The Complete
Jazz Guitar Method
.• "auO'rirt& _I"", o..r.utItIWr
I.............
JODY fiSHER
The Complete Jazz Guitar Method Beginning. Intermediate· Mastering Chord /Melody· Mastering Improvisation
,
... ,
--- - .....
JODY FISHER
-' \ :' ,
c?-
-r • • I'
" ~'
I'
c....
Alfred, th e leade r in educational publishing. and the
National Guitar Workshop. one of America's finest guitar SGt;ools, have jo ined forces to bring you the best. most
progressive educational tools possible. We hope you will enjoy this book and encou rage you to look for other fine
products from Alfred and the Natio nal Guitar Workshop.
I
, Copyrlgh/ C MCM XCV Alfred PubIJsfW)g Co" lne. All nghts reserved. Pnnlcd In USA
Acqut$IIICn. fId.I~I. muse; ' )'pftumng. ... renor des'f1'I N.Ir..NtII GI..nxt, Worl
Oll: MIChIJIII A/I8in. Workshop Arts Cover pII% Jeff OShIro ' c-erdeqm; Ted E.,bJrltlManhfl WlClm.fIIl CoIlsull"'!1 editor. Unk ~msberper. AlflfIfJ Publtshttfl
.
.1
.
" (,,' !. I ~_".
L'
[
C
ABOUT THE AUTHOR ................................................................................................. .. INTRODUCTION ............................................................................................................ S
[
l-
Il 17 18
[
"
, I I
l6
L « F
J6 18 <2
I"
I
(
-- ---
-
.-""~~--<~ ~
..,....,
Chapte r 2-The Minor Scales and T heir Modes_": >.i.t;, .-~'J Lenon Lenon Lesson Lesson Lesson Lesson
.
I: The MelodIC M,I'IOf' Sale 2: The Modes of the Melodic MII'IOf' Sale 1: ArpeggIOs In the Melodic M,nor Snle 4. The HumonIC MIIlOI'Sale 5: The Modes of the Harmonic MII'IOf' 5ule 6: Arpeu'os in the HarmOl'1lC MInor Sale
Chapterl-UsingArpegglos
. \' - '}';. "~~7'
.. ,.-
'!' ~~
( (
.,
..
47 _ 48
•
I
[
L '"
.' .. ,-
Lenon I: Chord Supenmpomioo _ _ _ " __ '_'~_ "'_"' ____ ~""M' _ _ _ _ _ _ _ _ _ _
"
Lesson 2: Melodoc Plttems B.ued Around Arpegpn Lesson 1. Melodic Plttems Sued Around Chord ShIpes _
SO 52
(
[, (
L L L I
(
(
Chapter " -Eigh t-Tone Scales
...__...... ......_. __...__... .. __ .....
53
______.....__.._53 _.M_....__ 53
The Elght·Tone ii·V? SCale ___ ._N.~ ~ ~ ~ ~.~._~ The Elght·Tone 1 Sc:a.le __._.. _. ___ ._._.. __ ~ .. _...... _.. _. ____ •__ .. ______ ..
( (
(
( ( ( (
I
[, [ 2
Table 0( Contents
1-
, (
I
, (
Cliii)ter' S ~ConncctlngYour Idcu
~'" Lc~o~ I:Thc- Ch;omnic Connectl, .., LC Hon 2; Lesson] LeHon" Lenon 5 Leno n 6
Accentv~un&
lhe DIfference Belween Keys .. Repnl,ng ~n tdn ,n D,fferent Oct;Jves . RhythmIC Mowfcs, ,, ..................... Melo dIC ConnectIon ..... Oiatonic Connection ......... "................ .
CODA--A Me dley of Suggestion! ond Musical C o ncepu Play'"g on Ihe ExtenSIons Usm& Adv~nced Pent;Jtonin ........ PI~y'n& on the EJnensoons Us.ng Tones From I] Chon; Pl1yon& W,th Wider Intervals . SymmetriCal Mo tIves ..
:'. . ' ; ~:'i.~, r?;,::· ,t>:"'S5-. \K;~·7?~1j . ___ ,,. _ .~._ •. _., .,;;". ..... 7' ,. _ · .·,~·:rr: :...-. ..!L . , ~;t .................................... 55 ..... 57 ...... S9
"
.............. 60
62 ....... 62
"
........ 63 ....... 63 .. ........ 6)
A compact disc is available for each book in th is series. Thes e discs can moke Icarning with these baoks cosier ond m ort' enjoyable. This sym .' "I will appear ncxt to every example that is o n th e :0. Use the CO to h . iJ insure that you are capturing the feel of t he examples, interpreOng the rhythms correctly, and so on. The Track num !..crs below the symbols correspond directly t o the example you wont t o hear. Trock / will help you tu ne to the CD. H a ve fun!
Table of Contents
3
L
ABOUT TH( AUTHOR Jody Fish!!,. h~s worked profeu lon~lIy in ... irtu~Jly all $tries of music during his career, from stnight-ahead ;and contempor.ary jnz, to rock 'n' roll, country. pop and show tunes. He uught Guitar and JUI Studies :It the University of Redlands ttl Southern California and ;at the Idyllwild School of Music and (he Arts (ISOMATA). An active performer tn the Southern Cillifornia area. he still mainQins
;a
[
priViltC! teill ching pMlCtice. serves on the fac-
ulty of the University of u. Verne, ilnd ;n an ISSOClue director of the National GUitar Summer Workshop's California ~lnd N:l5lwille campuses Jody Fisher is the lurnal'" o f the Guilor Mode Encyclopedia, also published by the Nuional GuiurWorkshop and A1(red.
[
L. [ [ [ [
E, [
o [ [
l [ 4
About the Aumor
INTRODUUION GUItar students typically spend a lot of time looking around for informulon that will take them to a higher level. When I was growing .'p. it was very dIfficult to learn how to play jazz. There were no instructional videos, and the books that were available were just not very helpful. There were no gui tar Khools. Most students we re self-taught and some loo k tenons. but really good teachers were very hard to find. I w;u lucky-rve had some great teachers. Today. there are videos, books, guiur schools, upes, CDs and very ulented tuchers all over the place. But there is nili something missing: books thu give a complete overview of whu you need to know to become a proficient juz guitarist. Hope fully, this seriu fills that gap. A,ny student wh o suru with Ikeinnin:jau Guitar and proceeds through the entire series will be exposed to most of what they need to know to play jan guiur. You will find some complelC subje<:u in this book, as well as some very simple ideas that you un start to use immediately. Chapter I begins with a discussion of improvising over altered dominant chords. This book is not for beginnen, It is for guit:ilrisu that have wo rked through 8eginningjazl Guitor and Intermediore j011 Guil:or, or have received the same sort of information else· where. To get the mOst out of this book you should be proficient w ith the penutonic sules, blues scales, the major scale, diatonic hilrmony lind chord scales, transposition, diatonic arpeggios, neighbor tones, triads , licks and formulas for eICtended and altered chords. Each leuon in the first two books had tWO seperate sections. The "A" sections dealt with harmonic principles and chord work wh ile the "S" sectiom handled the tOpiC of single.line improvisation. This entire book (oncerns ruelf w ith single.line improvisation. It suns right where the "S" sections in the intermediate book left off. Moster;n: Jazz Guirar; Chord/Melody starts where the "A" seclions of the intermedilile book left off. You may wa nt to go through the book in order, or you m3Y want to use it as a sourcebook o f concepts and te chniques to investigne in your o w n way. The concepts and exercises in this book ilre intended to inspire you for a lifetime of study and enjoyment_ Since juz improvisation is an ever expanding field of information. one never really finishes doing t his work.. Enjoy the journey.
Introduction
S
lI
C
(
Improvising Over Altered Dominont (hordJ
(
,
[ [. , (
Altered dominant chords Ut some of the: most distinctive sounds in jan. Much of the ch.lllienge and enjoyment of playing jazz comes from learning how [0 improvise using the altered tones from these chords. At times. th ,s may seem like a formidable usk. and in some repects. it is. The key is to digest this m:lterial 3. lit de at 11 time.
DeYim dod
IdlOl
r
Before we move much further. let's define some vocabulary. You will see the term device quite often. For Our purposes, a de'lice is any tool thn we use for improvising. Scales, licks. upeggios and melodic patterns are all considered devices. Ano ther term that w ill be used often is ideo. An ideo is simply any melodic indination you may have at any particular time.
L [~
I( you have been improvising exclusively o ver un'lltered diatonic chords, you 'lroe probably wondering how t o surr adding the ~ Itered tones. There ar e man)' ways, but we will begin by using sc~les. A chord with ~Itered tones is a chord that conuins a ~5 (or II I). : 5,~. ~ or 'lny combination of chese. Many students believe th~t you simply ~dd these tones co existing sc~les and ~rpeggios thOlt you already know. This is pan of the picture. but there are many easier and more organized w ays t o ~ccomplish the same end. T here are different scales ch~t cont'lln these altered tones. Part of the tuk at hand is to leun which altered t ones ~re found in w hat scales. then organize these scales in your mind and pract ice applying them over t he 'lppropriace chor d ch a nge~ . T he first of these scales we'lI be ulking about is che diminished scale.
l
( (
(
r[
I: [ [
The formub (in half steps and whole steps) fo r the diminished scale is W-H.W_H_W_H_ W-H.
H
= Half step
W ""Whole step
[ ,
Here it is in G. diagramed along nch individual string where t he formula is eisy to see.
TH E G DIM INI SH ED SCALE
• ---e • ®
•• 6
---e ---e
•
-®
• "
III
•
'"'
•
"
•
,e
. --
-
._-------
•
:. -
$:
.
." .
VII
Chapter I-Improvising Over Altered Dominant Chords
[
:0 :
:_.e V
-&
-&
X
XII
L , l.
XV
There ;Ire really only three ~eperate diminished ~cales pO$Si~le . Because of the form ul a, a d imini shed sc;ale beginnmg " minor 3rd higher than the origln,,1 rOOt will (anUin eXiledy the same notes. although they 1r'! sometimes spelled enharmoniCillly (for Insunce. G' may be spelled as F'). Think of the stille as reputing .tself every ume you plJy It a minor lrd
;
I
J
higher.
G
,I I
•
/l
"
A
B'
e
• ;=hQ----'
0'
E'
P
G'
,--1,
•
The G Diminished scale contains the same note s as the B', Ol,and E Diminbhed scales.
B'
e
·cr
0
0'
E'
J
F'
E'
F'
G'
G'
A
"
<>---"
G'
G'
A
B'
e
A
B'
e
0'
E'
G
A'
B'
1.04
0
0
(PI E
J :1 J
0'
,,'I F'
G'
<>
A'
1
B'
e'
0'
0
E
G
F
le'I B
uh e'
0
E
F
0 .--0
]
3
0 '"
The AI Diminished selle COnU;f15 the urne notes .1$ the S, 0 and F D iminished scales.
'f]
J
0
E
F
G
A'
B'
e'
0'
F
G
A
B'
e'
0'
0'
E
e
0
E'
F
G'
A'
A'
B
E'
F
G'
A'
A'
B
e
0
G'
A'
A'
B
e
0
E'
Q
J l l
A
J
B
e
0
E'
F
G'
A'
b"
0
The A D imi nished sCile COllUlins the same notes.u t he C, E" and G' Diminished scales.
]
J J
• ==i
Chapter I-Improvising Ov.,or Alterc:d Dominant Chords
F 0
7
L, The diminished scale is especially important in jazz improvis.1tion because it has multiple uses. Obviously. it works well over diminished tr iads and diminished 7th cho rds. When you start this scale on the root of a diminished chord. the scale contains all of the chord tones of aU four possible enharmonic spellings of that diminished chord.
c 4
~
0
e'
F
G'
A'
(A I B~
B
o=t; u oct., ~oI!H'~1 ~&§
0
E ~dim7
Cdlm7
11m
G~dim7
II
~
I: ' L
Ad im7 ;"
II I,i>~.
II
II
[
A litde less obvious is the dlmmished scale's use over altered dom inant chords. When we
apply the d iminished sule to altered dominant chords (excluding the =5, since the dlmished scale has a 15). we play the scale whose root is one half step higher than the root of the chord. For instance, play an A~ Diminished scale over an altered G Dominan t chord. Example 5 shows ho w the ~S (or :11). ~.and '9 are included in the Kale. (D~)
(A:j
A"
B'
B'
"
<>
C'
e
0
F
G
~
S
" Example 6 shows
J
I lIQr~5
5
6
Qr
13
'7
me chords thiS scale can be used over. G7:9
II
I~ I II
G7~5~9
&k~
Part of your t raining as a jazl! musIcian IS to learn to recognrze the sound of altered tOnes in chords, This will help you know which sCiles to use and whn notes to emphisize. Ear.training ·h beyond the scope of this book. but it IS well worth your time to investigne this subject thoroughly.
[
(
l
(
..
f
A
"The scale tones as related to the G dominant chord.
[
•
Root
(
« (
r f [ [ [
L, [
{
(
[ Chorley Chriltion
8
Chapter I_Improvising Over Altered Dominant Chords
!
Here are (our fingerings for the diminished scale In G. Memorize and prOlCllce them with melodic patterns that you kno w. Also.lun spend some tIme noodh ng around WIth them. This wilt help you get aquainted with the sound.
THE G DIMINISHED SCALE
I.
~.
-.-'.
'e ~~ e -"e
:--1-1.
v
111
e 'e
'.-
fl· ,'e 111
'.
'e
. . '._'. '. '. '._..1.
' e -f'e
x
VII
'.
'e
>
e -~ e
v
VII
'.-
''..
V
VII
x
XII
XV
X
X"
XV
,
. ' '. '.-. '. ,
'e
•
'"
XV
XII
-'' ·-r· e e
'e - -'. 'e 'e , , -'e ' e -
111
' e - ~'-
V
V"
X
,"
'e •
e 'e -
'
XII
' e -~·-
'
, XV
These fingerings requ ire quite a few shifts from one position to another. When pruticing shifts, try to make it sound like there wu no shift 'll 'lIt Do not slide into position or lessen the time value of ilny nOle to get to t he neKl no te in time. If you ilre Shifting from your fourth finger to your first finger on t he same string. listen to how it sounds when you pl.lly the first note WI th your first fi nger and the second note with your third finger. Then try to duplicate that sound with the correct fingering. Your listener should no t be able [0 he.llr the ShIrL Some plOlyers prefer to look at th is scale as the "half_whole" scale when It Is used o ver .lIitered dominant chords. The sule still alternates whole seeps and half steps. it's just that you start with a half step instead o f a whole seep. as in the diminished sule. If you prefer this way of thinking, then the scale would begin on the roOt of the Olltered dominant chord instead of .ll hOlif-step above. It's a matter o f personal preference. ExperimenL
CNpter I-Improvising Over Altered Dominant Cht.>rds
9
L Here Is a sampling o f licks based on the d iminished 5c~le . Memo n:c the ones you like ~ n d U~rt us ing t hem oyer d iminished ~nd ~rtered domin~nt chords In your so los. The ublnurc proYided sho ws only one of t he possible fingerings for these licks. Experimen t pbYlng them In ~n possible finge rings. Try mJking up Ilcb of your own, too.
•
7
.J.
OJ
[: [
(
c
GDm Scale
,
T
P
r
( (
Cdlm7
-Il-
8 , l"r..k
~
CDm. Scale
1
10
9
1
•
h
1
~.
•
b.
l
r r r
[
L L [ 8~- - ----------- - --------------- - --~ C7~9
0'
C7!9
,~.:.~:~~,\:::~~::li~-~:::~:::f~~ ~ ~~~~~~~~~ .......
s
C :Dm Scale
[ [ [ r
I0
Ch~pter I- Improvising Over Altered Domin~nl Chords
, I,
(
(
• (
,
,
E7~5~9
o(
,
7
1
(7
'.
E7~S : 9
btqf~ r F OIm. Scale
E~~S~9
~
Of
E~7·S : 9
b,.
~
• ~
J
EOIm. Scale 5
5
5
(5
Ch3pler I-Impro vi$ing Ove r Altered Domin3nl Chords
II
L Here is ~n eX.1mple of the dimini$hed $c~le c.ned in the cho rd progreuion from the firn SIKteen b"rs of Duke Ellington's - T"ke the "A" Train," linen to Joe P"ss and Wes Momgomery for their freq uent use of the diminished scale.
" TRAIN "
T~a<~
" CMo7 I
c:::;r,
,r-
~
,
~~ " ~ d
•
• fLf!fL.
r:
.
,
,
,
"
[;
,
-,;:;;r
J
..
•
5
O! OimScaIe ______ _____ _______ "
•
Om in7
eMaj7
•
A
- ...
.
oj
..
8 1
G: OlmScale _____ ,
• ••
. r:
fL
A
OJ
Omin7
•
~, ~i~_~_le.
------,
f! !' , JL'-iI .... , ,
0-&-
•
.'
~
"
...
0
,
[
O- J3-1o-+-10-t4
J _ __ __ _________ , O:OimScale _____________
-; '
L'•
r·
· H , ·~, b ' h
•
A:OimScale
.
•
0
0--4
A7~9
b .'"
......,,,j! . J; •
,
•
•
0
r [ [
[: G7~9
Omin7 A
eMaj7
l
' '...It! .'.
•
... o
12
9
1
9
1.,.,'0
o
Chapter I-Improvi$ing Over Altered Oomin"nt Chords
[ o
••
Thb ,ule Is very useful for soloing over altered dominant chords. Here is the formula for the whole tone sule: W.W_W_W_W_W.
W
= Whole step
The following diagram shows the C Whole Tone scale along smgle urings.
THE C WHOLE TONE SCALE R
- R :- :::::__.:-
R
' I-t~~~~-~~~R~---+~~--~t~---t~-~--rt~---t~~
.
.I=c=d~~==-+~~_~_~~=d _ ~~~-+
__-t--~~R~=--t~.~--+-.-+-~ R
• R.
-- --
..::.:::::::....:
R
v
III
x
VII
XV
XII
There are really only twO whole tone scales. Because of the arn.ngement of whole Steps, whole tone scales beginning from every other note on the chromatic sule contam ident!ul tones (remember that we can enharmoniully respell any note). Or, you un mink of the whole tone scale as repeating itself every malor 2nd. look at the last note of me CWholeTone scale in Example 1S. On paper. the last nOte , C. looks like a diminished 3rd (AI to C) instead
c
(9 1)
o
E
F'
AI
C
o
E
E
F'
F'
GI
GI
Al
A'
c
o
AI
c
o
E
A'
C
0
E
F'
C
D
E
FI
GI
FI
15 <> The CWhole Tone scale contains the same notes ;1.5 the 0, E, FI, GI (A~) and AI (B1 Whole Tone scales,
oJ
~ Al
~~II
..---<>
- - <>
FI
C
0
E
I)
0
dd
G' o
AI
!o
Chapter I-Improvising Over Altered Dominant Chords
II I)
,
01
16~ Go
E" ~O
Ie ' l
F
G
A
II
0
.,-<1 ~<>tl
B
0"
F
G
A
E" '0
B
[
The OL Whole Tone scale contlins the same notes as the eO. F. G. A and 8 Whole To ne scales.
[ G
A
A
B
B
0"
B
F
F
G
G
A
o
A
B
<>
.0.
[
The whole tone scale cont~ ins both the 15 and ~5 of dom inant chords. You may Hart th iS scale from any tone in 1 dominant 7:5 o r do minant is chord. Example 17 shows the G W~ ole To ne scale and the chord tone~ It conU ins. Example 18 shows some chords the scale will work over.
Ie ' )
11
~~
A 0
0
9
3
0" E' ~o"iiJw..
B
~Sor ll1
F 0
I,
G Q
II
"
The scale tones as related to the"G domiru.nt chord. G7~S
G7 :S
Gg ! 11
[
G7 : 5~5
I 18
~
R
-.,-
14
Chapter t - Improvising Over Altered Domin3nt Chords
[
L l.
Here ;Ire five fingerings for the CWholeTone sule. Memorize ;lnd pract,ce them from all roots. Be sure to apply your melodic patterns too.
THE C WHOLE TONE SCALE
,
t
--l
-~ - J
1- ''.. '.,::~if l '. . '. . ' . .. '. '. -- 1-
- , i,.;t
v
'"
x
•
.
'
-
x
- - . _ ' (11)_
v
--
X"
XV
2~ _ ,~
,-
• • -
!l"
-
••
_-'j
.J~.
•
VII
X
XII
XV
V"
X
X"
XV
--
!;-
V
'. '· -F-''.. ''..-%t.o -'
I®-.
-
.
--
'"
xx
'
- -----, L..; . .
''...-''.. ''.. '"
XVII
' . 1" ~ () ~·~:·.".!'·~~-fi-----;_ 1 . _-c~ J
•
,
XV
'"
1.
' E> - , -
V
-
'"
-
V"
.1 1,.lt1::1M::~:V" '"
'.
v
); - , VII
X
1
1 XII
I-~ XV
Ch
IS
l.
Here are some lieks based on the whole tone scale. Learn the ones you enJoy and ;tart using them over dominant chords with a IS orIS. Making up licks of your o wn is something you should be doing all the time. It's a good way to get to know t he scales you are learning, The licks you leun should alw.lys be practiced in all finge rings and octaves, The tablature is only here to give you a quick SUrt. G7~S
"
19
G7 1S
,
G9 111
-."
-
-~-
T.ootk
" 6
6
•
6
(
r, ;
"
,
[
•
l (
G7 ~ 5
• .;.,~
20 / '
.'
~.
G7 1S
•
.,
L~ [,
G9 111
(
•
•
'.
I
T ... c k
" 14 - 1 2
2
[
' G-
r L 5
n • ,
?~ "
, J
.'" ,
a
[
L,
L J
'"'
[
F
Chapter I- Improvising Over Altered Dominant Chords
This solo is bned on the chord progression fro m the first sixteen bars of Once I Loved, by Antonio Carlos jobim, and utilizes t he whole tone scale on 715 chords. It also u~e~ the diminished scale over both diminished chords and altered dominants.
G ONCE Tra
"
, 1
Gm in7
~
r. I!,r=r.
i __
C7 · 5
~
......
FMaj7
F' d im7
~ ~-r-,.-
]
1 J I
-4>-1
,Gmin7
~
....., ~
~
'-J
: mt r.b~ r= r. •
Amin7
'.
G'• dIrnnl$ ".;;;;; _
J
';;;;"
....., __ _ ___
8""1'- r.
-1~G-9---1-
9 1
I'- ~ 1'-.
r. I'- r.
~ I'-
r.
~
E"Maj7
b. L
I'-
,
•bI'- I'-
P.
8 1 Yt.loIe lone _ _______ ,
,
a ]
•,
.
J ~ l 1
~I'- r. ~
FJ dlrT1;'l1shed _____ ,
C v.t1oIelone _ ___ __ ,
0
l J
'.
•
,Emin7~ 5 bPI'- r.
~
~ PI'- ~
I'~
oj
-
DMaf7
,
.....,
Af dirrinished __________ ,
-<
-'-"
Chapter I- Improvising Over Alte red Dominant Chords
17
[.
I·
.:. : ,LESSON 3: THE,SUPER LOtRIAN MODE . "~';~ , DIMINISI:IEDWHQLETONE SCALE ;
[;
The formu l~ fo r the super l ocri ~n scale is: H _W_H·W.W_W.W . It is aClUally the seventh mo de of the melodic m ino r scale. By suning on the seventh degree o f the melodk minor scale and proceeding t o the Hrne note one octave higher. you crcate a super laerian mode. Th is scale is a weaving together o f t he dimin Ished and whole t one scales. The flnt h1if of the scale is dim inis hed and the second moves in wh ole tones. learn the scale along indio vid ual strings. Here it is in E.
o
-
r.
-
,
-
•
••
R
['
'
..
R
R '
R
'R'
•x
- ,
_- .
®.
L L
-®
• ..,. -- .'- • .. v
III
VII
-
~
[' XV
XII
L
This scale has multiple uses. It works well o ver miniS (half-diminished) chords since it corresponds t o the vii cho rd in the harmonil.ed melodic minor scale. We will discuss th is humony in grener decilluer in t his book. B
IJ
~
e
C
0
EI
F
Izu
Q
II
e I,
R
G
A
Q
<>
IS
T:le scale tones as rel~ ted to the Bmln7~S
.,
<>
II
~
(At)
AI
14 ~
iz .. I,
R
G7~S
IS
ffd 18
BI
&e, ..
(B)
e'
I".
3 The scale tones as
"
G7'S
II !§ Ii
G7 ~9
01
~Q , ..
E'
bU
~S(J' : 11
I
'S
F
G
Q
<>
.,
R
relat ~d to
the G dominant.
G7 !9
G7~s'-9
hi II "i
...,.........
II
q
Chapter I-Improvising Over Altered Dominant Chords
[, [
[
II
..- . G7 1S 19
II
[
L
(0;)
(C ' )
!I
R
By far the most common us e of thIS scale is over altered d ominant chords. It connins th e ~S~ J I ). IS. ~ and !9--every pouible alteruion! 8egin this scale on the root o f the altered do minan t chord you wish to improvise o ver. Some players prefer to thin k o f th is as sarting on t he root o f the melodic minor sca le one half step above the root o f the altered dom inan t chord. In other w ords. when imp rovising over an altered G7 chord you could think in terms of playing anA~..Melodic Mino r scale. instead of a G Super l oc rian scale. It all leads to the same place and is a muter o f perso nal preference. G
[-
Bmin7' S
B
(
[ '
THE E SUPER LOCRIAN SCALE
®
,
G7~S 1 9
I~~ II ~
L (
,I
,
Here .lire six fingerings of the super Jaerian lc.1le. As usual. mtmonte one or two at fin! and Start workmg with them.
.1
•- '. ' . -l 1 ' . ':'.·m ' . ''.. '.• '. '. '. 1 =p';=p.--=~l 1. ' . ' . ' . :> ," j { ' . ' . • ' . . '.• .• . ' ' . • '. .' • '. • '.-' . • . -''.. .• ' . • '. ' . -' . . . ". '. ' . • '.
]
Here are several licks bued on the super Icerian sule. Tr;anspose them to all possible keys .lind sun using them in your solos. ElCpenment with d,fferent fingerings. too.
~~ -
'• .
•
1 1-;;-
I
· 1... I _ ce _ v H'
,
.A
\ i.'
,~
"
OJ
'
VH
,'
~.
,
VH
X
X
,
'
."
~
,
•
,
,
-
•
'
'
XH
X
XII
X
J 26 J '." ~
v
,'
1-
VH
. .,l e-
:'"
,
,
-'
J
.H'
,
.
,
v
._.
' Oi}-
,
,
1
~
;~f'. -
xv
G7~5, G7 : S, G7~9, G7 : 9 and all combinahons
~~
~~
\~
~~
~
,
G Superlocrian
1
••
~
l J
F Super Loenan
J
J 1
Chapter I- Improvising Oyer Altered Dominant Chords
19
L, C7 1S. C7: 9. C7~9and all comb,nalions
28
~~~M-k; b§4=9 IT ~r b.F;J3'
I•
( II
II
C Super Locnan
, • , , • • "
•
8---9
, e
11
• ,
,
---1
I
r: , L',
I [
r o Super Locoan
,
•
,
[
,
[ There
~re
many wlyS to solo over illtered dominant
chords, and we will cover many of them in thiS book. The
.
diminished. whole tone 'I'd super toenan scales shoulJ be conSIdered b.uic. lnrn these well and you wIn find chern useful in almon every s.[uuion where altered chords ne present. Ve t eran juzen Tal Farlow. Wes Mont80m . ery. John Scofield and Pu Metheny all use these sounds. listen to alot of jazz played on .1111 instruments OInd you w ill become bmlhar w ith these devices.
[
L, [
:\~
I
~---, ~~, . .~
L
Pat Matheny
, 20
Chapter I-Improvising Over Altered Domlnam Chords
I
T his is :II umple solo based o n the fi rst sixteen b"'n or How H'lh [he Moon . It utihlCS the dim inished, w hole tone and super locriiln sales. Experiment with the fingerings!
''') MOON Tro<.
" GMaj7 ~
:1 J
...,
,.,
, '"'
~:
...,
J
C7~9
-,-
b '
~, , ~
~, ~
-
•,
2.....
I
CDimnished ____ _ _
~
-
J ]
J
"
~
•
-<
"1
J
J J )
F mm9
:fl
B7'' 5
b~
-
,,
•
1
~,
,
• ,. ::1
......
•
•
•
J
Pf'.
.
...,
",-1,' . H- .h :j
J
o Supet Locrian...
,
Amin7 ;l
~
o Super Locrian _ .'
. -5-{
GMaj7
1
Amin7~5
~
• 5
....
-<-
A min7
,.,
:{i.
L..
,
I ~ B ¥.'I1Oelone ________ •
.
'1 l
~
~
]
]
,
FMaJ7
D7~S
Bmin7
--".
•
" I'"
f'.
•,
7 {-1
,
. •..•
r-'
•
Amin7
- :;;;" ..... o Super ,
' P'
J
o Durinished. __ •
07"5
J -
~
E Super locnan-,
Loonan -
-9
•
7
5
.....
,
5
Chapter I- Improvising Over Altered Dominant Chords
6 (6
21
I.
I-
1- ,
Now thilt you have surted experimenting with the ;IIltered tones found in the diminished, whole tone :lind super loerian sQles. you m ... y be wondering JUSt where these sounds ue most useful.
[:
The answer i~: any time you need to improvise over an altered dominanl chord. Many times this will be in the context of ii· V7-1 progressions. although altered chords ue ceruinl)' found elsewhere as well. It is tr;lldicion ... 1 to alter the V7 chord in ii· V7-1 progreso siam. Just m;ake sure (h.lt the altered tones don't clash with the melody or 5010 being played at the t ime . Cood (lHC should dictltc your choices.
[
r'
You need to be able to recogn ire the altered sounds within the chords, ;and then choose the ;appropriue scale to solo with. One relson lltered tone recognition is so imporu.nc is thlt we need co spell ovt the chord chlnges in ovr solos by snning phrlses on chord cones. Spelling out the chlnges refers to making sure we un actull1y heu che chord chlnges in the solo-even if there is no chordal lccompanimenc being played . .If chis concept is new for you check out the wS·· sections in Ch1pter 2. Lessons 3 through 7 in Intermedlote Jou Guicor.
[ {
[ [
I' I L
Below. you will find mlny enmples of the use of lltered scales over ii-V7-1 progressions. You will ;lisa find examples of neighbor-tone approaches to chord tones to help w ith spelling out th~ changes (neighbor. tone approaches
[ [
Omin7
_______
w
____________
10-<1
Chapter I-Improvising ~r Altered Dominant Chords
I (
Many pllyers like to scart their phnses on the highest lltention in the chord. For example. when playing over 1 GrS:
22
t
,
L L L
Gm in7 t
• GOonan ______ _ ___ , 6
5
....,
4 - 2 --a
5
,.1 ,
C min7
,
J...-'
C WhoIelone ________
"'""
Chord Tones ______
~
~
a
B~Maj7
•
I-..
~
...,
oJ C Donan
-------- ,
,
F Super l ocrian __ _ _
B " ooan _ _ ____ _ __________ , I-,'"
~
,
~
,
,,.b.
..-I
-
• i.-' F " ,,,.,,
--
n
1
------ -- '
B~ 'NhoIelone __
E ~ Icnan
- - -'
----------
6 --4
------~
6
A~Maj 7
5
3
5
6
• J = N eighbo r tones
ChJpter I- Improvising Oye r Altered Domina nt Cho rds
11
L,
A Dirrinished _______ _ _ ,
,-4 ,
3
Chord ToneL __ _ _______ ,
a
[:
[ ,
b ' ~. ~
0
31
.~
-
;r--Oorian _ __ _ __ _ ___ .... 6
5
J
" O~ Super Locrian.. ______ ,
I
.b
"
G lonian _____________ •
•
1
,
-
L.
L '
I
[ -,
[' ,...,
C lmin7
•
38 !,
''"•
"
8Maj7
J
" ,"."
C: Dorian _ __ ____ ,
"' " G Dirril'\ished ______
oJ
"
i:;ti~
-.J
~~-'i'
,"
B Ionian __ _ ______ _ _'_ _ __ __ ___ -'
I [
[. E/vtaj7 0
39
, ~tJ •
. ~
Chord ToneL _______ ,
-
......
8 Super Locrian __ _ ___ -'
,
H'
-
E loman ____________ ,
[
[
r [ ,,. 24
Ch
Domin~nt
Chords
,I
8mm7
40
Q
11-
~
, i-
B
I'-
-
-
-
•
I-"r
~"
....
• _f~·"
J
,
~
~
FOImnishe
[):)nan ________ ,
,,
1'-.
~
- 0 0_
A Ionian ____ • ______________ , 4--5----4-S--7~ 7-}
6-.
6
,•
Emin7
------------------,
, 0
Am i07
,...,
#,
,
GMajl
J
....
::n 0 A Donao'-.J
..____ _ ____
J
o Super Locrial'L _______
,
~
G Ionian
,
------------,
Dmin7
....... Chord Tones... ______
~
A~[)mnished
....... __ ___ _ -'
......
C Ionian ________________ ..
5
Cmpter I-Improvising Over Altered Domin
lS
I, , FMaj7
Gmin7
44 4
.....
~
@ ".• "
/1
....
~
GOOrian _______ •
,
,
"
3
•
,~, ' _ __________________ ~ -: ... F',Ionian
~
,
2-'
3
r-
45
" ,: ".:~
C Super Locrian __ _
,,
Cmm7
-,,-
'''7''- •
. c::I
~
....
COofian _________ ,
F Super Locrian.. ____
2->-
~
,,,
3
-
~
r'I.
,
(
.....,
B~ Ionian
[
I'
'"
"
....
•
, ,
(
L(
---------------,
(
-
,,• •
r~ (
r:
Fmin7
"
46
•
oJ
~b .
~ '- If ' f'- •
•• ,.
F Donan ________ ,
~,
, •
B~ Super locrian _ ____
[
,
J ... E\ Ionian __________________ ,
•
I
,
[ [
o-\\-
( (
r
[ ..., 47 ,
'
". "
:~
=4 B~Dorian
_ _________ ,
A~Maj7
• EOininished __ ___ ___
..I
· p" b.
i,
u AI IOOal'! ______________
. ~
L
r [ I ' 26
Chapter I-Improvisinl Over Altered Dominant Chords
l
(
r
• • • E~
•
Doriao ___ __ _____ ,
•
a
D~Maj7
b ~Super loctlan . ______ , 5
2
~
,v'
__ ___ _ ____ ,
...,
" ,1'
, G ~Maj7
"--.J
,
'
_____________ _ -'
3 -l
, A~Dotian
D~loruan
,
,
C' DQnan _______ ___ -'
D~ Super Locrian ______ -'
"
•
-
"'~
FI Super Locrian _______ ...
•
--a-
..
, -,I'"
V
' G lonian _ __ ___________ -'
BMaj7
I Chord Tone ________ -'
•
Sieve Khan
Ch ~pter
I- Improvising O ver Allered Dominant C hords
27
L; (
1-:- ,t You should be getting comfortable using the diminished, whole tone and super !cerian scales with in t he context o f ii- V7-! progressions. Make sure you are training your e~r to recognize the various altered tones w hen you hear t hem. While aU of this training Iuds to some very powerful improvising skills, there is still another step thac will help you locate your altered tones more easily. In Intermediate jazz GUitar you learned some fingerings for the diatonic arpeggios. At that point. you were learning how to SUrt your phrases from chord tones and how to embellish t hem with neighbor tones. Now tha t you are playing over chords wi th altered tones, you need a system to quickly locate those tones not found in the diatonic sule. Don't paniC! You don't need to learn a new set o f arpeggios. The system that foHo ws is a quick and easy way to memorize where all the altered tones are in relation to a chord·s root. Thir.k of these as small isolated clusters o f alee red to nes-not scales. and not arpeggios. These dusters should be memorized. You will actually fi nd them very easy to learn.
L~ [;
[: L (
L
( (
Here's how you use altered clusters: Your ear tells you that a crs chord is being played. Yo u decide to start your phrase from a chord tone. You locate a 75 cluster and begin a phrase with one of those tones and continue on with :"""'hatever device co mes to mind. These duste rs are particularly helpfu l whe n t he cho rd changes are moving alo ng quickly and there is no time to really develop a scale idea. Hitting one of the chord tones ensures thlt you will still be spetling out the changes. This is a more effective way to begin phrases and reinforce the alte red sounds than only wo rk ing with scales. There are eight di ffe rent kinds of al te red duners sho wn here (7'S. 7 lS. A, "1-9. rs~, I-Sl9. ,..S~ and 7:S~) and there are five cluste rs shown over the fingerboard (or each one. Each cluster has a roo~ (R). a )rd (3) and a 7th (7) in addition to whateve r altered tone(s) there may be (S .lS. ~ or ~). The natural S is also added to chose clusters in which there is no altered S. Playing these clusters will help you hear t he basic structure o f the chords.
[
(
, (
[ I-
I [, [
l [ (
[
L Pat Martino
28
Chapter I- Im provising Over Altered Dominant Chords
,®==~®=====4J
'"
"
V"
'"
v
V"
x
X"
,v
X\'II
"
'"
xv
XVII
xx
"', C7IS''''tt.¥
'"
V
~ ""
V ,
'"
Ch~pter
~ '"
®
'V
-4)
XVII
"
XVII
"
I-Improvising Over Altered Domin",nt Chords
29
.----r-----r----,--,- ... -
1-+-',--'--_· -__!~ .._~b_"
_.. .
..
... .-- ' 0:::==
(')
n' --
n_
~
-_.,-
~ -"@=®;--_.._-'_._-_ ....
~
.:n :-~---'-'- --- - .
'"
v
VII
X
XII
XV
XVII
:..;x
'"
V
VII
X
XII
XV
XVII
XX
['
f'
I: ( "'
II
VII
X
XII
XV
XVI[
xx
r[,
! III
30
V
VII
x
Chapter I- Improllising Over Altered Dominlnt Chords
XII
XV
XVII
xx
----; ~ . ··@-· -· +---1:'-+--{-J . L f--. .,-;- l __ •. _!..~_
. -- --...:..
~ , ~_. ~. :-_.'- ...
I 1 1 1
v
'"
'~ -L--._ . . . _ VlI
X
._
:.
_"__L.-'-_-'-_'--'-__
XU
XV
= =-~Q .:...i.~~,_:::.~.-=.:::: .- ,,, -=.:::. ~ -=~:::-..:=_~~.-- .
XVJ[
' -T
A
--.--~ ,
' ::::-.
. _.
v
'"
,
. .. -. ---
i,
,I
:1 _L ,,
- -i. -!,..
, ,
!
, I - - ; - -... ----;--- - ...... · --1--
xv
XII
XX
I
.~-
V"
I ,.
J
I
I.
,.. -.-...... I.
_-
XVII
xx
]
J I .J
- --- ..., --
.
-...
~--;:====®'1t:=-$ .
~~
] III
v
VII
III
v
V"
X
ID'1(11
XV
XVII
XII
XV
XV!!
xx
:1
1 J
J j
Ctupter I-Improvising Over Altered Domin'llnt Chords
JI
~.i
C7'S'9 ~
,-
R
I
-&
'1--"" v
III
VII
:1irII I I
I iI I ' J-....", I ~ I
'""-
[
I
I
R
Rf~ I
'"
-
I\.,
x
XV
XII
XX
XVII
I
I
I I
[' [,
[
-
I
VII
XV
XII
X
, ,
L,,
f ..-
I
V
!
-&
l: L
XX
XVII
F:
[-:
r
-
,
[, L I _L ,
r
_L I
t
I
'"
32
V
VII
X
Chapter 1-lmproYising Over Altered Dominant Chords
I
I
I I
I
L XII
XV
XVII
XX
L', L l
Here are some examples showing me use of altered dusters. Eath example is shown in one posItion and ocuve. It is very important to pl~y all of the examples In ~II possible fingerings and octaves. By mis stage of your development, this process should be consid· ered basic and routine with everything you le.lorn.
,'5 C7~S
Gmln7
A 'A
51
©~ ,-
~
FMaj7
Gm in7
l
B.
C71S
.
FMaj7
b,.. . •.
/'-
~
'5
"
3
R
"
3
."
R ~7
IS 3 : '.
0
• h Gmin7
C7 ~9
FMaj7
C' A
3 '.
"
R
FMaj7
b
D. ' /'- •
~
~ .....,
Gmin7
--.-:::
" 0
•
G70SI9
~ '"'-J
' I .....
"A
Omln7
3
",.
R o- j
7~S~9
71519
E Omln7
"
CMaj7
G7~S~9
F.Omin7
-.
~7 19 3 15
CMaj7
\..-" R~9~S~7
Omln7
CM.."lj7
H.
Chapter I-Improvising Over Altered Dominant Chords
))
· ~,t
.'
.
.
'\~"
LESSON 6: RI;VAMPING LICKS
.
I
You Ciln iilter ill lick you illrndy know by chilng_ ing some of the notes to fit various different hlrmonic situuions. Revamping your licks in this manner is :a very good way of gecting more mileage out or them, It will also gua~ntee thu you always have enough ideas to use for 0111 the vari-
,
,
ous alte red chords,
I1 ,
[,
In Example 52, the original lick (A) is put through a number of altcrnions (B-l). PUt some of your Own licks through t he same changes.
[
1 AI OJ Meola
(
L·, c.
52
A 'A
1'-.
.
G!.f.¥
B. h
r-.
-
~
''"u
'5
-
r-. '5
1'-.
,
I'
I'
'5 -
[ r-.
~
C' A
~
D.
1'-.
C7~9
1'-.
'.-
~
15
'5
15 -
1'-.
,
~
'.
.
L, [,
C7 1g
E' A
1'-.
r-.
F.
1;-' 5
""I.
•
Chillpter I-Improvising Over Altered Dominant Chords
'5
L· •
h
"-
~~
~
34
[
,;-0
"
~5
( ... ~9
L [.
I,
I
-
1
G"
~
H~l
. .~
'5
J J J J
.
15
- '.-
'5
19
~5
'5
""
~9
8----<
r-..
L ~ H.
i!§
.;--
., '5
J ]
'5
••
1 -]
J
i
~
,
/<-.
J.
/<-.
'5
15
CMaj9
r-..
1,..oo~9
I;'
\',
-
~
K
Cmin7~5 L. ~
Cmin9
tJ
/<-.
'3
'"
.... , •
8
'"
...
'5
'3
....,
~
'5
'5 ...
5
J ]
J ]
J J [I
Chapter I-ImprovisIng Over Altered Dominant Chords
]S
:.
::'( ~;.
L.
. ."
The Minor Irotes ond Their Modes In this chJpter yoCl will be IC
L [
r: l L
The three minor scales that are most commonly used in our culture are the natural mino r, the melodic minor and the ha rmonic minor. The natural minor scale is the same as the Aeolian mode and was introduced in Intermediate Jazz Guiter.
Tnditionally. the melodic minor scale is thought of as a n.atun.1 minor scale with raised sixth and seventh degrees. but only in die ascending form. The descending form retu rns to the natural minor. The reasons for this have to do with melodic composItional devices used in classical music. In chis book., and most others involving jazz studies. the te rm "melodic minor" refers to che ascending form only. Some jazz musicians call chis scale the "1al.Z minor." You should approach the study of the melo dic minor sale the same way you worked with the major scale in the previous volumes of this series. The first step is to check out the finger ings. T hey are labeled based on the string and finger used to play the lowest rOOt in t he fingering. Fingering 611 means that the lowest root found in the fingering is on the sixth string and played with the first finger. would indicate that the root is fo und o n the fifth string and played with the second finger.
sn
This system o f labeling fingerings works well for the major and mino r scales. Fingerings fo r the other scales we have studied thus far in th is book do not fall so neatly into this system. In any case. most of the things you learn need to be explored In all fingeringsnot JUSt the ones used for examples in this boo k, In the subsequent !essons we'lI uke a look at the chords and modes genen.ced by th is scale and their applications. Following all that we 'll investigne some arpeggios relued to this scat~,
[ [ [
L l. L r
36
Ch:r.pter 2- The Minor Scales and Their Modes
The formula for the melodic minor scale is: W-H_W.W_W_W_H. Mon players prefer to think of this scale :as a major scale with a \3. The following dlagnm shows the seale In F along single strings.
THE F MELODIC MINOR SCALE
v
III
Vil
x
xv
Xil
Here are six fingerings fo r the melodic minor scale in locked positions. They :are shown here in the key of A Minor. but you should move these around the fingerboard to alt the keys and pnctice them with a variety of melodic patterns.
''.. . . '. • ' . ' . '. ;; '. ' . ' . ' . '. ,. '.
A MELODIC MINOR
6/4
, ,
, • • - '' • ,, •
6/2
,
~
III
6/1
,
, , ,
,
v
,
x
VII
~.
,
'. '. ,
X
XII
5/4
, ,
,
,
XV
"
•
511
'. '. '. '. '~
,
V
XII
VII
I I
VII
XII
, ,
,"
, '~±
'
'"
X
'"
,"
' . ' . '. ''.. ' . ' . -'. '. '. '. -''..--,'.
f"()
,
,
5/2
III
V
, ,
,
' . '.1= ' . '. • '. ,
,
, ,
-
,
XV
XVII
}
)
Chapter 2-The Mioor Scales and Their Modes
37
It.'" : , ." LESSON 2: THE MO~S. OF THE J .
. '/ ',. .-r t.l
i
MELODIC MINOiWscALE '
' . ,
'
.
L
Just ;u iirti5U need ii w ide varlet)' of colors from w hich to choose. j:u:~ musldlns need mlny sounds at their dispol,?;!. Generating modes from the melodic minor scafe creates seven new scales which we un then use over virious types of chords. Example 52 shows the chor ds ilnd then the modes generated from me melodic minor scale. Remember th ac each mode may be used over the corresponding cho rd wi th the ume rOOt. For insunce. F Lydian 7 (the fourth mode of the C M~lodic Minor seille) un be used over F7 (the IV chord of the same selle).
~
MelodIC Minor Cmm\7
~
o==t:o
0
I)
0
~ Lyd;,n Auome"ed E~7 15 OliO
II
()
Super Locrian
wr
If
0
(I
e
6.,
a
o
0
e
Bmin7~5
o
hI)
i
bH
~
If
[
Ami n7~5 Bmjn7~5
G7
5J ~
['
.. bu
o
I
Oorian~2
I
0
II
e
Locrian : 2
I ..
• .0.
I
Omin7
~e
LyO jan~7
I
L (I
0
II
0
0
()
0
F7
II
1m
71' [
Amin7~5 I)
a
()
e
I, ..
o
o
t l [
L l
38
Chapt er 2- The Minor Sales and Their Modes
Here are ilpplications for the modes of the melodic minor scale. All of these work beciluse the altered tones of the chords listed In the appliculonl are conulned In the mode .
•
MELODIC MINOR SCALE h"ir/~;t
I. As a progressional sCille o ver any of the chords In the harmoniz.ed melodic mino r scale. 2. Starting at the roOt of minor triads or mInor sheth chords. 3. Stilrting 112 Slep above the roots of dominilnt 75. ]Is. Ji9. 1-5"1. 75"9. .,t5~9 and 7sl9. -i. Surdng on the Sth of dominant chords with II I or ~5. S. Starting on the 6th of major chords with iI IS. ~5 or III.
n.
(Ice
I
pa~
37 (or (lIIferinrsJ
DOR1AN~2 hp!i(f(i~L'
I. Starting at the root of mln7 chords. (This is nrely used beciluse the second degree of the mode Is one half step away from the root of the chord creating the sound of a '1 or ~-f'l Ot a very pleuing sound over minor chord.) 2. Surting on the root of a Nsus chord.
' . '.
iI
. . '. •
Here ilre two fingerings for this mode in B. ilnd twO typical volcings of the chord it can be used over.
'e
611
,•
•
\' 11
,
,
511
,
X
XII
•
,Bmin7, , ,
• •• •
~ ,. '"
,
'
- ,'
,
, •
.-". ,
.
,
v
VII
Bmin7 l
II
.
1111
II'"
l YD1AN AUGMENTED
• . ' . ''.. • . '.
ilPJinHL' Surting from
the rOOt o f major chords with 15. ~S or IJ I.
,
,
,
6/ 1
,
•
'"
V
' '
VII
GMaj715 ).))1
511
,
' . '. .~.
X
GMaj7f5~J
, , , ,
'
..
.,
xu
J
)4121.
m'" m'" -~-
-".-
Ou.pter 2-The Minor Scales and Their Modes
39
L •
LYDIAN'7
I
JllfiftdlL- Sun!ng at the root of dominant chords with or without a I II or ~S.
6/1
.,.
,
,
"" x
, , "
•• xn
, , , ,
," xv 1
)
'
[
•
••
vn
v
x
r
D7~S
D911 1 •
4
!
•
• •• •
,
5/1
.
' . ' . ' . ' . .-'.
'._2. ,
,
,
[.
L l
MIXO LYDIAN 16
lJ,limi'L" Scareing at the root of dominant chords with il 15.
,
6/1
,
,
.1.
•
v"
vn
, , ,
.
'. ,
• , "
5/1
," ;;_11.
x
xn A7lS
r
•
1
J
A7lS
·i ~ .
[.
xv
[
4
ffim'
·mffi
[
l L [ [
40
Ch~ter
2- The Minor Sales :and Their Modes
•
lOCRIAN '2 J;;fiflli:I: Starting
at the root of half diminished chords.
' . ' . ' . ' . ''..- '.• '. '. '.
' . ' . ' . '. '.• .-'. v . vn
,
6/ 1
X
,'.
5/1
"
fl.
,
~?
~.
•
--r
'
Xl1
'"
Cmin7~5 J
I
J
•
.
,Cmin7'5 ,,
,
~
,.
'"
•I • I
•
SUPER lOCRIAN I. Staning at the roo t of hair diminished c hord5. 2. Starting at the root of dominant cho rds w ith any combinatio n o f altered Slhs and 9ths.
.• .• '.
,
J.
-
"'6/2 "'-
'.
"
'
, ,
5/3
'"
1
J
,
,
'
,,,. . 0719
,
'
, ,
.,,, 0719
J
1
•
II mfl
•
)
•
•
I
1
I
x
"
0715'9
, • •I • J
,.
. g
D71St9
,
D7~5f9 I
mn ••
I
:l
'"
•
• •
•
,,, . , D715
,
1m
,.
•
'"
07 15
•
,
'
2. _ 1
xn
,
. . vn v"'.
,"
m ... ,. •
, . . '. • .
,
I
I
J
I
>V
I
QaplU 2-The Minor Sales and Their Modes
41
L .' '. LESSON. ARPEGGIOS I~THE ~ . ':- ,MELODIC MII'o!OR SCALE ' ,.
(l-
. )
I
L
As you have learned, the melodic minor sale produces the (ollowing types of chords: minry, min7, Haj71S, dominant 7 and mintS. You should already have plenty of Maj7. minl and dominant 7 arpeggios at your d ispo ul from either your own studies or the previous book In this series, In(/!fmedio(e Jazz Guitor. With that in mind. here ilrl! some arpeggio fingerings fo r the more unique chords found in thi s scale. like th e others, you should
[
know these In all keys.
•
.
,,, ,
'. • • '. ,
•
,
••
•
I--
..
' v
1
'"
'.
,'. '
v
=s::b><,,'.''''",.~
[ ,
[
, ,
l
V" _ ...................
[
r
r ,,
~",.,.....,.
......
,•, • , , , , . .
l., ~
C Ma j7=S
-"',.-- .
m'. " ,
''.. '. • '. .
"" :""-"'T~'
,
Pe'"
~"" ""'~= -'
-, .- '
v
'.',_.«""..
-
... ..
4 . ~_
I-'·'. e','" .
~
1
,'.•'I
,=.i
~.'.
__ y,., ....... ~./'
nS i , CMaj , ,,,.
, .... ,. !
~. •
"'Ill
,
~ , J
I
'
'-"J.
,
".,.
"
~.
'-' ~
'.
-¢ ... ~'V>'~ . .,.....
. =.• '
~y..- . . . . , .. . . . . . . . . . -~
'
. '.
' . ..• ,
' V"
,
,
•
,,-~.:-
. . ..... ~
..'oj
.
,
[-,
I [ [
L [
L 42
Chapter 2-The Minor Sales .nd Their Modes
Just as the major and melodic minor scales provide us with many interening sounds, the harmonic minor scale hu many useful devices to offer. The formuliil for the hoarmonic minor scale Is:W ·H-W-W-H-W+H-H. Many players prefer to think of this scale u a natural minor scale with oa raised seventh degree. lu d,~tinct'Ve feature is the oaugmented 2nd between the sixth and seventh degrees (W+H steps). Remember, the natural minor sale is lhe same as the Aeolian mode generated from the major scale. The fo llo wing diagram shows the E Humonic Minor scale along single strings.
-.
E HARMONI C MIN OR
,
I-
••
.: @!
, ,
,
-.-:- :
J:
T
...... -_. v
III
VII
x
R
-.-- ..
R _ -:-::.: -
XV
XII
Here are six fingerings for the A Harmonic. Minor scale.
A HARMONIC MINOR
,
6/4
, ,
,
'. ''.. •• '. '. ''..• ~'. • >. '. ,
,"
6/1
,O - ~
'"
, ' v"
,
~!-- f'.
5/2
X
XII
•• • •" •
,
5/4
, , ,
,
. . ' . •• • '. '. • '. '. •• .1. • • ''. • . .1.
v
.1.•
VII
- ,'
"
,' "
VII
,
.1,.
,
'"
,
,
V
6/2
, ,
X
XII
,
,
,
5/1
,
'• . . !.l. XII
,
,
-
xv
Chapter 2- The Minor Sales and Their Modes
43
,
!~.
L
.. . ,
. f1: LESSON S:TI-!EMOPEsbFTHE HARMPNI~ , b ,
..
MINOR SCALB . .
. ,. .
[
As with the modes of the maJor lnd melodic minor scales, when we genente modes from the ha rmonic minor scale we crute seven new scales to use over various types of chords. Example 5" show s the chords lnd then the modes genented from (he harmonic minor scale. Remember t hat each mode may be used over the corresponding chord with the same root. Fo r insunce. the Jrd Mode (Ionian IS-the third mode of the A Harmonic Minor scale) can be used over CMaj7'S (the III chord of the same scale).
Amin~7
54 ~
Bmin7~S CMlj7 1S
¥ U
O:nin7
E7
~
I~
~
FMaj7
, (
[
(
['
l L
G 1dim7
U I~
( (
II
(
(
, (
2nd Mode (locrlanl 6) Bmin7~S -
Harmonic Minor
{
3rd Mode (lomani5 ) C M::lj7 :S
~o
o
"
Ii
u
"
..
[ 4th Mode (Oorian:4) (lydiarb~ 7) Dmin7
Ilo~
51h Mode(Phrygian Dominant) (Phryglan:3) E7
~"
II
7th Mode
~"
.
roll
u
I"
(I
"
"
n
"
II
G~im7
"
it
a
IJ
..
10
(I
o
II ,,-----E
~a
II
0
(.-:==0
, (
[
6th Mode (lydianS2) FMaj7 II
of t j
{
(
"zq
( ( (
[; [. \
(
(
,
~~J'
Pnctice t nnsposing these modes to all
th:.::!!:. .
[; (
L
(
[I 'I
<4<4
Chapter 2-The Minor Scales lndTheir Modes
,I
I
Here arc applications for the modes of the harmonic minor scale. AUof thesc work because the altered tones of the chords listed in the applications are conuined in the scale .
I
J •
HARMONIC MINOR SCALE
lJ;fiflli'l:
I. As a progressional scale over any o f the chords in the harmonic mino r scale. 2. SUrllng 1t the root of minor t riads or min? chords 3, Starting u the 4th of dominant chords with a '5 andlor ~ .. . Su rtlng at the 5th of dominant chords with 15. ~S or : I I.
J
1 J
•
iI/lifl/ill:
o P
2ND MODE (LOCRIAN 16)
, 611
Starting at the roo t o f half-diminished chords
•
•
, "-',< -fl.
.
, , , , ,
.
XII
J
] ] !
1
ll
~
l.
,
,
v
IJI)
'
• ••
•
•
,
Cmin7~5
"m o •, 'l
J
,,
,
III
Cmin7i-S
]
]
•• •
'. '.
5/3
,
x
, , ,
x
3RD MODE (IONIAN 15)
JIII;(I(;,,:
6/4
Su.ning at the root of Ma['t-S chords.
, , "-, fl.
, ,
• "" 1-'. •
,
r.<1
''..- '. X
'~
,
5/4
••
1.:. , -~
XII
III
,
.,
E+Maj7fS
foM aj7 1S
•
•
,
0
"
' . ' . • •• 1-'.
,
V
VII
~
,,,
m
• • • • xu
~~' \-:-·'-'-~-.-------------------------------------------C-h-'-P'-'-'-2---T-h-'-M-'-O-O-'-S-,-,'-.-,-,-o-d-T-h-'-"--M-O-d-'--'
1
4'
-. -... .-.,'.. I ' -,
'
•
!
HH MODE (DORIAN 14) (LYDIAN 13~7)
•
.''.. '. . • •
III/ill/ill:
6/4
, ,
-'e
Starting at the t OOt of minor chords.
,
•
r.. -
0 -
-'e -~~
5/4
.le -
"
Vu
X
Dmin7
,,,
..
[,
' . .
,
L',
, '
[;
••
""..-~: .-'. ,
V
\II
f ,,
Dmin9
mix 1m •
.
111~
III
• •
•
1
L;, l', , , [
!
5TH MODE (PH RYGIAN DO MINANT)
'
,
Inli"I!'' ':
.,. -'e
6/4
-'e
SunJn, at the root of dominant 7th chords w ith or without 15 lnd~ .
·. '.
#r:. ' ••
,
~.
,., ,,
" '
e J!.
xu
X
G7>9
.,,••
.
G7IS
mm II .' . I
.
•
III
(
••
1
L
6TH MODE (LYDIAN 12)
1,,1;(11;11.-
6/1
'. '.
Surting at the root o f Maj7 chords ..... ith or without a I I I.
•,• • \II
, ,
,
".
,
v
•e r •
, ,
, ,
5/4
..
I
I
,
I
•• ,
'"
FMaj7:11
FMaj7
• 1
,
I
I
1 •
,
I","",
v
•
•
I , I ,
'.
e , e-
v •
r:
"G.. '. • .
5/4 V
\II
I
.-'. '.
,
, ,
VII
''..
[ ' i
[, (
L'
L
L
--------------["'6
Chapter 2-The Minor SCilles ;and Their Modes
I
,
•
7TH MODE lllfi(trill:
,
6/1
,
''...-t!. • '.
Su,rting at the root of DimInIshed 7 chords.
• "
~
5/4
'
x
VII
, ,
'"
,
.'.
"
'
,
V
UI
Bdim7
Bdim7
The hoarmonic minor scale produces the fol1o....ing types of chords: min'? hill( diminished, Mai~S. min7, dam7, and dim7. The only one of these types of arpeggios ..... e haven't al· ready (ove red are those fo r the dim7-so here they are.
•
I
I
I
v
_ ....'.¥
r'~~.,
It>" .""" r.:o,..:1"'•.'" . - 2 .....:: . - ;
ddim7 • •
I
,
I J •
,
II'" '._V... _ '. I I~
, .... .
vu
~
'.;.:..' .-'"
'.
,
,
'. ;
!Z"~ o:
, ,
,
'. '"
,
• , , V
,
, ' . -"-
'"
• Chapter 2-The Hlnor Scales and Their Modes
47
.'
L
I'
L:
The iimini.s.Vi9-imin7 progression is often referred to ;JS the minor ii·Vl· I. These h;Jrmonies can all be derived (rom the harmonic minor scale. One common way to impro· vise t hrough these changes Is to just use the harmonic minor scale whose root matches that of the I chord.
[:
Bmin7~5
[,
A Harmonic Minor __________ ________________ __ _______ _________ • --4-
[•
You can also tren each chord in the iiminT.s.V71,;J.imin7 progression sep;Jrately. For insunce, for the ii minT.s, you can use minor ideas that h;Jve;J rOOt ill minor 3rd ;Jbove the root. So, In the key of 0 Minor, G Mino r ideas would work over EminrS (il in D) because Gmin6 and EminrS contain the same notes ( E-G-B~.D). For {he Vi'9 you can use a dimin_ ished scale. For instance, a B~ Diminished sClle would work overAN {V7 in OJ. You can think of this from cwo different perspectives: I. As you learned on page 8. you can use a diminished scale one half step above the rOOt of a dominant chord thn conu,ns a~. 8~ Diminished scale is one h;Jlf nep above the root of the Ai'1 chord.
Ar9 (rootless)
2. You can always use ill diminished scale from the root o ( a diminished chord. As illustrated in the chart on the right. a rootless AT9 hu the same notes as a B~d im chord. When you get
(0
J
,
C'
E
enln,monic:
'J 0'
the imin7 chord, simply use any minor device you like .
(
(
r: [. '.
"
7 G
'.
B'
e
"P
L L
"A"
R
B"
L, (
(
[
(
(
[, [• ( ( (
C I L (
( (
, T he ii min7'S- V7'9. i min7 progressions are extremely common so it re.JIlly pays to practice them.
[i. , (
48
Ch.JIpter 2- The Minor Sules and Their Modes
I
I (
(HAPUR J Using Arpeggios By no ....., you have accumUllted many different arpeggio fingering~ ;and are becoming adept n narting your melodic hnes from chord lones (with and without the .lIpp',cnion of ol:" h. bor lanes), At this point. )'ou may be wondenng what tin; you can do With ",II of these arpeggio fingerings. One of the mort interening things you can do is to superimpose an arpeggio o f ont type over a different fype of chord with a different root. To superimpose means "to lay one thing on lOp of another," When you superimpose the sound of one chord over another unrelated chord. you can imply the sound o f yet another. Experiment. ing with this device will ICiid you to discover many new sounds. lome of which will be uniquely yours. ThiS will give you new ways to target ~'tered tones as well. Check out these el(~mples, then seilrch ror some or your own,
•
,•
CMaj7
Omin7
c.,."
A.
c~
€nwl1
Omin9
B. .
•
• II
Omil'l1
.© J
,
"Maj1
,-. --
Tzr
FMaj7 arpeggIO ______ ,
Emm7 arpeggio ___ ___ ...
!'MaP Ir~1I1O 0 ..... O""ln1 lmpl_ the ~nd
Emln1 arpe9gio oy.r CIhj7
•
Implies the souncj 01 CIol~j9
G9
G7
G7 Smon1'S
G'
01 Ornln'
..
O.
-
• Bdlm7arpeggio __ ___ _ _ ,
E
G1
EMaj7 arpeggio ______ -' Bml"1 15.,pel/llfo
•
.
G13).9
G1 Implie. lhe .ound olG' 0 ......
, ••
,
,
,
E Mljor Itpellllio oy.,01 Implies Ihe
.oundoI013 ~ '
GI""
E.
G7
G'
FMail
F. G7
• FfAaj7 arpeggio _______
•
•
~
,.. -3
•
A%j7arpeggio _ ___ ___ • FUapl'P"!l\J1o 0 .... ' 01 knplln the sound 01013 .....
I, •
3
, , • o
A~~oIII1ltpegglo
,
0 .....
1
07
Implle.11te sound 01 G7 l
s·.....
:apttr l-Using Arpeggios
•
': 9 '
.
L
I· L
PLAYING OUTSIDE AND PLAYING INSIDE Before you are introduced to laying melodic patterns around arpeggios, it b important to diSCUSS another concept that is imporunt in jazz: playing inside ;and playing outside. Playing inside refers to .. type of improvising where the melody fits perfectly within the h .. rmonic context of the chord changes. Pbying outside means thu the melody actually bUs beyond (or outside) the harmonies produced by the chord changes.
[
r
Why would anyone want to pl.. y outside the harmony! Won't it sound out o f tune or "wrong!" When well executed. playing outside produces ;a feeling of excitement or tension in ;a solo. It keeps the listener intereHed .. nd gives .. solo ;a feeling of "forwird motion." A skillful improviser can step outside and then b.. ck inside before you even know it. It takes 1 while to get the hlng of this. Experience lnd listening will be your best tucher. Playing outside for the sake of weirdness is usually not very tasteful. so it is imporun t to develop a sense of balance. listen to players like John Mcuughlin, Miles Davis, John Coltrane. Wayne Shorter ;and SCOtt Henderson for some of the most daring. yet tasteful examples of outside playing.
L
L' [
One device thu works well for adding this element to your playing is the use of melodic pUternS based around arpeggios. You simply begin a melodic pattern from each to ne in an arpeggio's fingering . If you use this tOO often. or for too long a time, this device can give ;a solo a very mechanical sound. so use it sparingly, Patterns with close intervals (a lrd or smll1er) will sound more tr.llditional, while wider intervals (<4chs ;and larger) will sound more modern ;and maybe even outside. Study the following examples lnd then try creat· ing some of your own. Melodic Pattern
[
r f
Amin7 Arpeggio Shape
e
= Arpeggio Tones
I
I 7
, Amin7
~
59
., •
---
T... <
6-.
SO
...,.;
,,
,,
Chapter l-UsingArpeggios
.
~
•~. ~
~
(!
~
•
•0
,,
,
.
~ I'- ~,.~~(.)
~~
.... ,
- . '0'"
.
. • ..... ,
.
[ [
l. f
r I
Melodic Pattern
Omin7 Arpeggio Shape
~
A
60~
le;
'._ _
:.' .
t- -- ••
-----". - -\~,-_L - - 2.
,
•
, ,
,
o
~
'-'
1
\'11
x
,,
331
-L
-1-
.l..
1
.. J
., , .,
133
1
J ,
1
J J 62 @~~~~~~~ J , • , ,1 '-' • '1 Melodic Paltern
10
G7 Arpeggio Shape
10
G7
UJ g::E=====
~
J ]
•
,
•
,,
. , ,.
, Chapter ]-Uslng Arpe:;gios
5I
L
L [
This is Just like the preyious concept. except you play the patterns around the physical shape of a chord on the fingerb oard instead of an entire arpeggio. Sometimes th is will be easier to yisualixe t han an entire arpeggio shape. Experiment with many different chord shapes. Its reatly hard to run OUt of ideas w ith th is. It is usually important to resoille on chord tones as it will bring your line back i n~ ide.
[ [
Chord Shape
E719 •
o
I
I
1 •
•
L
1m"
E7 : 9
J
64 f'B. E'~~~~~ , Melodic Pattern
65 j
,-,
tJ
:@'H
L,
•.
J
J
~.
[' .(
J
J
~
I', .
_........ 2
4 2
I
r: ~
2
x = Double sharp. Ra ise the note twO half steps (one whole step). Examples 66 and 67 iIIuar.He that t he melodic pattern doesn't haye
to lllli
on a chord tOne.
L'
Chord Shape •
•
[;
1 1
t
[ ,, ,
r. 66~~ .• .~
L;
Melodic Pattern
I
\
c .
f~. · 4
52
2
,
Chapter 3-UsingArpeggios
• ,
,
.,
,
•
,
- "- -
,
.,
,
l r't ,
,
(HAPHR4 Eight-Tone Iroles J
The use of clght [One scales III lUI bec~me popul~r in the ''10's ~nd hilve since become a f"mllia,. sound. They lire milde by :lidding iln i1ddltional tone to a major suit. There Jre many more eIght-tone 5cilles than there is room for In this book, but you should get a lot of mileage out of the two shown below
,I
l 'J 'J
This sCille wo rks very weU over both the Ii .. nd the V7 chord in a ii-V7 -J progreuion. It als o so unds greal over dominilnt 7tn chord vilmps, It is a milior sule that includes both the natur;al 7 and the l7. Here it is in C.
68~ <>
JJ.. f'e ,
J
"'
II
()
.-_ , . , ".' •• ,1m ". •
' . -~ . -
,
I-
'. '.
-'e
o
o
o
n
,
v
'.
-
,
•
I
II
I
VII
I
J
ThiS scale works wen over mljor chords. It is a majo r scale th at incl udes both t he 5 and IS. It has iI very smooth sound.
,]
l '. ~
] v
J 1 ~I
l
VII
'.
"'
v
L: Here
~re
some phrases rrtun nting the use o f these eight tone sQles.
Gmin7
C7
FMaj7
~.#. f1t€1tO' CfttF& oot1td ICf
70 ,.-.O<~
J
J
)
5
S-3
•
q FI
Eighl Tone I Scale _ ___ __ _________ ....
Eight Tone ii-V7 Scale ______________ ,
n
j
5 6--a--S
5 1 3
f; Gmin7
71
•
•
-
C7
Ftv\ai7
r-
-
.....--.;: ..... '" EightTone ii.V7ScaJe ________________ ' v
•
,
~
"
Eight Tone I Scale _____ _ _-_____ __ _ -'
a
[, Gmm7
•
• oJ
C9
•
-
•
~
,
,.1 -
Eigh t Tone il-V7 Scale _ ____________ ,
5
-
. , ..... ,
"
72
7J
C7
~
•
•
~
f: i~
q• b r
•
•
b- . 1 1'01'
~
f:~ ' • f:\~ " ,
EightTonelScate _________________ ,
•
0----0--<
•
5
FMaj7
9
' 0-<
b
-
~ !,- o !,- •
....
,
--
EightToneii .V7Scale__ __ ____ ~ ____ __________ ~ __________________ • 7- 6
••
- -4-- 3--5-<1
7--5--4-.1
(
l ,' -
L r
54
Ch:apter i - Eight.Tone Sules
\,
"
.
(onne(fing Your IdeoI
,
,
At this point you have many improviutional devict's iU yo ur command and even have some pretty good flashes of inspiration flOW ilnd then. If you feel you are surtmg to sound like a mass of devices and short unrelated ideas, then it is time thn you stUt [0 consider u(h of your solos n il whole. A good solo generally hn three paru: an opening, a body and .. condusion. Huter improvisers mOlY include sevenl cycles of all three parts til a longer solo. This concept Is explored in the CODA section of 6efinninl JOu GUitor, Long smooth lines thn connect the plrU of your so lo a re a sign of musical maturity. Have pu,cnce; t hiS is .. lifetime study Ind being 100% utisfied w ith every part of your .lola is .. rue occurrence. TlUt'S OK. This sometimes frustrating fa ctor is part of the process thilt helps us Improve. Re member to enjoy your own progress and to pu )'ourself on the back once in a while. Here are so me Ideas that should help you create longer lines and more logical solos.
This is euctly what it iounds like. You uke tWO or more short ideils ilnd connect them chromatin II)' with half step. solewise movemenL It is usuilll)' il good ide.. to sun and end on chord to nes. This will ","use your line to stlrt rrom the inside. step ouu,de (o r a while and then resolve smoothly back inside.
CMaj7
J
looa*, ___________ -'
• ChromalICConneclion___ •
Idea 112 ________________ -'
J
, )
- ' HI
., Chapter 5--Connectinl Your IdeH
55
..
-S'
,.
L b
76
"
•
oj
o.
-
'""
Gmin7
Idea It I
.
--
,
-
--
f:
V Y' Chromatic Connectlon___ , Idea 112 __________________
_ _ _ _ _ _ _ _ _ ...J
6 -(6
[
.J
•
[ [
L /~j~~§. ~ t' ~~"_~.~~b.~~~.~~~~~~~~~r-~~:-~~~~~~~~~~E'~~ L ,.,. ....... -V 07; 9
Idealt , ______ _ ______ ,
It
ChromalicConnection______ 2
.J
Idea It2 _____________ •
[
a
[' • • . h ,,-~ Chromallc Connection-
[,
• - --- -'
"'"
-
Idea #3
- <>
- - - - - - - - - - - -- - - - - - - - -- ,
,
L' [ [
L [
,
L [ Stanley Jordon
r r
56
Ch~p{er
S-ConnectingYour Ideas
l
o ,
When first lelrn.ng to Improvise, milln)' pllyers tend to SlOp lnd ~It when the key (enter chlnges, then beg,n pllying aglin when che new key IS established. ThiS un be ;I very good stylistiC technique. however. when beginners do iLlt can renect ill I,m.utlon in their ability to travel from key to key smoothly, Thl~ ICHon will Introduce: ill technique lhn wilt help I:) overcome th.s shortcomtng_
Consider the following chord progre~sion in Example 78_ It lr.lvels between two key centers. The first twO mcnures eStilbhsh the key of F while the thll'"d and fourth measures establish (he key of G. The Int four mc;uufes .,re back In the key o f F 181in. iiolF
V70lF
V701 G
II 01 G
78~Gm~~ z, ,, 12
07
Amin1
iiolF
~G7
C7 L
7
2
7 Z
r7"
Z
,
28
101 F
V701 F
,, Z /
7
7 7
7
, ,,
FMaj7
z
,
2
,
7
,,
7
,
/---=;<
;g
Now look u cull snit.
The obvious differences between sules ilre the P in the F scale ilS compilred to the the G sCille, 2nd the B~ in the F scale :IS compared to (he BI in the G sule.
Fm
F MaJOr
19
G MaJOr
o
0
The effectiveneu of this technique is bued on the ideil thilt the movement of a half step is iI very powerful sound. So, while pb.ymg the F scale in the first tWO meuures. we make sure thilt our Iilst nOte In menure [We Is e ither a Sl or an f. The firs t note In menure three should either be a S or iln P • thereby crening iI smooth half.step tTinsition from the key of F to the key of G; F to p, or 61 to B. The transition back to the key o f F from meilsure four to meuure five would work the ume Wily, but in rl!'verse: Ff to F or B to Ff It won't uke long to leilrn this technique ilnd the invesU11em of time ilnd energ)- wli! pay dividends in the form of much more musiul lines. Use the CD that is availilble with this book. or a recordin, of yourself playing the chord pro,renion, to try this technique by playing along With Example 80 .
Chapter S-CoMecting Your Ideu
57
Here arc twO examples demonstrating w~s t o accenruate the differe nce between keys using movement In half steps. The notes Involved
ii of F Gmin7
-,80( -
-
i~
~~
ji of
G
V7 of G
Amin7
• p-'
*
5
• '- ' V7 01 F C7
;;01 F 1'1 Gmln7
07
r-
r-
-
V
,
7
-->.
' 0- ,
[' [
I of F FMaj7
•
•
f' V7 01 F C7
ii of F
....,
Gmin7
81
. "
... •
,
5
it of F Gmin7
5
,
•
V
-
$ 2
....,. ,
l L [
FMaj7 J
~
... •
3-
101 F
V7 01 F C7
3
A . #-. ~
3
~
07
~-
5
~
V10lG
,.....
~.....
~
oJ
r-.... ...,
iiolG Amin7
2
5 4 -
J
~
L; l I [ ,-
58
Chapter 5-ConnectingYour Ideas
-I,
[;: . ,..
This idea is easy to exec.ute ... nd quite effeCtove, Repeating an ,del in dofferent octaves crenes the illusion of one very long hne.
•
o
r--------------------------------------------,~
:I
~
J
-
~
<
z
~ ;;
"~
1
§ ~
~
~
<
o
~
George Benson
J 1
Chapter ~nnecting Your Ideas
59
L ' ",LESSGN 4: RHYTHMl<; MOTIVES ; .
I
t-
The element of rhythm c~n connect Ideas very well. You can play sever,,1 different melodic Ideas with exactly the U.me rhythm. The rhythm the n becomes a motive in itself, and the dmerenc idCils it Is "pplied to will seem connected.
[ [ ~~ J
~
[ [
97
J
L
J
[
r
6
F7
J
-
97
-
F7
J
r J
• •
J
[
l [
r The idea here is to find one melodic idea th"t will work over a series o f different chords.
You need to have a HrOflg know ledge of chord formulas to accomplish th is. FMaj7
Omin9
Gminll
C7
L L
l 60
Chapter 5-ConnectingYour Ideas
-
Dmin7 # .
86
,Q .... ~ "
8+--5-
Bm1f'l7~S
G7 ~ .
~ .
- -
.
Aminll
.
#
-
#
,
....
The du'toniC connection is ~ technique th~t works well over diatonic chord progressions (progressions th~t include only chords found in the key). It en~bles you to turn one lick into u m~ny u seven--one fo r e~ch of the dinonic chords in ~ key. SUrt with ~ lick that sounds good over the r chord. then r~ise eJch note in the lick one sc~le tone. You now have ~ tick for the ii chord. Repeat the process from this chord ~nd ~ iii chord licks ~ppears. While pl~yjng over a dinonic progression, these licks would ~rovide a nice clean, connected sound. This is also a good way to compose licks. CMaj7
,
~
G7
Amin7
CMaj7
•
""'N
.....
,...,
,
• ) --J
•
•
,...
r
--
J
<>-0--'7
Chapter S-Connectlf'lg Your Ideas
61
l A Medley of Suggestions and Musical Concepts
(ODA
I' L
There is no way a single book (3n discuss every improvintio nal device that musicians use. This series has pruented the major concepu o f the nudy of improvisation. Here are some more ideas that you should explore on your o wn.
['
r l
Most players use major and minor pentatonic scales in the mo st commo n way: surting on the root of majo r, minor and dominant chords. Some dnmatic ne ..... sounds can be discovered by sClrting your bomiliu pentatonic fingerings on chord tones other thiln the root.. This w ill1llo w you [0 play on the upper extensions of the chord, producing more interesting and modern sounds. Check OUt Power Pen/olonics by Erik Halbig. avaib.ble 1t your local music store. (o r il rea ll y complete pictu re of this subject.. Here are some ide~s to get you started. ,
.. .
For major chords ...................... m~ior penQronic sQning on the root. 5th or 9th of the cho rd. Fo r minor chords ...................... m inor pentatonic sun ing on the root. 5th o r 9th of the cho rd. For dominant sus 4 chords ... .. major pe n tato nic starting on the root or ..., o f the chord. For domin
.
( !
L _'
~l .-_ . .; .... -
.,
..,-.-
/
t
-'
~,
t. You can look
7 cho rd w ith
m
wh ole step
t¥ C~17 :t~ta~"'~i"'~Triad~II~~c7#fa Moi",Tri,d I CMlj13
88
chord as
CO
Cmin13
. &faM"",Tri,d J
Cmu17 {~
It is interesting t o play ideu over a chord thn are no rm ally used fo r the triad formed by the upper extensions of the I J cho r d with the same root. In other w ords. you can pllY D Major t riad ide as o ve r a C Mai7. because the up per extensions o f C Ma j I) (which is, H you know,
[ [, I.
(
l l
,•
, 62
CODA
(
(
Some players like the sound of very wide interval leaps in their playing. This style o f playing really helps to build strong technique, though I t first you m~y find the fillge rings difficult. One w~y to pnctice this is to learn to pl~y m~ jo r sc~les in consecutive ~ths. 5ths.6ths ~nd 7ths. This will get you used to the sound and the physial dem~nds . Playing this way will add interest to your solos. but overuse le ~d s to tedium for most listeners. For more interesting effecu. crelte licks thn mix consecutive ~ths. 5ths. 6ths ~nd 7ths. listen to Joe Diorio's playing. He is ~ muter of this style.
This technique crenes ultra-modem sounds by uk;ng a line ~nd nising or lowenng a few of the notes to o ther octaves. It produces a rather surding ~nd unpredicuble effect. Sometimes the fingermg is difficult but it is usually worth the effort. Amin7
Amin7 ~
I
;) ••
•
j
1
"
! , -; '
Original Uck _______
- ------
~
,
~
With Oclalle Oisplacement________
,
,
A gren Wl.y to pl~y ouuide is to uke ~ lick and move it around the fingerboard. The only atch Is thn you need to move it around in ~. symmeukal p~ttern . like h~lf steps. whole steps. minor 3rds or whnever you can dream up. The e~r will accept these sounds ellen though you .. , ~ In.ving the key center because of their symmetry. The listener will "track" the symmetry more than the relationship between melody ~nd harmony. Be sure to resolve to a chord tone!
Amin7
Amin7
Lick moved up the fingerboard in whole stcps_____ .. _____ ,
Original lick
J J
~
~
3
•
3
•
3
•
3
•
3
•
Resolution to a chord tone
3
CODA
63
