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ISOMETRIC EXERCISES As recorded by Derryl Gabel TranscribedbyDerrylGabel
MusicbyDerrylGabel Arranged by Derryl Gabel Performance Notes
This exercise will be used to develop strength, independence, endurance, and dexterity in the fret hand. Place fingers not in use inthe following exercises on the adjacent string. This will promote independence. Example 1 Hammer your index finger on the fifth fret and pull-off to the open string. In the following examples pick the first note for each grouping as shown. Example 2 Hammer your middle finger on the sixth fret and pull-off to the fifth fret. Example 3 Hammer your ring finger on the seventh fret and pull-off to the fifth fret. Example 4 Hammer your pinky finger on the eighth fret and pull-off to the fifth fret. Example 5 Hammer your ring finger on the seventh fret and pull-off to the sixth fret. Example 6 Hammer your pinky finger on the eighth fret and pull-off to the sixth fret. Example 7 Hammer your pinky finger on the eighth fret and pull-off to the seventh fret. Practice this exercise with your metronome and gradually increase your speed. Play these exercises on all strings.
Example 1 1
!! " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " " Gtr I
T A B
5 0 5 0 5 0 5 0 P
H
P
H
P
H
P
5 0 5 0 5 0 5 0 H
P
H
P
H
P
H
P
5 0 5 0 5 0 5 0 H
P
H
P
H
P
H
P
5 0 5 0 5 0 5 0 H
P
H
P
H
P
H
P
Example 2
5
!! " #" " " " " " " " #" " " " " " " " #" " " " " " " " #" " " " " " " T A B 5 6 5 6 5 6 5 6 H
P
H
P
H
P
H
P
5 6 5 6 5 6 5 6 H
P
H
P
H
P
H
P
5 6 5 6 5 6 5 6 H
P
H
P
H
P
H
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P
5 6 5 6 5 6 5 6 H
P
H
P
H
P
H
IS OM E T R IC E X E RC IS ED-Se rryGl a b e l
P a go2ef
Example 3 9
"""""""" """""""" """""""" """""""" T A B
5 7 5 7 5 7 5 7 H
P
H
P
H
P
H
5 7 5 7 5 7 5 7 P
H
P
H
P
H
P
H
5 7 5 7 5 7 5 7 P
H
P
H
P
H
P
H
5 7 5 7 5 7 5 7 P
H
P
H
P
H
P
H
Example 4 13
"""""""" """""""" """""""" """""""" T A B
5 8 5 8 5 8 5 8 H
P
H
P
H
P
H
5 8 5 8 5 8 5 8 P
H
P
H
P
H
P
H
5 8 5 8 5 8 5 8 P
H
P
H
P
H
P
H
5 8 5 8 5 8 5 8 P
H
P
H
P
H
P
H
Example 5 17
# " $ " # " $ " # " $" # " $ " # " $ " # " $ " # " $ " # " $ " # " $ " # " $ " # " $ " # " $ " # " $ " # " $ " # " $ " # " $" T A B
6 7 6 7 6 7 6 7 H
P
H
P
H
P
H
6 7 6 7 6 7 6 7 P
H
P
H
P
H
P
H
6 7 6 7 6 7 6 7 P
H
P
H
P
H
P
H
6 7 6 7 6 7 6 7 P
H
P
H
P
H
P
H
Example 6 21
# " " " " " " " " #" " " " " " " " #" " " " " " " " #" " " " " " " " T A B
6 8 6 8 6 8 6 8 H
P
H
P
H
P
H
6 8 6 8 6 8 6 8 P
H
P
H
P
H
P
H
6 8 6 8 6 8 6 8 P
H
P
H
P
H
P
H
6 8 6 8 6 8 6 8 P
H
P
H
P
H
P
H
Example 7 25
"""""""" """""""" """""""" """""""" T A B
7 8 7 8 7 8 7 8 H
P
H
P
H
P
H
7 8 7 8 7 8 7 8 P
H
P
H
P
H
P
H
7 8 7 8 7 8 7 8 P
H
P
H
P
H
P
H
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7 8 7 8 7 8 7 8 P
H
P
H
P
H
P
H
MOTION EFFICIENCY As recorded by Derryl Gabel TranscribedbyDerrylGabel
MusicbyDerrylGabel Arranged by Derryl Gabel Performance Notes
This exercise will be used to develop finger independence, dexterity and train your mind to keep your fingers closer to the fretboard. Example 1 Begin play ing the first 4 note phrase on the low E. As you playeach note keep your finger down on the fretboard. When you go to the Astring only lift the finger nee ded to playeach note. Keep the otherfingers down until needed.Do this across all strings. You will be using alternate picking. Example 2 Descend as you normally would but after you play a note place it on the adjacent string on the appropriate fret. Practice this exercise with your metronome and gradually increase your speed.
Example 1
1
!! " #" $" " " #" $" "
" %" " #" " %" " #"
" " %" " " #" $" "
Gtr I
T A B
5 5 5 5 5 5
6
7
6
7
6
7
6
7
6
7
6
7
8
8
8
8
8
8
" " #" " " %" $" " #" " %" $" ! #" " %" $" !
Example 2 4
T A B
8
7
6
5
8
7
6
" " # " " " " #" "
5 8
7
6
5 8
7
6
5 8
7
6
5 8
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7
6
5
NOTE RECOGNITION As recorded by Derryl Gabel TranscribedbyDerrylGabel
MusicbyDerrylGabel Arranged by Derryl Gabel Performance Notes
This exercisewill be usedto help you memorize thenotes on the neck. The note sequence is the Cycle of Fourths. C F Bb Eb Ab Db Gb B E A D G Each example should be play ed with the metronome.Gradually build o y ur speed. Take note of where each note is in regards to the dots on the fretboard. These act as aguide post or landmark to help you know whereouy are.
Example 1 1
! "
" #" #"
%" %" %"
"
"
"
"
"
2
7
12
5
10
3
%" %" %"
"
Gtr I
8
T A B
1
Example 2 4
11
4
" #" #"
!! " T A
6
1
6
11
4
9
9
2
7
"
"
12
5
"
"
10
3
8
B Example 3 7
" T A B
5
" #" #" 10
3
8
%" %" %" 1
6
11
" 4
" 9
" 2
" 7
" 12
Example 4 10
"
" #" #"
T A B
3
10
8
1
%" %" %" 6
11
4
" 9
" 2
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" 7
" 12
" 5
N O TR EE C O G N IT IO D-N e rr y Gla b e l
P ao2 g2fe
Example 5
13
"
" #" #"
%" %" %"
"
T A B
8
11
2
3
1
6
4
9
" 7
" 12
" 5
" 10
Example 6 16
" T A B
#" #"
%"
" 8
1
%" 6
11
4
"
"
"
"
%" 9
2
" 7
12
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5
10
3
THE MAJOR SCALE As recorded by Derryl Gabel TranscribedbyDerrylGabel
MusicbyDerrylGabel Performance Notes
The C Major Scale This is the C major scale played on diffrent string groupings.
Example 1
!! " " " "
1
" " " "
" " " "
" " " "
Gtr I
T A B
3
5
7
8
10
12
14
15
15
14
12
10
8
7
5
3
Example 2
" " " "
5
T A B
7 7 8
8
3
10
" " " " 4
5
" " " " 4
7
5
" " " "
10
12
13
3
" " " " 12
8
" " " "
2
5
10 9 10
8
2 5
" " " " T A B
7
5
Example 4 13
9
10
2 2 3
10
" " " " 10
" " " " T A B
9
" " " "
10
Example 3 9
" " " "
3
" " " "
10
12
12
10
12
9 12
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10
T HM E A J OSRC AD L-eEr rG y la b e l
Example 5 1
" " " " T A B
" " " " 5
5 5
6
7
8
" " " " 7
8
P a2 og2fe
" " " "
5 8
6
7
5 7
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5
MODES As recorded by Derryl Gabel TranscribedbyDerrylGabel
MusicbyDerrylGabel Performance Notes
Examples 1 -7 are all the modes of the C major scale. Example 1 When playing the major scale starting on the first degree the modal name is Ionian. Example 2 When playing the major scale starting on the second degree the modal name is Dorian. Example 3 When playing the major scale starting on the third degree the modal name is Phrygian. Example 4 When playing the major scale starting on the fourth degree the modal name is Lydian. Example 5 When playing the major scale starting on the fifth degree the modal name is Mixolydian. Example 6 When playing the major scale starting on the sixth degree the modal name is Aeolian. Example 7 When playing the major scale starting on the seventh degree the modal name is Locrian. Take note of the economy picking techniqu e used. Economy picking, as opposed to alternate picking, allows for less wasted energy which in turn allows for greater speed with minimal difficulty. Be careful though not to rush the consec utive down strokes. It's best to practice with a m etronome or backing track s so as to make sure of your timing and evenness. Always start at a slow tempo and once mastered gradually increase.
Example 1 1
!! " " " "
" " " "
" " " "
" " " "
Gtr I
T A B
4 3 3
5
5
5
4
7
7
5
3
7
7
5
3
Example 2
5
" " " " T A B
" " " " 5
5 5
7
7
7
" " " "
" " " "
5
9
9
7
5
8
8
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7
5
MO DD e-rG Ery S alb e l
2 oP f2 a ge
Example 3 9
" " " " T A B
" " " " 7
7 7
8
9
" "
" " " "
12
15
12
14
14
12
10
" " " "
15
17
15
14
16
12
10
" " " "
12
15
" " " "
8
10 14
" " " "
10
" " " "
14
12 15
14 14
7
15
" " " " T A B
10
" " " "
14
12 14
Example 7 25
12
7
9 12
" " " "
8
" " " "
14
12 12
10
12
14
" " " " T A B
10
10
Example 6 21
" " "
12
10 10
7
12
" " " " T A B
9
"
" " 9
7 10
Example 5 17
10
10
13
8
" " " "
7
10
10
Example 4
T A B
9
" " " "
" " " " 14
17
15
12
" " " "
14
17
17
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14
15
14
MODAL OCTAVE LINKING TranscribedbyDerrylGabel
MusicbyDerrylGabel Arranged by Derryl Gabel Performance Notes
Here's a simple wayto play a two octave modal cale s by linking two of the same modal shapes and the octave. This will be the beginning of helping you see more of the fretboard. In this particular exa mple we arestarting with the lowest possible note cluding ex open strings. This happens to be "F" which is the fourth degree of the C major scale. Example 1 When playing the major scale starting on the fourth degree the modal name is Lydian. Example 2 When playing the major scale starting on the fifth degree the modal name is Mixolydian. Example 3 When playing the major scale starting on the sixth degree the modal name is Aeolian. Example 4 When playing the major scale starting on the seventh degree the modal name is Locrian. Example 5 When playing the major scale starting on the first degree the modal name is Ionian. Example 6 When playing the major scale starting on the second degree the modal name is Dorian. Example 7 When playing the major scale starting on the third degree the modal name is Phrygian. Take note of the economy picking techniqu e used. Economy picking, as opposed to alternate picking, allows for less wasted energy which in turn allows for greater speed with minimal difficulty. Be careful though not to rush the consec utive down strokes. It's best to practice with a m etronome or backing track s so as to make sure of your timing and evenness. Always start at a slow tempo and once mastered gradually increase. Fmaj7 x x
&
!!
x 3 fr.
Am7 5 fr. x x
Example 1
'
Gtr I
1
G7
&
Bm7 5 6 fr. x x
Cmaj7 8 fr. x x
Dm7 10 fr. Em7 12 fr. x x x x
Cmaj7III 3 fr. Dm7V 5 fr. Em7VII 7 fr. Fmaj7VIII 8 fr. G7X x x x x x x x x x x
Bm7 5 x x
Fmaj7
x
" " " " " " " " "
(
XII 10 fr. xAm7 12 fr. x
' " " " " " " " " "
Gtr II
T A B
5 4 2 2 1
3
3
3
3
5
5
7
5
5
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7
6
(
M OD AO LC T A VL EIN KIN A-G rt i s t
3
P a5 og2fe
' " " " " " " " " " T A B
6
(
7
5
4 7
5
3
3
7
(
3
6 3 3 3
5
5
5
8
5
7
7
(
8
9
9
7
(
' " " " " " " " " "
(
6 9
7
5 9
7
5
5
3 7
5
3 7
Example 3
'
" " " " " " " " "
(
5
8 5 7
7
7
3
' " " " " " " " " " 7
5 5
1
7
' " " " " " " " " "
T A B
2
' " " " " " " " " " 5
Am7
9
3
5
" " " " " " " " "
T A B
2 5
G7 Example 2
T A B
(
5
' 5
' " " " " " " " " "
7
9
9
10
10
8
8
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10
(
M OD AO LC T A VL EIN KIN A-G rt i s t
11
P a5 og3fe
' " " " " " " " " " T A B
8
(
10
9
7 10
9
7
7
15
(
7
8 7 7 7
8
8
9
10
5
9
10
10 12
10 12
10
(
' " " " " " " " " "
(
8 12 10
9 12 10
9
9
7 10
8
7 10
'
" " " " " " " " "
(
8
7
' " " " " " " " " " 12 13 10 12 14
9 8 8
(
10
' " " " " " " " " "
T A B
5
' " " " " " " " " " 9
Cmaj7 Example 5
17
7
8
" " " " " " " " "
T A B
5 8
'&
T A B
(
10
Bm7 5 Example 4
13
' " " " " " " " " "
10
10 12 14
10 12
10 12
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(
M OD AO LC T A VL EIN KIN A-G rt i s t
19
P a5 og4fe
' " #" " " " " " " " T A B
(
14 12 10 14 12 10
10
" " " " " " " " "
(
(
13 15 10 12 14 10 12 13
'
" " " " " " " "
(
" " " " " " " " "
(
13 15 16 14 12 15 14 12
12 10 14 12 10 13 12 10
' " " " " " " " " " T A B
' " " " " " " " " " 12 14 15
Em7 Example 7
25
8
12 14 16 10 12
" T A B
8 12 10
' 23
9 12 10
'
T A B
(
12 11
Dm7 Example 6
21
' " " " " " " " " "
(
' " " " " " " " " " 13 15 14 16 17
12 14
14 15 17
12 14 15 12 13 15
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M OD AO LC T A VL EIN KIN A-G rt i s t
1
' " " " " " " " " " T A B
(
' " " " " " " " " "
15 13 17 16 14 17 15 14
14 12 15 14 12 15 13 12
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P a5 og5fe
(
MODAL OCTAVE LINKING SET 2 As recorded by Derryl Gabel TranscribedbyDerrylGabel
MusicbyDerrylGabel Arranged by Derryl Gabel Performance Notes
Continuing on, we are going to use the modal octave linking idea but this time we are going to use the A, D, G, B, and E strings. Example 1 B Locrian Example 2 C Ionian Example 3 D Dorian Example 4 E Phrygian Example 5 F Lydian Example 6 G Mixolydian Example 7 A Aeolian
&
Bm7 5 x x
&
Bm7 5
'
Gtr I
Cmaj7III 3 fr. Dm7V 5 fr. Em7VII 7 fr. Fmaj7VIII 8 fr. G7X x x x x x x x x x x
Example 8
"" (
1
XII 10 fr. xAm7 12 fr. x
' """"""""" (
""""""" Gtr II
T A B
3
3 5 5 6 8
2 4
4 5 7
2 3 5 2 3 5
' " """""""" (
' """"""""" (
5 3 8 6 5
T A B
7 5 4
4 2 5 3 2 5 3 2
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M OD A L OC T A V E LIN KIN G S ET D 2 - e rr yG l a bel
Cmaj7III
Example 9
'
5
""""""""" ( T A B
7
7 8 4 5
10 8 6 9 7 5
5 4 7 5 3 7 5 3
Example 10
""""""""" ( T A B
' """"""""" ( 8 10 8 10 12
5 7
7 9 10
5 7 9 5 7 8
' """"""""" ( T A B
' """"""""" (
7 6
'
11
5 7 9
3 5 7 3 5 7
Dm7V
9
' """"""""" ( 6 8 10
' " #" " " " " " " " ( T A B
P a g2 eo4f
8 10
' """"""""" (
12 10 8 10 9 7
7 5 9 7 5 8 7 5
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M OD A L OC T A V E LIN KIN G S ET D 2 - e rr yG l a bel
Em7VII Example 11
13
' """"""""" ( T A B
15
8 10 7 9 10
13 12 10 12 10 9
9 7 10 9 7 10 8 7
Example 12
""""""""" ( T A B
' """"""""" ( 12 13 12 13 15
9 10
10 12 14
9 10 12 8 10 12
' """"""""" ( T A B
' """"""""" (
10 8
'
19
9 10 12
7 8 10
Fmaj7VIII
17
' """"""""" ( 10 12 13
7 9
' """"""""" ( T A B
P a g3 eo4f
13 12
' """"""""" (
15 13 12 14 12 10
10 9 12 10 9 12 10 8
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M OD A L OC T A V E LIN KIN G S ET D 2 - e rr yG l a bel
G7X
'
21
""""""""" ( T A B
23
Example 13
13 15 10 12
12 14 16
10 12 14 10 12 14
17 15 13 16 14 12
12 10 14 12 10 14 12 10
'
""""""""" ( T A B
27
' """"""""" ( 15 17 15 17 18
12 14
14 16 17
12 14 15 12 14 15
' """"""""" ( T A B
' """"""""" (
15 13
Am7XII Example 14
25
' """"""""" ( 13 15 17
' """"""""" ( T A B
P a g4 eo4f
' """"""""" (
15 17 18 17 15 17 16 14
14 12 15 14 12 15 14 12
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THREE NOTES PER STRING As recorded by Derryl Gabel TranscribedbyDerrylGabel
MusicbyDerrylGabel Arranged by Derryl Gabel Performance Notes
This is an example of playing the C major scale using three notes per string. Pay close attention to the patterns formed in each position. These patterns will alwaysstay the sameand be in the same order. Also, take note of where the key center is incheamodal pattern. This will stay the same as well. A numonic sequence that will help you memorize the three note per string patterns is CCCLLRR which will be discussed in the video and is also explained in the included PDF document "Scale Pattern Numonics". Pay special attention to the picking pattern . Notice that only the first two notes are picked and the third is hammerd-on when ascending and pulled-off when descending.This givesa smoother sound asopposed to picking everynote. In this particular example we are starting with the lowest possible note excluding open strings. Example 1 - 7 are the modes in C major ascending and descending. Fmaj7 x x
Fmaj7
x
G7
x 3 fr.
Am7 5 fr. x x
&
Bm7 5 6 fr. Cmaj7 3 fr. Dm7 x x x x x x
5 fr. x Em7 x
7 fr.
Example 1: F Lydian
'
' ' " " " " " " " " !! " " " " " " " " " " " " " " " " Gtr I
1
Gtr II
3
T A B
3 2 2 2 1
3
3
5
3 H
4
2
5
3
3 6
5
3 5
H
H
' " " " "
(
2 5
P
5
5
H
' " " " " " " " " T A B
7
5
Fmaj7
4
5
6
5 H
H
4
5
P
3
2 P
5
3
1 P
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P
P
T HR E E N OT E P S ER S T RIND G - e r ryG l abe l
G7
Example 2: G Mixolydian
'
6
P a go2e4f
' ' " " " " " " " " " " " " " " " " " " " " " " " " T A B
5 5 4 3 3 3
5
5
7
5
5
7
H
8
6
5 7
H
5
H
H
'
P
P
(
" " " "
3 7
5
3
P
7
P
5
3 P
Example 3: A Aeolian
Am7
'
' ' " " " " " " " " " " " " " " " " " " " " " " " " T A B
7 6 5 5 5 5
7
8
7
7 H
10
7
8
6 9
H
H
' ( " " " "
5 8
P
7 10
5 9
8
9
H
' " " " " " " " " 7
8
10
8
Am7
T A B
7
8
9
H
H
14
5
4
P
11
7
7
' " " " " " " " " T A B
8
7
G7
9
7
8
7
H
H
5
6
P
7
5 P
8
7
5 P
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T HR E E N OT E P S ER S T RIND G - e r ryG l abe l
Example 4: B Locrian
Bm7 5
16
P a go3e4f
' ' " " " " " " " " " " " " " " " " " " " " " " " " T A B
8 8 7 7 7 7
8
10
8
9 H
9
12 10
8 10
H
'& " " " " " " " " T A B
8
10
Bm7 5
19
10 12 10
10 12
10
10 H
H
9
H
H
P
P
' " " " " (
7 10
9
7 10
P
8
P
7 10
P
8
7 P
Cmaj7 Example 5: C Ionian
'
21
' ' " " " " " " " " " " " " " " " " " " " " " " " " T A B
10 9 8 8
10 12
10 H
H
' " " " " " " " " 10
12
12
Cmaj7
T A B
13 12 10
10 12
10 12 H
H
24
12 13 12 10
10 12 13 9
H
H
' " " " " (
9 12
10
9 12
P
P
10
8 P
12
10
8 P
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T HR E E N OT E P S ER S T RIND G - e r ryG l abe l
Dm7
Example 6: D Dorian
'
26
P a go4e4f
' ' " " " " " " " " " " " " " " " " " " " " " " " " T A B
12
13 15 13 12
12 13 15
15 13 12
10 12 14 10 12
14
14
10 12 14 10 12 13
H
H
H
H
H
P
P
H
Dm7
29
" " " " " " " " T A B
12
10 14
12
10 14
P
12
P
10 13
P
'
10 P
' ' " " " " " " " " " " " " " " " " " " " " " " " " T A B
13
17 15 13
12 14 16 12 14
16
15
12 14 15 12 13 15
H
H
H
Em7
' " " " " " " " " T A B
15 17 15 13
13 15 17
H
34
12
Example 7: E Phrygian
Em7
31
" " " " (
14
H
H
' " " " " (
12 15
14
12 15
P
P
14
12 P
15
13
12 P
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P
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SHIFTING As recorded by Derryl Gabel TranscribedbyDerrylGabel
MusicbyDerrylGabel Arranged by Derryl Gabel Performance Notes
Here's another way to practice play ing your scale patterns three notes per string. Ascend one pattern, shift and descend the next. Also practice these by decsending your first pattern, shifting and ascending the next. The picking technique used is thesame as when we ascended the patterns earlier. When descending you will want to do an up down pull-off pattern. Fmaj7 x x
Fmaj7
x
G7
x 3 fr.
&
Am7 5 fr. x x
Bm7 5 6 fr. Cmaj7 3 fr. Dm7 x x x x x x
5 fr. x Em7 x
7 fr.
Example 1
'
' ' " " " " " " " " " " " ! " " " ! " " " " " " " " " " Gtr I
1
Gtr II
3
T A B
3 2 2 1
3
2
5
3
3 H
7
5
5
H
H
' ( " " " "
3 7
B
P
7
5 8
4 7
8
6
5
5
H
' " " " " " " " " T A
7
5
Fmaj7
4
5
6
5 H
H
4
5
P
5
3 P
7
5
3 P
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P
S HIFTDIN e-rG ryal b e l G
5P ofa2g e
Example 2
G7
'
6
' ' " " " " " " " " " " " " " " " " " " " " " " " " T A B
5 5 4 3 3 3
5
5
7
5 H
H
9
7
7
7 8
6
H
sl.
P
P
' " " " " (
7
5
P
8
P
7
5 P
Example 3
'
' ' " " " " " " " " " " " " " " " " " " " " " " " " T A B
7 6 5 5 5 5
7
8
7
7
7
H
H
' " " " " " " " " 10
9
8
10 12 10
12 10
H
H
' " " " " (
7 10
9
7 10
P
8
10
8
9
Am7
T A B
8
9
8 H
H
14
8
5 8
P
11
10
5 9
Am7
8
10
H
' " " " " " " " " T A B
7
8
7
G7
9
6
7
7 H
H
5
P
8
7 P
10
8
7 P
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P
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S HIFTDIN e-rG ryal b e l G
5P ofa3g e
Bm7 5
16
Example 4
' ' " " " " " " " " " " " " " " " " " " " " " " " " T A B
8 8 7 7 7 7
8
10
8
9 H
H
'& " " " " " " " " T A B
12
10
10
sl.
P
P
' " " " " (
10
P
8 12
P
10
8 P
Example 5
'
' ' " " " " " " " " " " " " " " " " " " " " " " " " T A B
10 9 8 8
10 12
10
12
10 12 H
H
H
' " " " " " " " " 14
12
15 13 12
10 12
Cmaj7
T A B
12 13 15 13 12
10 12 13 9
H
24
H
9 12
P
21
H
9 12
Cmaj7
13 12 10
10
Bm7 5
19
10 12 13 12 10
10 12
10
10 H
H
9
H
H
' " " " " (
10 14
12
10 14
P
P
12
10 P
13
12
10 P
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P
P
S HIFTDIN e-rG ryal b e l G
5P ofa4g e
Dm7
Example 6
'
26
' ' " " " " " " " " " " " " " " " " " " " " " " " " T A B
12 10 12 10 12 13
H
H
H
Dm7
' " " " " " " " " T A B
16
14
15
Em7
H
H
sl.
P
P
' " " " " (
12
P
14
12
15
P
14
12 P
15
13
12 P
Example 7
'
31
17 15 13
14 10 12 14
10 12 14 H
29
13 15 17 15 13
12 13 15
' ' " " " " " " " " " " " " " " " " " " " " " " " " T A B
13
15 17 19 17 15
13 15 17
18 17 15
12 14 16 12 14 15 12 14 12 13 15 H
H
15 H
H
H
H
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S HIFTDIN e-rG ryal b e l G
5P ofa5g e
Em7
1
' " " " " " " " " T A B
17
16
' " " " " (
14 17
15
14 17
P
P
15
14 P
17
15
13 P
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TWELVE KEY STUDY As recorded by Derryl Gabel TranscribedbyDerrylGabel
MusicbyDerrylGabel Arranged by Derryl Gabel Performance Notes
In this example we are playing all twelve keys in basically one position in the cycle of fourths and highlighting the key centers within each scale pattern. These key centers will al ways stayin the same location in regards to the scale pattern. Memorize where eve ry key center is located within each of the seven patterns. You will want to do this exercise in all seven positions which includes this example. The cycle of fourths is as follows C F Bb Eb Ab Db Gb B E A D G We started with F Lydian from the key of C and cycled through all twelve keys. When you go to the next position you will begin with the key of C but will start with G Mixolydian. Cycle through all the keys making sure not to repeat any patterns from the previous position. The next position will begin with A Aeolian from the key of C. So as you progress you are starting each twelve key cycle with the next mode in the key of C. Since there are seven m odes you will do this study in sev en positions. It is recommended that you even repeat the exercise an octave ( twelve frets ) higher so as to also exercise the higher registers of the neck.
Key of C 1
"" !! " ( " " " " " " " " " " " " " " " " "
(
"
Gtr I
3 5 7
T A B
3 5 6 2 4 5
5
2 3 5 3
2 1 3 5
3 5 H
H
3 H
H
H
H
"""" """" """" """" " # " ( ""
Key of F 5
T
6 5 3 6
1 6
5 3 5 3 2 5 3 2
A B P
" (
P
P
P
3
5 3 1 P
5 3 1 P
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T WE L VK EES YT U D D-Y e rrG y la b e l
P ao 4g2fe
"" ## " ( " " " " " " " " " " " " " " " " " Key of Bb
9
T A B
3 5 6 3 4 6 2 3 5
3
1 3 5 1
1
3 5
1 3 5
1
H
H
H
H
H
H
"""" """" # " ( # # """" """" " ""
Key of Eb 13
T A B
" (
6 4 3 4
6
4 3
4 5 3 1 5 3 1
1 5 3 1
P
P
P
P
4 3 1
P
P
"""""
Key of Ab 17
#### " ( " " " " " " " " " " " " " " T A B
" ( 3 4 6 4
2 4 6 1 3 5
1
1 3 5 1 4
1 3 4
3 4 H
H
H
H
H
H
"""" """" """" """" " ##### " ( "" Key of Db
21
T A B
(
"
" (
6 4 2 2
6
4 2
2 5 3 1
4 3 1 4 3 1
P
P
P
P
P
4 4 2 1 P
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T WE L VK EES YT U D D-Y e rrG y la b e l
P ao 4g3fe
"" ###### " ( " " " " " " " " " " " " " " " " "
Key of Gb 25
" (
2 4 6 2
T A B
2 4 6 1 3 4 1 3 4 1 2
4
2 4
1 2 4
H
H
H
H
H
H
" ( """" """" % % % % % """" """" " "" Key of B
29
7
T A B
" (
7 6 4 7
5 4 6 4 3
4 6 4 2 6 4 2
P
P
P
P
P
2 6 4 2 P
Key of E 33
%% """" %% " ( " " " " " " " " " " " " " " " T A B
4 5 7
5
2 4 6 2
2 4 6 2 2 4 5
2
4 6 H
H
H
H
H
H
"""" """" " """" """" " %%% ( ""
Key of A 37
T A B
" (
4 5 7
5
" (
7 5 4 7
5 3 6 4 2
2
6 4 2 5 4 2
P
P
P
P
P
5 4 2 5 P
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T WE L VK EES YT U D D-Y e rrG y la b e l
""" " % " " ( " % " " " " " """" """"
Key of D
41
T A B
3 5 7 3 5 7
3
2 4 5 5
2 2 3 5
4 5 H
H
5 H
H
H
H
"""" %" ( """""""" """"""" T A B
" (
2 4 6
Key of G 45
P ao 4g4fe
3
" (
7 5 3 7
5 3 5 4 2 5 4 2
5 5 3 2
P
P
P
P
P
5 3 2 3 P
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SEQUENCING As recorded by Derryl Gabel TranscribedbyDerrylGabel
MusicbyDerrylGabel Arranged by Derryl Gabel Performance Notes
There are different ways we can use a roll. Example 1 shows a va riation on the idea we did earlier.Here we are starting on the second note of the roll. Example 2 is another variation. Example 3 sequences the same idea going across the strings ho rizontally. in groups of six using the C major scale. Example 4 uses the same idea used in example one but we are ascending across the strings. Example 5 sequences this idea using a C major pentatonic. Example 6 descends an A minor pentatonic with a new idea. For more "cool phrases" like this check out my DVDs "Cool Legato Phrases parts 1 and 2.
%" " " #" " " " " " " " " " " " " " " " " " " " " ! !
Example 1 1
6
6
6
6
Gtr I
9
T A B
7
P
9
H
11
H
9
P
7
9
P
7
P
9
11
H
H
9
P
7
9
7
P
P
9
H
11
H
9
P
7
9
P
7
P
9
H
11
H
9
P
7
P
#" " %" " " " " " " " " " " " " " " " " " " " " "
Example 2 2
!!
6
11
T A B
7
P
9
H
6
11
H
9
P
7
P
11
H
7
P
9
H
6
11
H
9
P
7
P
11
H
7
P
9
H
6
11
H
9
P
7
P
11
H
7
P
9
H
11
H
9
P
7
P
" " " " " " " " " " " " " " " " " " " " " " " "
Example 3 3
6
13
10
12
6
13
12
6
6
10 13
T A B
10
12
13
12
10
12
9
10
12
10
9 12
P
H
H
P
P
P
H
H
P
P
P
H
H
P
P
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9 P
10 H
12 H
10 P
9 P
S E QU E N C IDNe-G rrG ya l bel
P2oaf2g e 6
4
" " " " " " " " " " " " T A B
12
8
6
10
P
12
H
H
10 P
8 12
P
8
10
P
Example 4
12
H
H
10 P
8 P
6
6
6
" " "
"
5
"( " " " " " " " " " " " T A B
" 10
10 10
8
10
P
12
H
H
10 P
8
8
10
P
P
12
H
10
H
P
"
9
10
12
10
9
8 P
P
H
H
P
P
" " " " " " " " " " " " " " " " " " " " " " " "
Example 5 6
10
T A
10 9 10 10
B
10
8 P
10 H
12
7 P
H
10 H
7
10
7
10
8
10
H
P
12
12
H
H
P
H
H
P
H
H
P
H
H
" " " " " " " " " " " " " " " " " " " " " " " " 6
6
T A B
10
8
5
6
8
6
5 8
10
8
5
8
5 7
9
7
5
7
5 7
P
H
P
H
P
P
H
P
H
P
6
P
H
P
" " " " " " " " " " " " T A B
10
7
5
7
5 7
P
8
10
12
Example 6 7
8
13
12
10
7 P
5 P
6
7 H
5 P
8
10 H
8 P
5 P
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H
P
P
H
P
ROLLING EXERCISES As recorded by Derryl Gabel TranscribedbyDerrylGabel
MusicbyDerrylGabel Arranged by Derryl Gabel Performance Notes
This exercise will be used to develop strength, independence, endurance, and dexterity in the fret hand. A roll is a short musical ascending to descending phrase were the notes run consecutively as shown in these examples. A roll could also start descending and then ascend. Example 1 is a chromatic roll using your first, second, and third fingers. In the following examples pick the first note of each exercise as shown. Example 2 uses your second, third, and fourth fingers. Example 3 usesthe first three notes of amajor scale pattern. Useyour first, third, and fourth fingers, Example 4 uses the first three notes of a minor pentatonic pattern. Use your first, third, and fourth fingers, Example 5 usesa diminished triad pattern.Use your first, third, and fourth fingers, Example 6 usesa major triad pattern.Use your first, third, and fourth fingers, Example 7 usesthe first three notes of amajor scale pattern but this time useyour first, second, and fourth fingers, Example 8 uses the first three notes of a minor pentatonic pattern. Use your first, second, and fourth fingers, Example 9 usesa diminished triad pattern.Use your first, se cond, and fourth fingers, Example 10 usesa minor triad pattern. Useyour first, second, and fourth fingers, Practice this exercise with your metronome and gradually increase your speed. Play these exercises on all strings
" " %" $" " " %" $" " " %" $" " " %" $" " " %" $" " " %" $" " " %" $" " " %" $"
Example 1 1
Gtr I
T A B
7 8 9 8 7 8 9 8 7 8 9 8 7 8 9 8
H
H
P
P
H
H
P
P
H
H
P
P
H
H
7 8 9 8 7 8 9 8 7 8 9 8 7 8 9 8
P
P
H
H
P
P
H
H
P
P
H
H
P
P
H
H
P
" %" " " $" %" " " $" %" " " $" %" " " " %" " " $" %" " " $" %" " " $" %" " " ! !
Example 2 3
8 9 10 9 8 9 10 9 8 9 10 9 8 9 10 9
8 9 10 9 8 9 10 9 8 9 10 9 8 9 10 9
T A B H
H
P
P
H
H
P
P
H
H
P
P
H
H
P
P
H
H
P
P
H
H
P
P
H
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H
P
P
H
H
P
R O LLIN G E X E R C IS E D-Se rr y Gl a b e l
Pao g32fe
" %" #" " " " " " " " " " " " " " " %" #" " " " " " " " " " " " " "
Example 3 5
T A B
7 9 11 9 7 9 11 9 7 9 11 9 7 9 11 9
H
H
Example 4 7
P
P
H
H
"
P
P
H
H
"
P
P
H
H
"
P
7 9 11 9 7 9 11 9 7 9 11 9 7 9 11 9
P
H
H
"
P
P
H
H
"
P
P
H
H
"
P
P
H
H
"
P
"
"" """ """ """ " "" """ """ """ " T A B
7 10 12 10 7 10 12 10 7 10 12 10 7 10 12 10
H
H
P
P
H
H
P
P
H
H
P
P
H
H
P
7 10 12 10 7 10 12 10 7 10 12 10 7 10 12 10
P
H
H
P
P
H
H
P
P
H
H
P
P
H
H
P
"""""""""""""""" """"""""""""""""
Example 5 9
T A B
7 10 13 10 7 10 13 10 7 10 13 10 7 10 13 10
H
H
P
P
H
H
P
P
H
H
P
P
H
H
P
7 10 13 10 7 10 13 10 7 10 13 10 7 10 13 10
P
H
H
P
P
H
H
P
P
H
H
P
P
H
H
P
" #" %" " " " " " " " " " " " " " " #" %" " " " " " " " " " " " " "
Example 6 11
T A B
7 11 14 11 7 11 14 11 7 11 14 11 7 11 14 11
H
H
P
P
H
H
P
P
H
H
P
P
H
H
P
7 11 14 11 7 11 14 11 7 11 14 11 7 11 14 11
P
H
H
P
P
H
H
P
P
H
H
P
P
H
H
P
" %" #" " " " " " " " " " " " " " " %" #" " " " " " " " " " " " " "
Example 7 13
T A B
7 9 11 9 7 9 11 9 7 9 11 9 7 9 11 9
H
H
P
P
H
H
P
P
H
H
P
P
H
H
P
7 9 11 9 7 9 11 9 7 9 11 9 7 9 11 9
P
H
H
P
P
H
H
P
P
H
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H
P
P
H
H
P
P
R O LLIN G E X E R C IS E D-Se rr y Gl a b e l
Pao g33fe
" %" " " " " " " " " " " " " " " " %" " " " " " " " " " " " " " "
Example 8
15
T A B
7 9 12 9 7 9 12 9 7 9 12 9 7 9 12 9
H
H
P
P
H
H
P
P
H
H
P
P
H
H
P
7 9 12 9 7 9 12 9 7 9 12 9 7 9 12 9
P
H
H
P
P
H
H
P
P
H
H
P
P
H
H
P
"""""""""""""""" """"""""""""""""
Example 9 17
T
7 10 13 10 7 10 13 10 7 10 13 10 7 10 13 10
7 10 13 10 7 10 13 10 7 10 13 10 7 10 13 10
A B H
H
P
P
H
H
P
P
H
H
P
P
H
H
P
P
H
H
P
P
H
H
P
P
H
H
P
P
H
H
P
" " %" " " " " " " " " " " " " " " " %" " " " " " " " " " " " " "
P
Example 10 19
T A B
7 10 14 10 7 10 14 10 7 10 14 10 7 10 14 10
H
H
P
P
H
H
P
P
H
H
P
P
H
H
P
7 10 14 10 7 10 14 10 7 10 14 10 7 10 14 10
P
H
H
P
P
H
H
P
P
H
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H
P
P
H
H
P
P
VERTICAL ROLLING SHIFTS As recorded by Derryl Gabel TranscribedbyDerrylGabel
MusicbyDerrylGabel Arranged by Derryl Gabel Performance Notes
This exercise is designed to help you see the scale patterns vertically. Examples 1 - 7 arethe basic scale fragments used for our "Vertical Rolling Shift s" idea. These scale fragments are 6 note groupings taken from each modal pattern from the C ma jor scale. Take note of the geometric patterns created. These same patterns rae repeated inthe same order just starting on a different note on each group of strings. The patterns are sli ghtly different on the G and B string group because of the tuning. To compensate just remember that the pattern on the B string will be up a fret.
Examples 8 - 17 are scalepatterns that are linked together vertically using a serie s of rolls and shifts. These patterns are played on each group of two adjacent strings. Example 8 ascends up the fretboard while example 9 descends. This same concept is applied to each string grouping in the remaining examples, Dm7add45 fr. Am7add4 x x x x
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Example 6
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Example 7
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V E R T IC A L R OLL IN G S HIFTD S - e rryG l a bel
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V E R T IC A L R OLL IN G S HIFTD S - e rryG l a bel
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ZIGZAG ROLLING S HIFTS As recorded by Derryl Gabel TranscribedbyDerrylGabel
MusicbyDerrylGabel Arranged by Derryl Gabel Performance Notes
Examples 1 - 14 are exercises designed to help you see both scale patterns side by side using a series of shifts creating a zigzag motion. These patterns are based on the C major scale. Rules for Descending Not counting the pickup roll, after a roll go to the next string. After a 3 note descending phrase, shift down or up depending on last shift. Rules for Ascending After a roll, shift down or up depending on last shift. After a 3 note ascending phrase, go to the next string. x
G9
Am9 x x
x
&
Bm7 9 3 fr. x x
Cmaj9 5 fr. x x
Dm9 6 fr. x x
&
Em7 9 8 fr. x x
Fmaj9 10 fr. x x
Example 1
G9
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1
Gtr II
T A B
3 5 7 5 3 5 7 8 7 5 8 6 5 3 5 6
5 4 2 4 5 7 5 4 7 5 3 2 3 5 H
3
5 3
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PDF created with pdfFactory trial version www.pdffactory.com
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ZIG ZA G RO LLIN G S HIFTD-Se r ryGl a b e l
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Example 3
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5 7 8 7 5 7 8 10 8 7 10 8 6 5 6 8
6 5 7 5 4 5 7 9 7 5 9 7 5 3 5 7
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ZIG ZA G RO LLIN G S HIFTD-Se r ryGl a b e l
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Example 4
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Example 5
Bm7 9
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8 6 9 7 5 7 9 10 9 7 10 9 7 5 7 9
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Example 6
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Example 7
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Example 8
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Example 9
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Example 10
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Example 13
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Example 14
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DIAGONAL ROLLING SHIFTS HELE As recorded by Derryl Gabel TranscribedbyDerrylGabel
MusicbyDerrylGabel Arranged by Derryl Gabel Performance Notes
Here we have examples of vertical diagonal shifting for each position. Rules for Descending After a roll go to the next string After a 3 note descending phrase, shift up to the next note and then roll. Rules for Ascending After a 3 note ascending phrase, go to the next string. After a roll, shift down to the next note. Fmaj7+117 fr. x x
F/G x x
Am11 3 fr. x x
Bm11 5 fr. Cmaj7 3 fr. Dm11 3 fr. Em11 5 fr. x x x x x x x x
Example 1
F/G
' ' """"""""""""""" """"""" """"" " " """ Gtr I
1
Gtr II
T A B
3
5 7
6 5 3
5 6
8
6 5 7 5
4
5
7 9
7 5 9
7 5
H
P
7 9 10 9 7 10 8
H
3
5 3
H
P
P
H
P
sl.
H
H
P
H
P
H
sl.
H
P
P
sl.
H
H
' " " " " " " " " " " " " ( T A B
8
10 H
12 H
10 P
8 P
12 H
10
8 P
10 H
12 H
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P
H
7 P
D IA G O N A LR OLL IN GS HIFT SHE LED - e rr yG l a bel
'
4
' """""""""""""""" """""""""""""""" T A B
Example 2
5 6 5 7 7 9 10 9 8 10 12 10 8 8 10 12 H
6
P a g e2o8 f
H
H
H
P
P
7
5
9
7 5
8 6
7 9
7 8 10 H
sl.
H
H
H
P
P
H
H
H
H
P
P
H
sl.
H
H
H
P
' " " " " " " " " ( " " " ! " ! 3
T A B
3
5
5
7
5
3
5
7
6
H
H
H
H
P
P
H
H
Am11 Example 3
7
' ' """""""""""""""" """""""""""""""" T A B
5 7 8 7 5 8 6 5 6 8 10 8 6 9 7 5
9
7 9 10 9 7 10 9 7 9 10 12 10 9 12 10 8
H
H
P
P
H
P
H
sl.
P
P
H
P
H
sl.
H
P
P
H
P
sl.
H
H
' " " " " " " " " " " " " ( T A B
10
12 H
14 H
12 P
5
4 5 7
10 P
13 H
12
10 P
12 H
13 H
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H
P
P
D IA G O N A LR OLL IN GS HIFT SHE LED - e rr yG l a bel
P a g e3o8 f
' ' " """""""""""""""" """"""""""""" "" Example 4
10
T A B
6 8 10 8 7 9 10 9 7 9 10 12 10 9 H
H
P
sl.
P
H
5 5
6
H
Bm11
H
H
H
P
P
H
H
H
H
P
sl.
P
H
H
H
7
8
7
5
7
8
8
H
H
H
P
P
H
H
Example 5
' ' """""""""""""""" """""""""""""""" T A B
7 8 10 8 7 10 8 6 8 10 12 10 8 10 9 7
9 10 12 10 9 12 10 9 10 12 14 12 10 14 12 10
H
15
H
' " " " " " " " " " ( " " " T A B
13
H
P
P
H
P
sl.
H
H
P
P
H
P
H
sl.
H
P
P
H
P
sl.
H
H
' " " " " " " " " " " " " ( T A B
6
5 7 9
9 10
10 12 14 12 10 8 10 12 10 12 13 H
12
7
12
14 H
15 H
14 P
12 P
15 H
13
12 P
13 H
15 H
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P
H
P
H
P
P
D IA G O N A LR OLL IN GS HIFT SHE LED - e rr yG l a bel
P a g e4o8 f
' ' """" """""""""""""""" """""""""""" Example 6
16
T A B
8 10 12 10 8 9 10 12 10 9 10 12 14 12 10 12 14 15 14 12 10 12 14 12 13 15 H
18
H
H
H
P
P
H
sl.
H
H
H
P
P
H
sl.
H
H
H
P
P
7 6
8
H
H
H
H
P
P
Cmaj7
8
10
8
7
8
10
10
H
H
H
H
P
P
H
H
Example 7
' ' """""""""""""""" """""""""""""""" T A B
8 10 12 10 8 12 10 8 10 12 13 12 10 12 10 9
10 12 14 12 10 14 12 10 12 14 15 14 12 15 14 12
H
H
P
P
H
P
H
sl.
P
P
H
P
sl.
H
H
P
P
P
P
sl.
' " " " " " " " " " " " " ( Example 8
21
sl.
' " " " " " " " " " " ( " " T A B
19
7 9 10
9 10 12
T A B
14
15 H
17 H
15 P
14 P
17 H
15
13 P
15 H
17 H
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H
H
P
H
P
D IA G O N A LR OLL IN GS HIFT SHE LED - e rr yG l a bel
P a g e5o8 f
' ' """"""""""" " " " " " " " " " " " " " " " " " " " "" Example 9
22
T A B
10 12 13 12 10 10 12 14 12 10 9 10 12 12 14 15 14 12 14 15 17 15 14 12 14 15 13 15 17 H
24
10 12 14
H
H
H
P
P
H
sl.
H
H
H
P
P
sl.
H
H
H
H
P
P
sl.
H
H
H
H
P
P
' " " " " " " " " " " " ( " 8
T A B
8
10
H
10
12
10
8
10
12
12
H
H
H
P
P
H
H
Dm11
25
' ' """""""""""""""" """""""""""""""" T A B
10 12 13 12 10 13 12 10 12 13 15 13 12 14 12 10
15 14 12 14 15 17 15 14 17 15 14 H
27
12 14 16 14 12
H
P
P
H
P
H
sl.
H
P
P
H
P
sl.
H
H
P
P
P
P
sl.
' " " " " " " " " " " " " ( T A B
15
17 H
19 H
17 P
15 P
19 H
17
15 P
17 H
19 H
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H
P
H
P
D IA G O N A LR OLL IN GS HIFT SHE LED - e rr yG l a bel
P a g e6o8 f
' ' """" " " " " " " " " " " " " " " " " " " " " " " " " " """ Example 10
28
T A B
12 13 15 13 12 12 14 16 14 12 10 12 14 14 15 17 15 14 15 17 19 17 15 14 15 17 15 17 19 H
30
H
H
P
P
H
sl.
10 10
12
H
Em11
H
H
H
P
P
sl.
H
H
H
H
P
P
sl.
H
H
H
H
P
P
12
13
12
10
12
13
13
H
H
H
P
P
H
H
Example 11
' ' """""""""""""""" """""""""""""""" T A B
12 13 15 13 12 15 13 12 13 15 17 15 13 16 14 12
14 16 17 16 14 17 15 14 15 17 19 17 15 19 17 15
H
33
H
' " " " " " " " " " " " " ( T A B
31
12 14 15
H
P
P
H
P
H
sl.
H
P
P
H
P
sl.
H
H
P
P
H
P
sl.
' " " " " " " " " " " " " ( T A B
17
19 H
20 H
19 P
17 P
20 H
19
17 P
19 H
20 H
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H
H
P
H
P
D IA G O N A LR OLL IN GS HIFT SHE LED - e rr yG l a bel
P a g e7o8 f
' ' """"""""""" " " " " " " " " " " " " " " " " " " " "" Example 12
34
T A B
13 15 17 15 13 14 16 17 16 14 12 14 16 15 17 19 17 15 17 19 20 H
36
H
H
P
P
H
sl.
12 12
13
H
H
H
H
P
P
sl.
H
H
H
H
P
P
sl.
H
H
H
H
P
P
13
15
13
12
13
15
15
H
Fmaj7+11
H
H
P
P
H
H
Example 13
' ' """""""""""""""" """""""""""""""" T A B
13 15 17 15 13 17 15 13 15 17 18 17 15 17 16 14
16 17 19 17 16 19 17 15 17 19 21 19 17 20 19 17
H
39
H
' " " " " " " " " " " " " ( T A B
37
14 15 17
17 19 20 19 17 15 17 19
H
P
P
H
P
sl.
H
H
P
H
sl.
P
H
H
P
P
H
P
sl.
' " " " " " " " " " " " " ( T A B
19
20 H
22 H
20 P
19 P
22 H
20
19 P
20 H
22 H
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H
H
P
H
P
D IA G O N A LR OLL IN GS HIFT SHE LED - e rr yG l a bel
P a g e8o8 f
' ' """" " " " " " " " " " " " " " " " " " " " " " " " " " """ Example 14
40
T A B
15 17 18 17 15 16 17 19 17 16 14 16 17 17 19 21 19 17 19 20 22 20 19 17 19 20 19 20 22 H
42
15 17 19
H
H
H
P
P
sl.
H
H
H
H
P
sl.
P
H
H
H
H
P
P
sl.
'" " " " " " " " " " " " ( T A B
13 13
15
H
15
17
15
13
15
17
17
H
H
H
P
P
H
H
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H
H
H
H
P
P
DIAGNAL ROLLING SHIFTS 2 As recorded by Derryl Gabel TranscribedbyDerrylGabel
MusicbyDerrylGabel Arranged by Derryl Gabel Performance Notes
Here is another diagonal exercise that you should find very useful. Rules for Descending After a roll go to the next string After a 3 note descending phrase, shift down to the next note and then roll. Rules for Ascending After a roll, shift up to the next note.
&
After a 3 note ascending phrase, go to the next string. x
G9
Am9 x x
x
Bm7 9 3 fr. x x
Cmaj9 5 fr. x x
Dm9 6 fr. x x
&
Em7 9 8 fr. x x
Fmaj9 10 fr. x x
) ' """""""""""""" " " """"""""""""""" !! " = 120
Example 1
G9
Gtr I
1
Gtr II
10 12 13 12 10
T A B
10 9 7
5 7 9 7 5 9 7 5 3 5 7 5 3 7 5 3
H
3
13 12 10 8 10 12 10 8
H
P
P
H
P
sl.
H
H
P
P
H
sl.
P
H
H
P
P
H
P
sl.
H
H
P
P
' " " " " " " " " " " " " " T A B
2 sl.
3 H
5 H
3 P
2 P
5 H
3
1 P
3 H
5 H
3 P
Gabelvision ASCAP 2011 Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org
PDF created with pdfFactory trial version www.pdffactory.com
H
P
sl.
D IA G N A L R OLLIN G S H IFTD S -2e r ryG l a bel
'
4
' """" " " " " " " " " " " " " """""""""""" "" " " T A B
6
Example 2
8 10 12 10 8 5 7 3 5 2 3 1
3 5
H
H
T A B
H
H
P
P
"
10
12
13
H
3 5 sl.
"
Am9
H
H
7 5
3
5
9
7 5
7 9 10
7 9
7 H
H
H
P
P
H
sl.
"
"
"
"
10
12
13
12
H
H
H
H
H
P
"
P
sl.
H
H
H
"
H
P
P
sl.
(
P
Example 3
' ' """""""""""""""" """""""""""""""" T A B
12 13 15 13 12 15 13 12 10 12 13 12 10 12 10 9
7
9 10 9 7 10 9 7
5 7 9
7 5 8 7
H
9
5 3 2
' "
sl.
7
P a go 2e8f
H
P
P
H
P
sl.
H
H
P
P
H
P
sl.
H
H
P
P
H
P
sl.
H
H
P
P
' " " " " " " " " " " " " " T A B
3 sl.
5 H
7 H
5 P
3 P
7 H
5
3 P
5 H
7 H
5 P
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H
5 P
sl.
D IA G N A L R OLLIN G S H IFTD S -2e r ryG l a bel
'
10
' """"" " " " " " " " " " " %" " " " " " " " " " " " " " " " " T A B
12
Example 4
10 12 13 12 10 7 9 10 9 7 5 7 3 5 3
5 7
H
H
H
P
P
"
12
13
15
H
&
Bm7 9
5 7 sl.
"
sl.
H
H
9 7
5
7
9 10 12
9 10
9 H
H
H
P
P
sl.
H
"
"
"
"
12
13
15
13
H
H
H
H
H
P
"
P
sl.
H
H
H
"
H
P
P
sl.
(
P
Example 5
' ' """""""""""""""" """""""""""""""" T A B
13 15 17 15 13 17 15 13 12 13 15 13 12 14 12 10
9 10 12 10 9 12 10 9
7 9 10 9 7 10 8
H
15
7 5 3 H
' "
T A B
13
P a go 3e8f
H
P
P
H
P
sl.
H
H
P
P
H
P
sl.
H
H
P
P
H
P
sl.
H
H
P
P
' " " " " " " " " " " " " " T A B
5 sl.
7 H
8 H
7 P
5 P
8 H
7
5 P
7 H
8 H
7 P
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H
7 P
sl.
D IA G N A L R OLLIN G S H IFTD S -2e r ryG l a bel
'
16
' """""" " " " " " " " " " " " " " " " """"""""""" T A B
18
Example 6
12 13 15 13 12 9 10 12 10 9 10 12 14 7 9 10 9 5 7 5
7 8
H
H
H
P
P
H
"
13
15
17
H
Cmaj9
7
9 10 12
7 8 10 sl.
"
sl.
H
H
H
H
P
P
sl.
H
H
H
H
"
"
"
"
13
15
17
15
H
H
P
P
sl.
H
H
"
H
H
P
P
sl.
"
P
Example 7
' ' """""""""""""""" """""""""""""" "" T A B
15 17 19 17 15 18 17 15 13 15 17 15 13 16 14 12
10 12 14 12 10 14 12 10 9 10 12 10 9 12 10 8
H
21
8 7 5 H
' "
T A B
19
P a go 4e8f
H
P
P
H
P
sl.
H
H
P
P
H
P
sl.
H
H
P
P
H
P
sl.
H
H
P
P
' " " " " " " " " " " " " " T A B
7 sl.
8 H
10 H
8 P
7 P
10 H
8
7 P
8 H
10 H
8 P
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H
P
sl.
D IA G N A L R OLLIN G S H IFTD S -2e r ryG l a bel
'
22
' """""" " " " " " " " " " " " " " " " """"""""""" T A B
24
Example 8
13 15 17 15 13 10 12 14 12 10 12 14 16 9 10 12 10 9 7 8 10 8 7 7
8 10
H
H
H
P
H
"
15
17
18
H
10 12 14
8 10 12 sl.
P
"
sl.
H
H
H
H
P
sl.
P
H
H
H
H
"
"
"
"
15
17
19
17
H
H
P
sl.
P
H
H
"
H
H
P
P
sl.
"
P
Example 9
Dm9
' ' """""""""""""""" """""""""""""" "" T A B
17 19 20 19 17 20 18 17 15 17 18 17 15 17 16 14
12 14 16 14 12 15 14 12 10 12 14 12 10 14 12 10
H
27
H
' "
T A B
25
P a go 5e8f
H
P
P
H
P
sl.
H
H
P
P
H
P
sl.
H
H
P
P
H
P
sl.
H
H
P
P
' " " " " " " " " " " " " " T A B
8 sl.
10 H
12 H
10 P
8 P
12 H
10
8 P
10 H
12 H
10 P
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H
P
sl.
D IA G N A L R OLLIN G S H IFTD S -2e r ryG l a bel
'
28
' """" " " " " " " " " " " " " """"""""""""" "" " T A B
30
Example 10
13 15 17 15 13 10 12 14 12 10 12 14 16 9 10 12 10 9 7 8 10 8 7 7
8 10
H
H
H
P
P
sl.
H
"
"
15
17
18
sl.
H
&'
H
H
H
H
P
P
sl.
H
H
H
H
"
"
"
"
15
17
19
17
H
H
P
P
sl.
H
H
"
H
H
P
P
sl.
"
P
Example 11
Em7 9
' """""""""""""""" """""""""""""""" T A B
19 20 22 20 19 22 20 18 17 18 20 18 17 19 17 16
14 16 17 16 14 17 15 14 12 14 15 14 12 15 14 12
H
33
H
10 12 14
8 10 12
' "
T A B
31
P a go 6e8f
H
P
P
H
P
sl.
H
H
P
P
H
P
sl.
H
H
P
P
H
P
sl.
H
H
P
P
' " " " " " " " " " " " " " T A B
10 sl.
12 H
14 H
12 P
10 P
13 H
12
10 P
12 H
13 H
12 P
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H
P
sl.
D IA G N A L R OLLIN G S H IFTD S -2e r ryG l a bel
'
34
' """" " " " " " " " " " " " " """"""""""""" "" " T A B
Example 12
15 17 18 17 15 12 14 16 14 12 14 16 17 10 12 14 12 10 8 10 12
H
H
P
P
sl.
H
"
"
17
18
20
H
sl.
H
H
H
H
P
P
sl.
H
H
H
H
"
"
"
"
17
19
20
19
H
H
P
P
sl.
H
H
"
H
H
P
P
sl.
"
P
Example 13
Fmaj9
' ' """""""""""""""" """"""""""""""" " T A B
19 20 22 20 19 22 20 18 17 18 20 18 17 19 17 16
14 16 17 16 14 17 15 14 12 14 15 14 12 15 14 12
H
39
H
' "
T A B
37
12 14 15
8 10 12 10 8 10 12 14 H
36
P a go 7e8f
H
P
P
H
P
sl.
H
H
P
P
H
P
sl.
H
H
P
P
H
P
sl.
H
H
P
P
' " " " " " " " " " " " " " T A B
10 sl.
12 H
14 H
12 P
10 P
13 H
12
10 P
12 H
13 H
12 P
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H
P
sl.
D IA G N A L R OLLIN G S H IFTD S -2e r ryG l a bel
'
40
T A B
T A B
Example 14
15 17 18 17 15 12 14 16 14 12 14 16 17 14 15 17 15 14
12 14 15
12 14 15 14 12 14 15 17 12 13 15 H
42
P a go 8e8f
' """" " " " " " " " " " " " " " " " " " """"""""""" H
H
H
P
P
sl.
H
H
H
H
P
sl.
P
H
H
H
H
P
sl.
P
H
H
H
'" " " " " " " " " " " " " 13 13
15
H
15
17
15
13
15
17
19
17
H
H
H
P
P
sl.
H
H
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17
H
P
P
P
FOUR NOTES PER STRING As recorded by Derryl Gabel TranscribedbyDerrylGabel
MusicbyDerrylGabel Arranged by Derryl Gabel Performance Notes
This is anexample ofplaying the C major scale using four notes per string.Pay close attention to the patterns formed. These patterns will always stay the same and be in the same order. A numonic sequence that will help you memorize the four note per string patterns is RRCCLLS which will be discussed in the video. Example 1 - 7 are all the modes of the major scale played ascending and descendingarting st on the A note. Alternate picking is used for all examples but you can also experiment with half picking and hybrid picking as well. For the scale diagramsI highlighted the root of the parent key. Using the Neck Diagram software you can change this highlight to the mode's root or even show all the intervals. Of coarse this will only work on the .fbd files not the PDFs. Amaj7 5 fr. x x
Amaj7
'
Example 1: A Ionian
Gtr I
1
&
A13 5 fr. Am7add65 fr. Am7 5 4 fr. Fsus4/A 5 fr. Amaj7+114 fr. Am7+5 5 fr. x x xx x x xx x x x
!! " " %" " " %" %" "
'
' " %" " % " % " " " % " " " %" " " %" %" "
Gtr II
T A B
16 17 19 21 14 15 17 19 11 13 14 16 9 7 5
7
9
9
11 12 14
11 12
10
Amaj7
4
' ' ' %" " " %" %" " " %" " " %" %" " " %" " " %" %" " " %" " " 21 19 17 16
T A B
19 17 15 14
16 14 13 11 14 12 11
9 12 11
9
7 10
Gabelvision ASCAP 2011 Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org
PDF created with pdfFactory trial version www.pdffactory.com
9
7
5
FOU R N OT EP SER S T RIND G - e r ryGl a b e l
Example 2: A Dorian
Am7add6
'
7
P a go25ef
" " " " " %" " " T A B
'
' " " " " % " " " " " " " " " %" " " 15 17 19 20 13 15 17 19
9 7 5
7
8
9
10 12 14
11 12 14 16
10 12
10
Am7add6
10
' ' ' " " " " %" " " " " " " %" " " " " " " %" " " " " " T A B
20 19 17 15 19 17 15 13 16 14 12 11 14 12 10
12 10
7 8
7
5
Example 3: A Phrygian
'
'
" #" " " " " " "
' " #" " " " " " " # " " " " " " " " 15 17 18 20
T A B
9
10
Fsus4/A
13
9
13 15 17 18 9 7 5
6
8
8
10 12 14 10 12 14 15
10 12
10
Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org
PDF created with pdfFactory trial version www.pdffactory.com
FOU R N OT EP SER S T RIND G - e r ryGl a b e l
P a go35ef
Fsus4/A
16
' ' ' " #" " " " " " " #" " " " " " " " " " " " " " #" " T A B
20 18 17 15 18 17 15 13 15 14 12 10
8
7 10
Example 4: A Lydian
'
" " %" %" " %" %" " T A B
9 12 10
Amaj7+11
19
14 12 10
8
6
5
'
' " %" " % " % " " % " % " " " %" %" " %" %" " 16 17 19 21 14 16 17 19
9 7 5
7
9
9
11 13 14 11 13 14 16
11 12
11
Amaj7+11
22
' ' ' %" " " %" %" " %" %" " " %" %" " %" %" " " %" %" " %" %" " " T A B
21 19 17 16 19 17 16 14 16 14 13 11 14 13 11
9 12 11
9
7 11
Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org
PDF created with pdfFactory trial version www.pdffactory.com
9
7
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FOU R N OT EP SER S T RIND G - e r ryGl a b e l
A13
Example 5: A Mixolydian
'
25
P a go45ef
" " %" " " %" " " T A B
'
' " %" " " % " " " % " " " %" " " %" " " 15 17 19 21 14 15 17 19
9 7 5
7
9
9
11 12 14
11 12 14 16
10 12
10
A13
28
' ' ' %" " " " %" " " %" " " " %" " " %" " " " %" " " %" " " T A B
21 19 17 15 19 17 15 14 16 14 12 11 14 12 11
12 10
'
Example : A Aeolian
" " " " " " " "
7 9
7
5
'
' " " " " " " " " " " " " " " " " 15 17 19 20
T A B
9
10
Am7+5
31
9
13 15 17 18 9 7 5
7
8
8
10 12 14 10 12 14 16
10 12
10
Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org
PDF created with pdfFactory trial version www.pdffactory.com
FOU R N OT EP SER S T RIND G - e r ryGl a b e l
P a go5ef
Am7+5
34
' ' ' " " " " " " " " " " " " " " " " " " " " " " " " T A B
20 19 17 15 18 17 15 13 16 14 12 10
9 12 10
8
7 10
&
Example 7: A Locrian
Am7 5
'
37
14 12 10
8
7
5
' #" " " " ## " $ " " " # " " " #" " " ##" $" " " #" " " ## " $" " T A B
'
15 17 18 20 13 15 16 18 8 6 5
6
8
8
10 12 13 10 12 14 15
10 12
10
&
Am7 5
40
' ' ' " #" " " " ##" " " #" " " " ##" " " #" " " " ##" " " #" " T A B
20 18 17 15 18 16 15 13 15 14 12 10 13 12 10
8 12 10
8
6 10
Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org
PDF created with pdfFactory trial version www.pdffactory.com
8
6
5
