indicate single notes. THE MUSICAL STAFF shows pitches and rhythms and is divided by bar lines into measures. Pitches are named after the first seven letters of the alphabet TABLATURE graphically represents the guitar fingerboard. Each horizontal line represents a a string, and each number represents a fret.
~~
"
Jl.
.., --
A I F ~
" '
Strings: high (
.
•
-
~
'T'
n
-
A D E
u
A
A
::
-
.-
G ll
D
-
..-
;::
G
©© open 3fr
) ) ) )~)
Notes:
low
E
D
A
II
~
;::
:: v
1st & 2nd strings open D chord open, played together
4th string, 2nd fret
Definitions for Special Guitar Notatcion HALF·STEP BEND: Strike the note and bend up 112 step.
WHOLE-STEP BEND: Strike the note and bend up one step.
GRACE NOTE BENO: Strike the note and Immediately bend up as indicated.
SLIGHT (MICROTOME) BEND: Strike the note amd bend up 1/4 step.
hi-tr) "
"
- --
'T'
1/4
1n /
•
-1 9/
-
I
ll
v
I
BEND AND RELEASE: Strike the note and bend up as indicated, then release back to the original note. Only the first note is struck.
PRE·BEND: Bend the note as indicated, then strike it.
PflE·BEND AND RELEASE: Bend the note as indicated. Strike it and release the bend back to the original note.
Ar
"
..,
I ~
1
\
.D.
-:
~"'"'
.D.
" " " "
"'"'"'"'-~-"' A
v
D
LEGATO SLIDE: Strike the first note and then slide the same fret-hand finger up or down to the second note. The second note is not struck.
"
.
PULL·CIFF: Place both lingers on the notes to be sounded. Strike the first note and without picking, pull the finger off to sound the seoond (lower) note.
-
~
..,
..,
j~----
A
F
I
II
~
•
... -
-
A
A
E1
l;.il
..,
'T' I
ll
D
,.
I I
SHIFT SLIDE: Same as 18ljato slide, except the second note is struck.
-"
92
HAMMER-ON: Strike the first (lower) note with one finger, then sound the higher note (on the same string) with another finger by fretting it without picking.
"
..,
II
!!;II
I '
WIDE VIBRATO: The pitch is varied to a greater degree by vibrating with the fretting hand.
II
I
I
VIBRATO: The string is vibrated by rapidly bending and releasing the note with the fretting hand.
UNISOl'f BEND: Strike the two notes simuttaneously and bend the lower note up to the pitch of the higher.
" •,!± .., .... tt • : :::>'
•ft• -- ,_,
-..,"
II
I I
D
'T'
II
..,
..,
~
-
-
TRILL: Very rapidly alternate between the notes indicated by continuously hammering on and pulling off.
'T'
•
.D.
i
II
D
TAPPINIG: Hammer ("tap") the fret indicated with the pick-hand index or middle finger and pull off to the note fretted by the fret hand. A
+
( - --.,,
~
"
.,,. - ftv
lt
IJ
£l
T
..
i
I
NATURAL HARMONIC: Strike the note while the fret·hand lightly touches the string directly over the fret indicated.
-"
PINCH HARMONIC: The note is fretted
normally and a harmonic is produced by adding the edge of the thumb or the tip of the index linger of the pick hand to the normal pick attack.
-"
.... " ""
Harm. "T" I
a.
"
.i
"
.i
PICK SCRAPE: The edge of the pick is HARP HARMONIC: The note is fretted normally and a harmonic is produced by gently resting the rubbed down (or up) the string, producing pick hand's index linger directly above the a scratchy sound. indicated fret (in parentheses) while the pick hand's thumb or pick assists by plucking the appropriate string. 8va
P.H.
H.H. "T"
..-
I
a.
-
u
. ,,.,
u
MUFFLED STRINGS: A percussive sound is
PALM MUTING: The note is partially muted
RAKE: Drag the pick across the strings
TREMOLO PICIKING: The note is picked as
produced by laying the fret hand across the string(s) without depressing, and striking them with the pick hand.
by the pick hand lightly touching the string(s) just before the bridge.
indicated with a single motion.
rapidly and continuously as possible.
"
" .i
.
.
"T"
a.
"
.i
"
"T" v
a.
:: ~
u
~
p ~
~
u
II
ARPEGGIATE: Play the notes of the chord
VIBRATO BAR DIVE AND RETURN: The
VIBRATO BAR SCOOP: Depress the bar just
VIBRATO BAR DIP: Strike the note and then
indicated by quickly rolling them from bottom to top.
pitch of the note or chord is dropped a specified number of steps (in rhythm) then returned to the original pitch.
before striking the note, then quickly release the bar.
immediately drop a specified number of steps, then rele!
"
..,
"
"
'
..,
·..........__·~ w/ bar
~
I I
.
A'
" '-./
/
,.,
v
-112
v
r r
-1/2
-112
-112
.
,
.
,
,
/ 'A'
· 112
II
w/ ba.t" ······· ·····-~
v
I
•
v
v
v
I
I '
·I
>
Additional Musical De'finitions
(accent)
.
~
(accent)
• Accentuate note with great intensity
Rill
• Label used to recall composed, melodic lines (usually single notes) which recur.
~
(staccato)
• Play the note short
Fill
Label used to identity a brief melodic figure which is to be inserted into the arrangement.
n
• Downstroke
Rhy. Fill
• A chordal version of a fill.
v
• Upstroke
tacet
• Instrument is silent (drops out).
~
Accentuate note (play it louder)
Label used to recall a recu1rring accompaniment pattern {u1sually chordal).
Rhy. Fig •
A
Go back to the sign ( !iS ), then play until
D.S. 1/Cod1
the measure marked " To Coda." then skip to the section labelled "Coda." O.C. a/Fine
II:
!l""lrz.-
• Go back to the beginning of the song and play until the measure marked " Find' (end).
11: NOTE:
: 11
:II
• Repeat measures between signs.
• When a repeated section has different endings, play the first ending only the first lime and the second ending only the second time.
Tablature numbers in parentheses mean: 1. The note is being sustained over a system (note in standard notation is lied), or 2. The note is sustained, but a new articulation (such as a hammer-on, pull-off, slide or vibrato begins), or 3. The note is a barely audible "ghost" note (note in standard notation is also in parentheses).
93
GUITAR PUBLICATIONS: Solid, contemporary teaching that covers it all! Musicians Institute Press is the official series of instructional publications from Southern California's renowned music school, Musicians Institute. These books, book/CD packages, and videos have been created by Ml instructors who are among the world's best and most experienced professional musicians. With in-depth, easy-to-follow instruction on a variety of topics, MI Press publications are designed to help guitarists, bassists, drummers, vocalists, and keyboardists become better musicians.
The series: • Essenti.al Concepts - Designed from actual courses taught at Ml! • Master Class - Designed from Mi's many unique m~1er classes and workshops • Private Lessons - One-on-one instruction with Ml teachers on a \vide variety of perfonning and technical topics
ADVANCED SCALE CONCEPTS AND LICKS FOR GUITAR • byJean Marc Belkadi :A~
CREATIVE CHO~ID SHAPES
Private Lessons . . l!a!J MI instructor Jean Marc Belkadi reveals the secrets to creating interesting, over-the-top phrases. This book is the complete resource for applying pentatonic, harmonic minor, melodic minor, whole tone, and diminished scales. The CD includes 99 full-band tracks. _ _00695298 Book/CD Pack ..................... $14.95
by )'amie Findlay • Private Lessons This book/CD pack lets guitarists explore the lush sounds of open-slriing chords. The CD includes 19 fulldemo examples covering: arpeggiated progressions, arpeggiated chords :and scalar lines, adding open strings to diatonic chords, :and more. _ _00695172 Book/CD Pack .......................$9.95
~
GUITARIST'S GUIDE TO OPEN-STRING
CHORD FORMS •
THE PROFES.5IONAt GUIDE TO IMPROVISATION
THE DIMINISHEID SCALE FOR GUl'TAR
by Daniel Gilbert & Beth Martis • Essential Concepts This is the follow-up to Guitar Solning and provides an adV'mced player's guide to mastering the art of melodic improvisation. The CD includes 17 tracks for demonstration and play-along and the instruction covers more scales, modes, arpeggios, technique, and visualization exercises. Explores rock, blues, jazz, and other sfyies of music as well as sequences, phrases, and licks. _ _00695636 Book/CD Pack .....................$19.95
by jean Marc Belkadi • Private Lessons Jean Marc Belkadi reveals the secrets of using the diminished scale in iover 30 lessons and sample phrases. The CD includes ov.er 30 tracks for demonstration and play-along, and the topics covered include: tonal and modal usage; diminished triads, chromaticism, arpeggios, polytonalities, common licks and patterns for jazz, rock, and fusirnn guitar; and more! _ _00695227 Book/CD Pack.......................$9.95
ADVANCED GUITAR SOLOING -
BASIC BLUES GUITAR
-~
by Steve Trovato • Private Lessons Play rhythm guitar in the style of Stevie Ray Vaughan, B.B. King, Chuck Berry, T-Bone Walker, Albert King, Freddie Green, and many more! CD includes 40 full-demo tracks and the instruction covers all styles of blues and the essential chords, patterns and riffs. _ _00695180 Book/CD Pack.....................$14.95
, CLASSICAL &FINGERSTYLE GUITAR TECHNIQUES ' by David Oakes • Master Class · This Master Class with MI instructor David Oakes is aimed at any electric or acoustic guitarist who wants a quick, · thorough grounding in the essentials of classical and 6ngerstyle technique. Topics covered include: arpeggios and scales, free stroke and rest ~troke, P-i scale technique, three-te>-a-string patterns, natural and artificial harmonics, tremolo and rasgueado, and more. The book includes 12 intensive lessons for tight and left hand in standard notation & tab, and the CD features 92 solo acoustic tracks. _ _00695171 Book/CD Pack.. ...................$14.95
ESSENTIAL RHYTHM GUITAR
0
~
Patterns, Progressions and Teclmiques for All Styles • by Steve Trovato • Private Lessons This book/CD pack is based on the concept that, for most popular music styles, there exist a few basic, fundamental rhythm guitar techniques and a set of appropriate chords and chord voicings that detennine the sound of each style. This one-on-cine lesson with MI instructor Steve Trovato teaches the rhythm guitar essentials for 7 styles: blues, rock, counlfY:, 6ngerstyle acoustic, Latin/Brazilian, jazz and swing, and funk. The CD features 65 full-band tracks. Includes standard notation & tab. _ _00695181 Book/CD Pack ..................... $14.95
FUNK GUITAR by Ross Bolton Go one on one with Ml instructor Ross Bolton to get that funk groove with your guitar! This book/CD pack covers: movable 7th, 9th, 13th and sus4 chords; 16th-note scr.uching; straight vs. swing; slides; single-note "skank" and palm muting; songs and progressions; and more. The CD includes 70 full-band tracks. _ _00695419 Book/CD Pack..................... $14.95 THE EssENTIAL Gu1D1E•
CONTEMPORARY ACOUSTIC GUITAR by Bric Paschal and Steve Trovato • Master Class The definitive source for playing acoustic guitar! The CD includes all 60 examples. Topics covered include: basic chords and rhythms; chord embellishments; 6ngerpicking patterns; blues, ragtime, New Age, folk, and other styles; Drop D and other alternate tunings; standard notation and TAB. _ _00695320 Book/CD Pack.. ...................$16.95
FOR MORE INFORMATllON, 5~£ YOUR LOCAL MUSIC DEALER,
~I HAa::i:~oNARD® ... CORPORATION
7777
w. BLUl:MOUND Ro. P.O. Box
13819 M il.WAUKEE, WI 53213
Visit Hal Leonard Online at ww111t.halleonard.com
JAZZ GUITAR IMPROVISATION •bySidJacobs Master Class
-
~~
V HS
Develop )'Our solo skills with this comprehensive method which includes a CD \\1th 99 full demonstration tracks. Topics covered include: common ja7.Z phrases; applying scales and arpeggios; guide tones, non-chordal tones, fourths; and more. Includes srandard notation and tablature. _ _00695128 Book/CD Pack .........................................................................$17.95 _ _00695639 Video ......................................................................................$19.95
JAZZ·ROCK TRIAD IMPROVISING FOR GUITAR Private lessons • by jean Marc Belkadi
In this "private lesson," Ml instructor Jean Marc Belkadi reveals the secrets to creating interesting, over-the-top, red-hot licks and lead phrases! He: cove.rs: modal and tonal usage, lriad substitution and superimposition techniques, aiod much more. The book is in srandard notation and tab, and the CD features 50 full-band tracks. _ _00695361 Book/CD Pack. ........................................................................$14.95
LATIN GUITAR THE F.SSEl>'TtAI. GUIDE TO BRAZILIAN AND At1!0-CUBAN RHYrHMIS
by Bruce Buckingham •Master Class Pro musician and G.1.1'. instructor Bruce Buckingham covers :all the basics guitarists need to know in this book/CD pack designed £rom MI elective courses. Rhythms covered include: bossa nova, samba, partldo alto, baiao, bolero, cha cha, mambo, nanigo (v'8 and more. The
GUITAR BASICS • Esse111ia/ CIX>rds, Scales, Rhythms, arni Theory _. _ ~ ~Bruce Buckingham • Private U!ssoTIS
._.
This pack gives essential instruction on open chords, barre chords, power chords, snunming; scales, rhythm playing, the blues, and moveable chord shapes. It includes ilversions, "color" chords, practice tips, chord charts, songs, and progressions. _ _00695134 Book/CD Pack. ........................................................................$16.95
GUITAR HANON •by Peter Oeneff •Private ussons This book by MI faculty instructor Peter Deneff is intended as a sort of guitar sequel to . l:hnon 's piano classic The Virtuoso Pianist in Sixty Exercises. He teaches beginning to irofessional guitarists 51exercises, covering: diatonic and chromatic scales; major, minor, cbminant and half-diminished seventh arpeggios; whole tones; diminished arpeggios; and . nore. _ _oo695321 ................................................................................................... $9.95
. 11E GUITAR LICKTIONARY • by Dave Hilt • Private Lessons
-~
uarn the essential lines and techniques of the world's greatest guitarists with this book/CD
. pick £rom Musicians Institute. Hill covers all ~'tyles of music with clear, concise instruction :nd application tips in srandard notation and tab. _ _00695482 Book/CD Pack.........................................................................$17.95
.' GUITAR SOLOING •TllE CoNTEMPORARY GlllDE TO lMPROVISA'.l10N . b; Daniel Gilbert and Beth Mar/is
-~
EE
&ential Concepts vH s Acomprehensive source for mastering the art of Single note, melodic improvisation. The ID includes over 30 tracks for demonstration and play-along. The topics covered include: Stales, modes, arpeggios, technique and visualization exercises; rock, blues, jazz, and . ofter styles; and sequences, phrases, and licks. : _ _00695190 Book/CD Pack.........................................................................$19.95 . _ _00695638 Video ...................................................................................... $19.95
HARMONICS • GlllTAR INTHE S1Yl.E OF LEN~ BRF.AU, ' Tm GRWIE, AND R>J.PH TOWNER • byJamie Findlay Private U!ssotis
a~ v
H
s
This pack covers: harp harmonics and natural harmonics; combining hannonics with hunmers and pulls; using harmonics over chord progressions; and more. The CD includes 30 full-demo examples. _ _00695169 Book/CD Pack...........................................................................$9.95 _ _ 00695638 Video ......................................................................................$19.95
JAZZ GUITAR CHORD SYSTEM · by Scott llerulerson Private ussons
The essential guide to jazz chord voicings and substitutions, complete with a color-coded method for over 500 essential voicings. Players will understand chord functions and their bannonic possibilites better than ever before, as well as in\'ersions, extensions, alterations, and substitutions. Players will also be able to increase their harmonic vocabulary for accompaniment, composing and d1ord-melody playing.
_ _00695291 ................................................................................................... $7.95
accompanying CD includes 79 demo tracks. _ _00695379 Book/CD Pack. ........................................................................$14.95
A MODERN APPROACH TO JAZZ, ROCK & FUSllDN GUITAR - ~ by jean Marc Bellwii • Private U!ssotis ... Jean Marc Belkadi gh-es you over 30 great lines uSing a variety of techniques and melodic ideas. Covers: alternate, sweep, and skip picking; major scale, chromaticism, arpeggios, superimposing triads; legato, wide intervals, alterations; and much more. Includes standard notation and tablature. _ _ 00695143 Book/OJ Pac.k. ........................................................................ $14.9'>
a~
MODES FOR GUITAR · by Tom Kolb · Private ussons In this one-on-one lesson, Ml instructor Tom Kolb unravels the mystery of the modes; giving guitarists a complete approach to soloing and a thomugh, hands-on explanation of Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian and Locrian. He also covers: melodic minor, harmonic minor and the blues scale; soloing over diatonic and modal progressions; superimposing modes; patterns; progressions, licks; and much more. The accompanying CD includes 83 full-band tracks. _ _00695555 Book/CD Pack.........................................................................$16.95 MUSIC READING FOR GUITAR ·by David Oakes • E11sential Concepts The complete method for music reading, complete with over 450 songs and examples. Covers these topics: notes, rhythms, keys, positions, dynamics, syncopation, chord charts, duets, scale forms, phrasing, odd time, and more! _ _Oo695192 ................................................................................................. $16.95
GUITAR PUBLICATl.O NS THE MUSICIAN'S GUIDE TO RECORDING ACOUSTIC GUITAR • by Dalian Beck •Private Lessons
._,
Learn the tools of the trade for recording acoustic guitar partS in your home studio! Topics covered in th.is one-on· one lesson with MI faculty instructor Dalian Beck include miking techniques, direct recording, EQ, compression, recording techniques, and effects such as chorus, rcverb and delay. The accompanying CD features 48 demo tracks. _ _00695505 Book/CD Pack .....................$12.95
PRACTICE TRAX FOR GUITAR by Danny Gill •Private Lessons This one-on-one lesson with Ml instructor DannyGill lets guitarists practice soloing with a real band! The CD features 20 full-length jams in the style of Satriani, Beck, Zeppelin, The Beatles, U2, the Red Hot Chili Peppers and more! Each song is analyzed by key, mode and pitch axis. Patterns for the major and minor scales, major and minor pentatonics, the blues scale, modes and altered scales are also provided. _ _00695601 Book/CD Pack..................... $14.95
RHYTHM GUITAR - THE COMPLETE GUIDE
~
by Bruce Buckingham and Eric Paschal Essential Concepts A comprehensive source for learning rhythm guitar in a variety of musical styles. It covers: open chords, barre chords, and other movable shapes; strumming, finger· style, flatpicking and arpeggiation; common progressions and basic chord theory; triads, sixth, seventh, ninth, and many other chords; and much more. _ _ 00695188 Book ...................................$16.95 _ _ 00695644 Video...................................$19.95
ROCK LEAD BASICS
-~ mm
by Nick Nolan and Danny Gill Master Class VHS A method exploring the techniques, scales and fundamentals used by the greatest legends of rock guitar. CD includes over 75 full demonstration tracks. Covers pentatonic and diatonic scales, bending, vibrato, lead licks, and more. Includes standard notation and tab. _ _00695144 Book/CD Pack ..................... $15.95 _ _ 00695637 Video ...................................$19.95
L. ...
ROCK LEAD PERFORMANCE
~
by Nick Nolan and Danny Gill •Master Class ' : Techniques, scales and soloing concepts for guitar complete with a CD with over 70 full-demo tracks; in· depth study of modes; soloing over chord changes and modulations; harmonic minor, diminished and other scales; blues-based music; and much more! _ _00695278 Book/CD Pack .....................$16.95
ROCK LEAD TECHNIQUES by Nick Nolan and Danny Gill Master Class Licks, scales, and soloing concepts for guitar, including: picking technique, three-note-per-string scales, sweep picking, fingerpicking, and string skipping, solo constructions, harmonics, and more. CD includes 97 full demo tracks. _ _00695146 Book/CD Pack .....................$15.95
SLAP & POP TECHNIQUE FOR GUITAR by jean Marc Belkadi •Private lessons This one-on-one lesson with MI instructor Jean Marc Belkadi applies the slap bass techniques popularized by Louis Johnson, Marcus Miller, Victor Wooten and others to the guitar. Covers basic "slap" and "pop" techniques in funk, rock, R&B, Latin and reggae styles. The book includes standard notation and tab, and the accompanying CD features 52 full-band demo tracks. _ _00695645 Book/CD Pack .....................$12.95
TEXAS BLUES GUITAR by Robert Calva •Private Lessons Musicians institute instructor Robert Calva covers rhythm and lead guitar in the ~1yles of Stevie Ray Vaughan, Johnny Winter, T-Bone Walker, Freddie King and Albert Collins. He teaches: 24 common blues licks; common blues "box" positions; shuttle blues, slow blues, Latin blues & straight blues; and more. The book includes standard notation & TAB, and the CD features 34 full-band tracks. _ _ 00695340 Book/CD Pack .....................$16.95
F OR MORE INFO R MATI ON, S EE Y O U R L OCAL M US I C D EA LE R,
"HA~·:;:~ONARD® -CORPORATION
7777 W . B LUEMOUN D R D. P.O. B OX 1 38 19 M ILWAUKEE, WI 532 1 3
Visit Hal Leonard Online at
-w.halleonard.com Prices, contents, and availability subject to change without notice.
pla mastering the art of melodic improvisation. includes 22 tracks for demonstration and play-along
• CD
• Scales, modes, arpeggios, technique, creativity and visualization exercises • Rock, blues, jazz, and other styles • Sequences, phrases, and Iicks
Book $9.95 CD $10.00 = Pkg $19.95 Parts not sold separately
ISBN
0
0 - 634-03100~7
~'mi1nw~ .
1
HL00695636
