Scott HENDERSON B= IN 1984, SCOTT HENDERSON GREW UP IN AN ERA WHEN rock ‘n* roll dominated popular music and guitarists dominated rock ‘n’ roll Henderson was influenced by Jimmy Page, Jeff Beck, Jimi Heudsix, Ritchie Blackmore, and the great blues guitarists Albert King, Albert Collins, and Huddy Guy, Although he considers himself a blues-rock player, Henderson was inspired by jazz and the Mahavishnu Orchesita to create the improvisetional style for which he is now known. “A lot of the jacz [ heard in high schoo! just sounded like « blur of notes to me,” says Henderson, “Itdidn’t hold my attention. Then I heard Miles and Wayne Shorter and knew these guys hed the sense not to play a million notes and have the ucxl guy con up and do the ‘same thing, To me, the great bands have a sense of space and melody an their music, a5 well asa sense of adventure.” Headerson’s own sense of adventure Ted him from Florida Aclontic University to Los Angeles. Since 1982 he has played with Chick Corea (inthe fist Blekirie Band), Fean- Luc Ponty. bassis: Jef Berlin's group Players, and Weather Report's Joe Zawimul Currently, Henderson and bassist Gary Willis co-lead the critically acclaimed Tribal Tech, which recently eleased its sixth album, “Face First” (Bluemoon Records). In some ‘ways, Tribal Tech personifies Hendorson's “dream band,” aan his cock, jazz. and blues-inflcted playing anc compos- ing have brought praise from both jazz and rook circles. Constant touring keeps Tribal Tech inte forefront af new ‘music and Scott Henderson on the cutting edge of modems playing, He was named Best Jazz Guitarist by Guitar World ‘magazine in 1991, and also came in first in Guiar Player's 1992 Reader's Pol Scott is « mombor of the faculty of Musician’s Institut in Hollywoonl and has written columns for Guitar Word ana Guitar School magazines. He is the author of The Scott Henderson Guitar Book, a collection of his compositions {available from Hal Leonard Publishing) andhasreleased two instructional videos on REH, “Jazz Fusion Improvisation and “Melodic Phrasing.” In his chapier, Seoit reviews common chord types with an eye to soloing options. The fol. Jowing examples provide valuable insight into his style of improvisation. 45<Scott HENDERSON “What do I play over this chord?” I hear that question a lot, but it’s a hard one to answer quickly because usually there are many choices. In this chapter we'll lock at the most com- tnon chord types and explore the soloing choices. ‘The basic tools of improvisation are chonc tones with arpeggios, scales, and chromatic pass- ing notes. Most soles combine all of these, A good solo also incomporates good rhythmic and melodic phrasing, which isnot easy to teach in a book (my video Melodic Phrasing on RE. ‘might be more helpful in that area). Transcription is also very important, because the tools 5 ARPEGGIO ON |S. Playing the Gsm755 arpeggio over Cmaj) is another way to get a 6H] sound. The m7LS arpeggio is not one of my personal favorites, but I've founda few yoxxd uses fort SSP ee 2S RL oe ‘The imaj7#5 chore function ulffevcanly thar the maj7 chord. Adding 26,9, or #11 to.amaj7 ‘extends the chord, but raising the Sth eroatos an entirely new chord type. The following ideas cean be played over a Cmaj7#5. or they can be used over a C7 chord tn erecte tension. EXAMPLE 10 — MELODIC MINOR SCALE ON 6 This seale is called the Lydian augmented. If the chord is Craaj7#5, you would play an A, melodie minor scale, This isoneof the moddesor the melodic minor seale, You see more of these modos later.Scott HENDERSON EXAMPLE 11 — MINOR 9 (MAJOR 7) ARPEGGIO ON 6 This is simply a melodic minor scale without the 4th aud 6th, Auytime you can use the ‘melodic minor seale you can use this arpeggto. It’s weitien three positions below. 0 "Chromatic passing tones EXAMPLE 12 — MAJOR TRIAD ON 3 As you ean see from the chord diagram of Cmaj7f5 this chord is simply an E triad over aC roo, so playing the notes of an F.riad will define the chard perfectly Many times you would see thie written as B/C. ‘The following ideas can be played over aCm7 chord, EXAMPLE 13 — DORIAN MODE -ale down a whole step, in this case Bb major. This isthe scale thet's This is simply a majors: usually played over minor?.Scott HENDERSON EXAMPLE 14 — AEOLIAN MODE (NATURAL MINOR) Playing an Bs major scale over a Cm gives you the C Asolian mode. It’s the seme as Dorian ‘xcopt that it has a }6 (Ab) instead of a 46 (A). Iv a little Uarker-sounding than Dorian *Cinamarie passing tones EXAMPLE 15 — MAJOR 7 ARPEGGIO ON |3 ‘An Ehmaj7 arpeggio will give you the sound of C9. py iF 7 = — EXAMPLE 16 — MINOR 715 ARPEGGIO ON 6 An Am?Sampeggio will give youaCiésound, whichscunds darker than the Ebmaj7 arpeggio. es 1s eateo oe 6 Oba ee = ol ee | HF a 8 * Ee : - SiScott HENDERSON EXAMPLE 17 — MINOR PENTATONIC SCALE ON 1, 2, AND 5 ‘The C minor pentatonic over Cm7 is obvious, D and G minor pentatonic add a more Dorian sound, All taree pentatonic scales contain notes from the Bl. major seaie, whien i¢C Dorian D G minor pentatonic: ae ee pentatonic minor pentatonic be EXAMPLE 18 — MAJOR TRIADS ON 13, 4, AND >7 ‘The notes in the Bb, K, and Bb major triads can be found in the Bb major scale (C Dorian). Fh Utiad gives you a plain Cm?, while P and Dy triads add a more Dorian sound, FE BE mete 52Scott HENDERSON ‘The following ideas use the 47 instead of the b7 over Crm. One obvious reason to do this is if the chord has @ major seventh in it [Cou(inaj7)]. However, these ideas can also work over Cin7. because the malor seventh will create some tension. EXAMPLE 19 — MELODIC MINOR This scale can be seen ava Dorian mode with a k7 instead of ab. “Chromatic passine tones EXAMPLE 20 — HARMONIC MINOR An Aeolian mode with at) instead of a :7 produees the harmonic minor scale abe # be the 9, EXaMPLE 21 — MINOR WITH MAJOR 7 ARPEGGIO Play the melodic minor seale without the ath or 6th. He 53Scott HENDERSON EXAMPLE 22 — MAJOR TRIAD ON 5 AG majortriad over Cmoreatesa Cm9{maj7) sound 2 ‘The following ideas can be played over a Cm7b5 chord. EXAMPLE 23 — C MINOR 7}5 ARPEGGIO Thisis obviously the dircet approach. be EXAMPLE 24 — LocRIAN MODE ‘This is amajorscale up a half stop Play a D> major scale over Crn7>5. jecba—o be be 2® ‘This scale works. but it’s not as hip as... >54Scott HENDERSON EXAMPLE 25 — SUPER LOCRIAN ‘As you prohably guessed, It's a Locrian mode with a 42. Actual Starting on }3, and yes, its another mode of the mclodic minor scale. Play Fb melodie minoe overCm7h5. : be , be abe b ft + “Chromate passing tanes EXAMPLE 26 — MELODIC MINOR ARPEGGIO ON |3 Note thet you can play the Ebm9(maj7) arpegiv any time you use the 2} melodie minor scale, 1s gota wider, mote open sound. by EXxaMPLe 27 — MINOR PENTATONIC ON 43, 4, AND L7 These three scales, Eb, F, and Bb minor pancatonic, contain notes from the Db major scale, which is C Locrian. be E} minor pentatonic F minor pentatonic Bb minor pentatonic be beScott HENDERSON All of the above Cin7b5 ideas can also be used over Cm7 to lake ita litte “out.” The Cm745 arpeggio and the Bb melodic minor scale/eapeggio aren't really that outside; they add the 95th, which ie bluesy note. The minor pentatonic seales and the Locrian mode tako it farther out because they contain: Db (the 59). Another way to ect outside over minor is by using che diminished scale, By playing « C diminished scale over Cm you get these “out” notes: bSth, #5th, nd #7, Also, major triadson and 7 sound coo! over minorchords. Try D Example 27a) and B (Example 27b) major ini- ads over Cm: while you're at it, check out u B whale tone scale over Cm, EXAMPLE 27a (NOT ON CD) nite *Clromatie passing tone EXAMPLE 27B (NOT ON CD) alte ‘The following ideas can be played over aC suspended chord. EXAMPLE 26 — MAJOR 7 ARPEGGIO ON }7 ‘The Bbmaj7 arpeggio creates the sound of CL 3sus4, 56Scott HENDERSON EXAMPLE 29 — MAJOR TRIADS ON b7 AND 4 By and F tious create a true C suspended sound — no thires B a= * —a ey ———— x 2 —_ 7 ps 3 EXAMPLE 30 — MINOR PENTATONIC ON 2 AND 5 Dand G minor pentatonic scales also create a ime C suspended sound — no thirds. D imine pentacomie ‘© minor pentatonic = ‘The Following ideas can be played over C Phryzien chords: Couss(49) or Bony EXAMPLE 31 — PHRYGIAN MODE, This is « major seale staiting on the 6, For Csus4il9), play Ab major seale, abe be 574Scott HENDERSON EXAMPLE 32 — MELODIC MINOR ON }7 ‘This is another mode of the melodic minor scale. For Csus4(69), play the Bb mnclodic minor scale, The result is Phrygian mode with a *6(A) instead of a -5(A). bttet th EXAMPLE 33 — MINOR (MAJOR 7) ARPEGGIO ON 57 Play the Bbra(maj7) arpeggio over Csas4(9) EXAMPLE 34 — MINOR 7/5 ARPEGGIO ON 5 A Gim745 arpeggio played over Cous49) outlines the chord really well.‘The following ideas can be played over CT chord, EXAMPLE 35 — MIXOLYDIAN MODE ‘This isamajor scale starting on the Fourth degree. For C7. play an F major scale, Youcan add Eb to this scale to muake it sound bluesier. =S——* .— Scott HENDERSON Sp EXAMPLE 36 MINOR 715 ARPEGGIO ON 3 An Em7,5 arpeggio played over C7 will give you aC9 sound, 594Scott HENDERSON EXAMPLE 37 — MINOR PENTATONIC ON 1, 2, 5S, AND 6 Experiment with those bluss ek again! The Diand Gi minor pentatonic seales have the pass ing F (which isan “avoid” note), so Cand A minor pentatonic are the best choices. All of the notes that lie across the 3rd, Sth 8th, 10th, 15th, 20th, and 22nd frets contain notes from these four seales. Experiment by stretching out and playing the notes on those frets over C7. C minor pentatonic Dninor pentatonic G minor pent a ee? tatonic A minor pentatonic “The following ideas will add the #11 10 the C7 chord, which is a common extension EXAMPLE 38 — LYDIAN DOMINANT SCALE, ‘This s the Lycllan mode witha b7. Acwilly, 1's just melodic minor scale starting on the fith déxree, For C7, play a G melodie minor seale —yes, it's another mode of melodie minor. 1 te * a Liter »60Scott HENDERSON EXAMPLE 39 ‘The Gun(naj9) axpeggiv creates the 13411 sound when played over C7. MINOR (MAJOR 9) ON 5 EXAMPLE 40 — MAJOR TRIAD ON 2 ‘The D wiad over C7 covers the upper extensions of te CI3#1T chord. EXAMPLE 41 — MINOR 7,5 ARPEGGIO ON 5 *Chovomutic passing tones Play Gom755 over C1411 and see how it works for you. This is not one of my favorites, but horeitis anyway,Scott HENDERSON The following ideas can be played over C altered dominant (C7alt) chords; the best chords foreach application are indicated EXAMPLE 42 — HALF-STEP DIMINISHED. This isu diminished seale starting with a half-step. It works best over C749}9 and C13*959. o be 2h, ee “Chromatic passing tones EXaMPLe 43 — ALTERED SCALE Here is another moce of the melodic minor scale. Over altered dominant chords, play the melodic minor scale up a half-step, For C7alt, play Db melodic minor. This works best over CAS and C7#Sb9H9. be be b ah EXAMPLE 44 — MINOR (MAJOR 7) ARPEGGIO UP A HALF-STEP th, = peoScott HENDERSON EXAMPLE 45 — MELODIC MINOR ON $7, The same BY melodic minor scale we used over the Phrygian chords will work for C1349%9. Chromatic passing tones EXAMPLE 46 — MINOR (MAJOR 7) ARPEGGIO ON |7, Bhm(maj7) works great over C1359, EXAMPLE 47 MINOR 7/5 ARPEGGIO ON }7 A Bhm7h5 arpeggio played over C7alt outlines the C745}9 chord be be? 634Scott HENDERSON The notesin the C, By, Fan Bb minor pematen C minor pentatonic LE 48 — MINOR PENTATONIC ON 1,53, 4, AND $7 scales sounal great over C7ES Es minor pentatonic be F minor pertaronie: be bee 8 bebe be be U® EXAMPLE 49 — MAJOR TRIADS ON 1, |3, |5, AND 6 ‘The notes in the C,H), G,,and. ished! scale, A major triads contain notes from the C (hall-step frst) dimin redScott HENDERSON EXAMPLE SO HARMONIC MINOR ON 4 An F harmonic minor scale played over C7 gives you the suuad of C7459, oe be be be pgs pi +f "Chromatic pasting tones EXAMPLE 51 WHOLE TONE SCALE Since there is ¢ D natural in the C whole tone with a/9 of #9, It sounds best over C9FS, sale, it doesn't sound good over C7 chords | EXAMPLE 52 — DIMINISHED ARPEGGIO | You con play a dinnished arpepein off the i, 5th, 7A, oF bth oF an altered dominant eho ges you the 79 sound be beScott HENDERSON ‘The following can be played over C dirninished: EXAMPLE 53 — C DIMINISHED SCALE, WHOLE STEP FIRST be he © EXAMPLE 54 — MAJOR TRIADS ON 4, 7, 9, AND |6 Fora C diminished chord, ty F, B,D, and As triad arpeggios B D F be o ® ab 2 the & Remember: All the example lines are interchangeable. For example, the A melodie minor Jick (ample 10) could be played over AL7 alwered, D7#11, B Phrygian etc, Finally, my suggestion for this lesson is: take itslow! Workcon one concept ata time. Instead ‘of just playing the scales or arpeggios up end down. try to create melodies with them and Incorporate rhythmic ideas — in other words, make them song like, Everything you study should be pat into the context ofa tune, so you can develop your phrasing and musicality 28 ‘well, Often when players try to expand their vocabulary, it comes at the expense of their phrasing. So try to practice these ideas in musical way. Make a practice tape and play, and :mostimporzant of all — have fun! 66