•1•
Accompanying Booklet *Follows the order of the DVD • Supports the material on the DVD
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•2•
Jazz & Fusion Guitar Table of Contents
DVD Menu
How to read tablature....3
Fingergboard Concepts
Definitions....4
1. Introduction
Single String Studies....5
2. Single String Playing
Two String Studies....6, 7, 8
3. Two String Playing
Chord/Scale Relationships...9 thru 12
4. Position Playing Improvisation Concepts 5. Chord/Scale Relationships 6. Playing throught the Changes 7. Ear Training & Other Practice Tips
Jazz guitarist Clay Moore is a rare find on today's jazz
At Clay Moore’s web site you can:
scene – a unique voice that strengthens and expands the jazz idiom with sensitivity, clarity, and uncompromising integrity. Clay's warm, expressive tones and
• Check his performance schedule
impeccable phrasing have been delighting U.S. and
• Buy his CD albums
international audiences for over 20 years.
• Read his biography • Chat with music people
Clay Moore’s Web Site:
www.ClayMoore.com
• Contact Clay directly • Playing tips • And much “Moore”
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•3•
How to read Tablature
Tablature is completely different from “standard music notation.” It is a very logical method too, because it is simply a graph
of your stringed musical instrument. The lines represent your strings and the numbers on the lines indicate which fret to play. In other words: 3 on the 2nd string indicates to play the 2nd string at the third fret. There are other details involved, but that’s its essence. Tablature simply plots the location of the notes of the song. Believe it or not, tablature historically pre-dates “standard music notation.” That’s right, it is a much older system. Tablature is ideal for stringed instruments. In many ways it is superior to “standard music notation” as a method of notating music for stringed instruments, because it allows its creator to designate locations and positions on the instrument that would be difficult to indicate using “standard music notation.” Tablature is much easier to learn to read than standard notation because it is basically a picture of the location on your guitar where the note is to be played. Generally speaking, tablature has become the established standard for informal styles of music and particularly for stringed instruments, while “standard music notation” remains the standard for orchestras and marching bands. One noteworthy exception would be Classical Guitar music which tends to be written in both “tab” and “standard” notation. But some of today’s tab does borrow timing notation from standard music notation, as well as other symbols. So you could say that some of today’s tab is somewhat of a hybrid of tab and standard notation.
Triplet
E
3
Pull-off
play this string open 0
Fingering Indicator
t
P
1
P
0
2
i
t
P
1
P
0
*In many cases the chord diagram is the chord form used in the tablature.
3
2
Chord Diagram
E
(3 1/8 notes equal one 1/4 note)
3
4
0 0 1 2 2 0
t
t
t
1/4
Bend this note 1/4 step
(thumb)
Chord Diagram *This G7 is an E7 bar chord at the 3rd fret which corresponds to the tablature below it.
Slur
G7
3
H
Double-Stop
3 3
two notes played simultaneously
3 t
i t
G7
4
m
H
6 3
5 t
3fr
t
3 3 i t
t
3
4
6 3
5 i
t
Hammer-On
i
t
Fingering Indicator
Fingering Indicator
Index thumb
Index finger
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•4•
Definitions Slur--the word slur refers to any treatment of a note that causes it to have a soft beginning. In other words, a slurred note is a note that has not been picked. There are several ways to create a slur: hammer-on, pull-off, slide, or bend. *Note: there are no bends in this book, only hammer-ons, pull-offs, and slides. Slurs are usually indicated with curved line connecting two notes. Hammer-on--(indicated with an “h”). before you can hammer-on you pick a string, then you fret that string (with your fingering hand) without picking again. The picked note will sound crisp and the hammer that follows will sound soft. After you gain experience you will discover that you can play faster by taking advantage of this technique because you don’t have to pick every not that you can sound. To make a good, strong, loud hammer-on, your finger should hit the string quickly and firmly similar to a hammer hitting a nail. It is normal to be unsuccessful on your first few attempts, so be patient. When you touch a string lightly that has just been picked, you will “mute” the string. (this silences the ringing string). But, if you hammer it hard, you will create a new note without picking. Pull-off--(indicated with a “p”). Pulling off is the opposite of hammering on. But you don’t simply lift you finger up because lifting can mute the string. So with your fiinger down fretting the note, you should actually grab the note and pluck it similar to the plucking technique that you use to play a string with your other hand. In other words: don’t think of pulling off as “lifting up.” Think of pulling off as “picking” with your “fingering” hand. Slide--to create a slide you move your finger up or down the neck after you have picked it. The slide is indicated in the tablature with an “s.” Sliding is difficult at first. It can create sore fingers before you develop tough fingers. When your fingers start to hurt, it is best to end your practice session for the rest of the day. If your fingers are sore the next day you should take it easy or wait another day untill the sorness subsides. Bend--to bend a string is to stretch it out of tune on purpose. Bends are indicated in tablature with an arrow curving up and a degree notated such as 1/4, 1/2 or more. 1/2 means to stretch the string so far that it sounds one fret higher in pitch. 1/4 is to stretch a string to a pitch less than a fret (half step). *A string can be stretched 2 frets (whole step) and farther if desired. Double Stop--playing two strings at the same time. When you see a double-stop in tablature it will be a note above another note. Yes there is such a thing as a triple-stop. In fact, when you strum a chord, you are playing a “sextuplestop” because your guitar has 6 strings.
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•5•
Single String Position Changing Key of C
Single string chromatic scale Ascending. *position changes indicated with fingering notation. Shifting with 1st finger 1
2
3
4
5
6
7
8
9
10
11
12
13
1
2
3
4
1
2
3
4
1
2
3
4
4
Single string chromatic scale Descending. *position changes indicated with fingering notation. Shifting with 4th finger. 13
12
11
10
9
8
7
6
5
4
3
2
1
4
3
2
1
4
3
2
1
4
3
2
1
1
C Major scale Ascending then descending. *position changes indicated with fingering notation. *This teaches you proper position changing logic on the guitar.
1
3
5
6
8
10
12
13
13
12
10
8
6
5
3
1
1
3
1
2
4
1
3
4
4
3
1
4
2
1
3
1
C Major arpeggio Ascending then descending. *position changes indicated with fingering notation.
1
5
8
13
13
8
5
1
1
4
1
4
4
1
4
1
C Major articulation descending. *Position changes indicated with fingering notation.
13
15
13
12
13
12
10
12
10
8
10
8
6
8
6
5
6
5
3
5
3
1
1
3
1
1
2
1
1
3
1
1
3
1
1
3
1
1
2
1
1
3
1
1
C Major articulation ascending. *position changes indicated with fingering notation.
1
4
3
6
4
8
6
9
8
11
9
11
8
1
4
1
4
1
4
1
1
1
1
1
3
1
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•6•
Two String Position Changing
Two string arpeggio (three octave) Ascending. *Position changes indicated with fingering notation.
3
2
5
2
5
1
4
2
4
7
1
4
1. G scale with position created by using the 1st finger for the 1st two notes.
3
5
1
7
1
8
3
4
3
5
7
3
8
4
4
5
7
9
3
5
1
7
3
4
2
1
3
4
5 3
1
5
7
9
1
3
4
3
5
7
9
1
3
3
4
5
1
1
4
7
3
8
3
4
5
7
9
1
3
4
5
1
4. Same G scale but this time we make our position change on the A string sliding the 1st finger.
5 3
1
5
1
5. Same G scale but this time we make our position change on the A string sliding the 3rd finger.
10
2. Same G scale but changing position at the 3rd tone with the 3rd finger.
3. Same G scale but changing position at the 4th tone with the 4th finger.
1
7
8
7
3
4
3
5
7
9
1
1
3
4
5
1
6. Same G scale but this time we make our position change on the A string sliding the 3rd finger.
5 3
1
5
1
7
3
4
5
3
5
7
9
1
3
4
4
1
Three octave G scale. Use any combination of the six position changing choices above.
3
5
1
7
1
9
11
3
4
8
3
4
5
7
9
1
3
4
8
10
12
13
1
1
3
4
5
7
9
10
1
1
3
4
10
12
14
15
1
3
4
4
7
1
Three octave G Major 7th arpeggio using the above position changing system. (ascending & descending)
2
1
3
2
2
5
1
4
4
5
1
2
4
1
7
4
7
1
8
2
7
1
10
4
7
1
8
2
7
1
7
4
4
1
5
4
2
1
5
2
4
1
3
2
2
1
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•7•
2
Chromatic scale (key of A), shifting position with the 1st finger. *After you learn it shifting with the 1st finger, learn to shift from the 2nd, then 3rd, & finally the 4th finger. (also practice this descending)
5
6
1
7
1
8
2
7
8
9
1
2
3
4
6
7
8
9
4
1
1
2
3
4
6
7
8
9
1
2
3
4
9
3
6
5
5
6
7
8
9
1
1
2
3
4
5
6
7
8
9
1
1
2
3
4
5
1
The above chromatic scale demonstrates that all 12 keys are available in any 5-fret area without the need for position changing. Below are 3 major scales within that same area: A, B, C. A major scale B major scale C major scale 5
7
5
9
7
9
6
7 7
6
9
7
6
9
8
9
5
8
7
5
8
7
9
"Dixie" in this same position in 3 Keys, further demonstrates that all music can be available within one 5-fret position. *The more you explore this phenomenon, the more you master the fingerboard.
"Dixie" Key of A
9
7
9
7
6
"Dixie" Key of D
9
7
9
9
7
7
6
"Dixie" Key of G
9
5
5
5
7
5
7
9
9
5
6
9
7
7
5
5
7
5
5
7
7
7
7
9
7
5
7
7
9
7
7
5
9
7
7
7
9
7
7
7
5
7
9
7
7
7
7
9
9
7
9
9
7
9
9
9
9
9
9
5
7
9
5 9
9
5
7
9
7
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9
7
7
9
8
7
10
8
8
7
7
7
9
7
9
5
•8•
"Dixie" in just one key (F) but in 3 positions, this is the opposite concept, illustrating that every key can be played in any position on the neck. *There are 12 positions. 9 more & you will gain a greater mastery of the entire neck.
1
2
first position
1
3
3
1
3
2
1
5
3
5
3
3
3
4
3
5
2
4
1
2nd position
4
2
2
2
4
6
5
3rd position
3
5
7
5
3
6
5
2
3
2
3
1
1
1 1
5
4 2 3 4 2
5
4
3
2
3
1
3
5
5
3
3
1
3
1 3 4 1 3
3
3
6
4
1
2
4 2
1
4
4
4
1
5
4
4
1
1
1
3
4
6
4
2
5
4 1
4
3
5
5
5
1
3
3
3
5
7
3 4
5
3
3
3
3
3
2
3
4 2
2
6
3
5
1
7
4 3
5
2
5
3
2
5
3
3 4 3 4 1
1
5
5
5
1
5
3
6
1
5
3
2
3
4 3
1
2
3
5
1
1
7
3
1
3
3
3
2
2
2
4 1
3
2
5
3
3
1
1
1
3
3 4
1
5
4
3
7
7
4
1
3
2
1
5
3
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•9•
Chord/Scale Relationships Most commonly used scales over chords with Major in the name.
G Lydian
G Major 3
2
5
3
2
5
G A B C
4
5 3
D E F# G
5
D
4
E
F#
4
2
5
2
A
3
4
B
5
D
A
G Dorian 3
5
G
Bb
3
5
C
D
2
3
2
4
B
C#
3
5
E
F
G
2
4
5
Bb
3
5
C
D
E
F#
G
G Phrygian 3
4
6
3
3
5
6
3
5
5
A C D
5 3
D Eb F G
A minor Pentatonic 3
5
G
6
A
3
Bb
5
G
2
6
3
5
Bb
F G
3
5
A
4
2
2
3
5
B
C
D
3
G Ab B C
4
6
F#
A Gm7
Gm7 10fr
2
G Ab Bb B
3
5
6
C
D
Eb
3
5
6
C
D
Eb
3
3
5
F
G
4
5
F#
G
1
2
5
D F G A
3
C D
G7
G7
Background chords for this exercise
5
6
3
3
5
E
F
G
5
D Eb F G
4
2
3
5
G
A
G Whole tone scale
G Altered dominant 3
E
10fr
G Mixolydian #4
C harmonic minor from G 0
4
E G A
G Mixolydian
G
2
2
5
Most commonly used scales over dominant 7th chords.
E G
D minor Pentatonic
5
G Bb C D
2
5
3
6
A
G minor Pentatonic
G Ab Bb C
3
5
G harmonic minor
6
A
5
2
5
G A B D
Background chords for this exercise
5
G melodic minor
G
3
2
G Aeolian (natural minor) 6
A
5
A Major Pentatonic
Most commonly used scales over chords with minor in the name.
4
G A B C# D E F# G
D Major Pentatonic 2
10fr
G Major Pentatonic
2
5
Gmaj7
Gmaj7
Background chords for this exercise
3
5
4
6
3
5
G A B C# D# F G Major pentatonic
6
3
5
C# D# F G
3
5
2
5
G A B D
2
5
E G
2
4
5
B
C#
D
2
3
5
E
F
G
G Diminished 3
4
6
2
4
3
5
5
G Ab Bb C# D E F G
Db Major pentatonic 4
6
3
6
3
6
Db Eb F Ab Bb Db
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• 10 •
Most commonly used scales over minor 7 flat 5 chords.
G locrian #2
G locrian 3
4
3
6
4
G Ab Bb C
3
6
5 3
Db Eb F G
5
Gm7b5 10fr
G locrian #6
3
6
Gm7b5
Background chords for this exercise
4
G A Bb C
6
3
5 3
Db Eb F G
4
3
6
2
4
G Ab Bb C
3
5
Db E F G
Chord - Scale Relationships
Cm7
Fm7 8fr
3
3
3
Ab7
6fr
6
3
4
3
Dhalf dim7
Cm7
3
3
5
G7
Dhalf dim7 8fr
G7
5fr
8fr
5
Fm7
3
Cm7 8fr
5fr
Root & Third 3
6
3
3
6
6
Ebm7
3
3
6
3
3
4
3
3
7
G7
5fr
8fr
3
6
3
4
Dhalf dim7
Cm7
3
6
4fr
4
G7
3
7
Dbmaj7
5fr
5
3
5
4fr
4
6
Dhalf dim7
6
Ab7
6fr
G7
5fr
4
4
3
3
Dhalf dim7
4fr
8fr
8fr
5
Dbmaj7 4fr
Cm7
Cm7
5fr
Root
Ebm7
G7
Dhalf dim7 8fr
5
3 3
7
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• 11 •
3
Cm7 8fr
Arpeggio 1,3,5,7 3
3
5
6
3
Fm7
3
4
5
6
3
5
6
8fr
4 3
5
5
6
3
Ab7
Ebm7
3
4
6
6 3
4
6
G7
3
4
3
5
7
3
G7
3
5
3
5
5
6
3
3
5
7
Fm7
3
8fr
Scale Ascending
5
5
6
3
5
7
3
5 3
5
6
3
5
7
3
5
G7
3
6
3
5
6
3
5
4
6
6 3
Cm7
3
4
7
3
5
6
3
5
Ab7
3
4
6
3
5
6
6
3
4
6
3
4
6
G7
3
5
6
5
6
3
5
4
6
3
7
4
6
3
5 3
3
5
5
6
6 4
4
7
3
5
6
3
5
3
3
6
Dhalf dim7
Cm7
5
7
4
6
6
3
5
5
3
5
6
G7
5fr
3
3
3
4
8fr
8fr
5
6
4fr
5fr
3
6
5
Cm7
3
Dhalf dim7
5
3
Dbmaj7 4fr
4
6
6
5
3
6fr
3
5
3
8fr
Ebm7
5
4
5
6
5fr
5fr
6
3
Dhalf dim7
6
Cm7
6
3
5
6
Cm7
5
6
Dhalf dim7
3
8fr
3
8fr
6
3
5
4fr
5fr
3
3
5
Dbmaj7
4
5
3
5
7
4fr
Dhalf dim7
Cm7
5fr
6fr
6
G7
Dhalf dim7 8fr
3
5
6
3
5
7
3
5 5
3
6
5 3
7
5
3
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• 12 • Fm7
Cm7 8fr
5
3
8fr
Scale Descending 7
5
5
3
6
5
6
3
7
3
Dhalf dim7
5
3
6
5
5
G7
3
6
5
3
6
5
5
5
3
6
5
3
7
4
5
3
6
4
3
6
6
7
5
3
6
4
6 6
5
4
3
6
5
3
7
5
3
6
4
6
5
3
5 6
5
4
6
3
6
4
3
G7
6
5
3
6
5
5
6
5
3
6
3
6
4
Cm7
3
3
6
5
3
6
4
4fr
5 6
5
3
7
4
3
3
Scales to use over chords in the above exercise: 1. Minor 7 chords - used Dorian Mode. 2. D half dim7 - used a D Locrian Scale.
Jazz guitarist Clay Moore is a rare find on today's jazz
5
3
4
Dhalf dim7 8fr
3
3
Dbmaj7
5fr
5
3
3
4fr
Dhalf dim7 3
3
Cm7
Ab7
6fr
6
5
8fr
Ebm7 3
6
3
5fr
3
4
3
G7
5fr
7
5
3
5 6
5
3
6
3
5
3
5
7
3
3
3. G7 - used C Harmonic Scale starting from G. 4. Ab7 - used Ab Mixolydian Scale. 5. DbMaj7 - used a Db Major Scale.
At Clay Moore’s web site you can:
scene – a unique voice that strengthens and expands the jazz idiom with sensitivity, clarity, and uncompromising integrity. Clay's warm, expressive tones and
• Check his performance schedule
impeccable phrasing have been delighting U.S. and
• Buy his CD albums
international audiences for over 20 years.
• Read his biography • Chat with music people
Clay Moore’s Web Site:
www.ClayMoore.com
• Contact Clay directly • Playing tips • And much “Moore”
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www.musicians-workshop.com
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• 13 •
• 14 • Other Instruction from
MUSICIAN’S WORKSHOP Cassettes • CDs • Books • Videos • DVDs.... Since 1973
Singing Harmony
Dobro
How How How How How How
Beginning Dobro Bluegrass & Country Dobro (DVD) Easy Dobro Solos Easy Dobro Solos Vol II Backup & Fills for Dobro Dobro Workshop Dobro Workshop II Jam Session Standards for Dobro Josh Graves’ Best Solos Vol I Josh Graves’ Best Solos Vol II Josh Graves’ Best Solos Vol III Individual Cassette Dobro Lessons (over 200 to choose from) Why is this Man Smiling (dobro album tablature) Dobro’s Greatest Hits “Just for Fun” LP Dan Huckabee
to to to to to to
Sing Sing Sing Sing Sing Sing
Bluegrass Harmony I Bluegrass Harmony II Bluegrass Harmony II Gospel Harmony Country Harmony Pop Harmony
Guitar Your First Guitar Lesson (DVD) Easy Guitar Solos Bluegrass Guitar Vol I Bluegrass Guitar Vol II Bluegrass Guitar Vol III Bluegrass Guitar Vol IV Perfecting Bluegrass Guitar Solos (DVD) Bluegrass Guitar (DVD) Twin Guitar Workshop Improvising Bluegrass Guitar Tony Rice Style Guitar Solos Designing Guitar Solos for Bluegrass Songs Creating Guitar Solos for Bluegrass Songs (DVD) Creating Guitar Solos for Banjo Instrumentals (DVD)) Beginning Rock Guitar the Fun Approach (DVD) Classic Rock Guitar Leads & Solos Learn to play Rippin’ Lead Guitar (DVD) 66 Hot Rock Licks Honky Tonkin Country Guitar Solos Smoking Country Guitar (DVD) Masterpiece Solos of Brent Mason & Dan Huff Country Guitar Solos (DVD) Jazz & Fusion Guitar (DVD) A Musical Journey with John Carlini (DVD) Easy Gospel Guitar Solos (DVD) The Art of Bluegrass Rhythm Guitar (DVD) Chris Jones’ Bluegrass Guitar Solos (DVD) Beginning Blues Guitar (DVD) Beginning Fingerpicking Guitar (DVD) Rock Rhythm Guitar (DVD) Advanced Country Guitar (DVD) Chord Solo Guitar #1 John Carlini (DVD) Chord Solo Guitar #2 John Carlini (DVD)
Banjo Beginning Bluegrass Banjo Vol 1 (DVD) Beginning Bluegrass Banjo Vol 2 (DVD) Blazing Bluegrass Banjo Vol 1 (DVD) Blazing Bluegrass Banjo II (DVD) Twin Banjo Workshop J.D. Crowe Style Banjo Solos I J.D. Crowe Style Banjo Solos II New Acoustic Banjo Solos
Mandolin Country & Bluegrass Mandolin (DVD) Bluegrass Mandolin Vol I Bluegrass Mandolin Vol II Twin Mandolin Workshop Improvising Bluegrass Mandolin Designing Mandolin Solos for Bluegrass Songs Irish Fiddle Tunes for Mandolin Orange Blossom Special Mandolin Lesson
Miscellaneous Beginning Rhythm Piano Vol 1 (DVD) Beginning Rhythm Piano Vol 2 (DVD) Country Piano Blues Harmonica - the Basics & Beyond Irish Fiddle Tunes for Tinwhistle Beginning Autoharp The Bluegrass Wordbook (with Audio CDs) The Traditional Bluegrass Songbook (with Audio CDs) How to Figure Out Music From Recordings (DVD) Understanding the Formula of Music (DVD) Beginning Drums with Paul Murski (DVD) Still on the Hill (concert video VHS)
Write or Call for our Free Catalog or check out our complete catalog on the web www.musicians-workshop.com P.O. Box 161921 Austin, Tx 78716-1921 Orders: 800-543-6125 Service: 512-452-8348 Fax: 512-327-6603
