TEENIE ei CONCEPTS Sse ees EVivie@eaanu- eaCKNOWLEDGMENTS cial thanks to some of my most important “teachers”: in LaPorta, Jack Petersen, Herb Pomeroy, BillLeavit, Carl Shroecer. Abe Laborel, yBurton, Stave Swalow, Jeff Berin, Jamry Bergonzi, and Gary Chaffee. finally, special thanks to Liz Hamill who typed, edited, didthe manuscript, nested, questioned, encouraged, learned, taught, and laughed @ lot. Without her rense help (in seerringly all drections a! once}, | could never have wren this book.CONTENTS INTRODUCTION THE APPROACH Introduction to Fingerboard Mechar Fingerboaré Mechanics Playing Up and Down a Single String (The Science ofthe Uritar) Modes; Chord-Scales: t Playing on Twe Adjacent Strings: Movable Miniposttions Study of intervals: Melodic and Harmonic (Poor Man's Guide to Counterpoint) ‘The Open Position Postion Playing ‘Combination Playing. “The Realmot the Electric Ice-sketing Rink” ‘The Approach: Take 2, Take 3 ‘wnat Nex? Next what Next? MATERIALS Twas More to do with Triads: Tth Chords Intervals, Triads, 7th Chords, Others + CMejor Scale + CMeladic Minor Scale > CHarmonic Minor Scaie Diatonia Four Part Chords: | ll, Modes; Choid Scales: | Chord iype/Modes Process Triads Over Bass Noles: | Triads Qver Bass Noles: It Pertatonic Seales Note MathiFinger Math Fragmants (Idosaies) Voleings fromthe Symmetrical Diminished Seale APicture is Worth a Thousand Words— ATaste, a Thousand Pictures:| ill, COMMENTARIES + The Guitar's Complexty 93 + The Evolution . 93 + Contemporary Harmony 34 + Abou! Tuning and Tuners od + Harmonics and Overtone Influence 95 + Feeling ‘Stale’? 25 + SiengeisGokten 96 + OnBeing Sett-Criical 98 + Words-~Terms 98 + NoGna Knows What's Next 99 + improvising Shor Pieces (Use of the Tape Recorder) 100 + Time—Flythm 101 + Tuning into Time Headquarters 102 + Tempo —Movernent 104 + Some Thoughtsen Technique 105 + Diferent Playing Stuations 107 + Praying Versus improvising 108 + Selected Short Subjects 409 + trl, What'stn —No Regrets 114 + Conclusion 115|. THE APPROACH el introduction to Fingerboard Mechanics Your abiltyt play music on tho guitar depends fo large extent on how well you know theinstrument. Most guitarists have never had a chance to learn the instrument in an inteligent, logical and complete manner. The fact is that the vast majority of guitar methodbocks don'treally explain very mucn at al, and the vast mejorty of gutarteachers are the producso! these methods. Asa general rule, guitar methods don't concem themselves with nefping you to increase your overall comprehension of the instrument. ‘Guitar methods get you io doa fot of things (which certainly canbe useiul). They show ‘you a method of how iodo something, But these methods seldom, if ever, leadto a ‘gonth of your understanding of how things work onthe inetrumont. H anything, thay leadto ararrowing ofpossibities because you don't have fo figure out very masch by yoursel. You jisthaveto follow instructions. When you know the method, you are the Tesutotthe method. you teach, you tendio teach the method (peraps with a few modifications — afew improvements). The metnod can actually become more Important thanthe musicit is supposed 10 help facilitate. This|s not so good. AMiofthe above helpsto expiain why this present volume is nota method book. No methods are given. Methods miay be implied or hinted, but only ina very loose way. Methods may be deducedlby the reader (infact, nced'o be deduced), but tha resuits ot the readers’ pursuing such methods are totaly based on individualintetigance, presen knowledge, interast, and creativity. What tm byingto dois present information and facts. Youwill draw trom this information ‘exacily what you are able to draw, based on current understanding. Thisway, you get just ‘whatyou arecapableof; what you deserve; whral you need. ‘Twogassesct diferent sizes stonaltable From the standpoint of their function as glasses, the important thing is not whether cne is laigor orsmaller, batratherthatboth are ful, Fingerboard Mechanics Firet Thing to Learn: Up and Downa Sting (Single String Playing) " Second Thing to Learn: Across the Neck and Back (Position Playing) ‘Third Thing to Learn: Combine Allo! Both Previous Possibiities (Combination Playing or*The Realmot the Electric Ice-Skating Fink’). {flwere a r2altough dscipinarian, I would have ended this lesson one sentence ago. Butthis*area’is so crucially important, so misunderstood and so seldommentioned ‘fll that really have to go into a itl bit of ception this ‘Any guitaristwro has played at all seriously knows thet position playingis very important. ‘Also, position playing isa huge project. Lots of stuf! tolearn. Years of work involved. | ‘think we canvagree.on this point (more on position playirg follows later). “Thepointthat mbrying to make (which may be one of the most important pcints inthis book} is that position playing is not even haf of it. { Probably not even atthird of it!) Equally as important as position playing isplaying up and down one sting. I'd even go so. faras_o cay thatis more important than postion playing just because i's so sekiom ‘explored. In addtion, | right add that standardized methods tor postion playingnave been inexistence for some te, whereas methods torplaying up and down one string se peaticaly non-existent at lastin the WEST.Itboils downto this: a lotof guitarists today know about position playing, but very few know about playing up anc down one sting. Not surprisingly (at leastte me) some ot those few who do know are among the vary best guitarists on the planet these days. (Please, no names!) In most gutarmethod books ,no mertionis ever made of playing up and down one sting, “This omissionis a huge oversight, because playing ona single sting is absolutely the most logical place to begin on a guitar. Consider the fetowing observations. «Tho simplest way to see notesisin astrightline, + Asingle sting isa straighttine. ‘Ona single sting, there isa drect relatonshipbetween interval cistanoe and ‘mavarnentin space. + Playingon asingle string neips 1 eliminate two potential prcblems: “paralysis” (lear of movernent) and “ecrephobia’ (lear ot higher rats}, since the entire length of the tingeiboardis ubized fromthe vory begining, + This approach is conducive to leaming rote locations because you cant rely on afingetingpaitern (as inpostton playing). + The problemo* changing strings iseliminated. This simplifies the right-hand function and displays the principles of left hand function intheir purest form, + Different types of phrasing and articulations can be played very consistenty. + Elerients of fundamental theory canbe shown to a beginnerinclear and simple visual and aural terms: Intervass, scale construction, chords, rpegcios, etc. The same couid be said fordynamics, articulations, and timbre. + Someone probably invented aone-stringed instrument (e's callt aunitar) Jong before anyone ever thought of two stings, le alone sixof them. Soit would seem sencible-o learnin ie same way that the instrument developed chronologically. + Many sttingedinstruments in Easter counttiee are played ina much more "up ‘anddown he necx* fashion (most notably, the sitar). Doyouhave any idea how long the music of India has bean around? ‘Allofthe above contribute to support my pe‘sonalcontentionthat youhave no real ‘understanding of the fingerboard until you've sper a fot of time playing up anddown the stingsindividvally. 1 all you know is position playing, you can't even begin fo seetne \whole fingerboard. In faci, you can't even understand the proper uses and advantages of position playing unt you've played up anddownon the stings alot ‘The strange thing about allof th’sis thal i's reaty so obvious. (Hidcenin the Eye of the Sun, soto speak.) One can't help butwonder how itis that hardly anyone has notcedit. itis sate to say that you would do well io spend some ime playing on one string. Doing this (initsell would begin to: completely transform your understanding | of the fingerboard ‘wihintwo orthrae weeks. | coukd almost quarantee it. Consequently, the approach that this volume presents goes like this: +. Paying up and down cach of the six stings individually (The Science ofthe Uritar) 2. Playingup and down five combinations of wo adjacent stings {Moveable Nini postions) Study of Intervals: Melodic anc Harmonic (‘Poor Man's Guide to Counterpoint’) ‘The Opon Position Position Playing Combination Paying (‘The Reaim of the Electric ioe-Skating Rink’) ee , onePlaying Up and Down a Single String (The Science of the Unitar) Three Principles of Lett-Hand Movement: 1. Groupings ((wo, three, orfournotes basedon what he lefthand can cover) 2, Hand-cardies or shifts (movingto a higherpitched note with loner numerical inger; moving to lower pitched rote with higher numerical finger, linking two or mote cifterent groupings} 3. Slides (using the same finger to play diferent consecutive priches — no gissandij . Breakdown of Finger Possibilities: a. Four possibiilies of one frger ata time 1. astinger 2, 2ndflnger Nogroupings, no shits, 3. Sedtinger all sides 4, Athfingor b. Sixpossibiities of tuo fingers at atime. 1. 1 and 2 2 1 ands 3. 1 and 4 ings, shits, si 4 bed Two note groupings, shits, sides 5 2anda 8. 3 and4 ¢. Fourpossibiites of three fingers at atime 1.14429 24,24 “Two and three note groupings, shifts, slides 34.34 4234 4. Alliour fingers: combing all prevous possibilties two, thre, and four note groupings, shifts, slides Why would you play up and down one string with only one finger? Because you'dlearn things that can't be loamed any other way. Thistypeot approach is what call ‘disadvantage exercises". By deliberately working within the confine ofa particular limitation (.<...orly one tinger or two or three], wean leam much. Some peopre might 2sk,"Wny botnar playing with only one finger when youve gol four? You can't play much with one finger anyway!” But he question is really, "How much can you play with one finger and whal could you earn?" When playing wih only one finger, do you rely on ngeringpaitems or nate locations? Is there any conccivable use foratechnique whereby you cannot play what you normally play? eeHow much should you play up an dewn one sinng? (Good question!) How-co you expect me to know how much you should play up and down one string? (Another good question) Actually. | guess you should play up and down own string as much as you needto play. (im eally being a great help, arerit!2) When you seemto reach your own saturation point, stopforawhile. Do somethingelse. You can ahvays come back lo playing up and down one string. When you come back tit, you"t more than likely see some things about i thatyeudidn'tsevthefirsttimo, Alotol things in music ae ike that, Probably allo! hem. Does it make sense to have East and West without North and South? Doesit make sense tohave longitucle without latitude? Does it make sense to have nortzontal without vertical? ‘Does It make sense to have position pleying without playing up and «down one sting? ‘Should |be asharried at having to ask such silly questions? Activities —~ Application i 4. Map outallnatural notes (A.B, C, D, E.F, G) up ancidown each of the sik strings | individuaky. (Entire kength of the fingerboard.) 2, Record suggested madal vames onyour tape recorder. Each modal varrp should be atleast wo but not more than four minutes in length, This way, all seven varmps should tt on one side of ape (30 minutes) 8, Playback he tape fromthe beginring, while improvising melodies against each modalvamp, but using only one string. Seven modes on six stings makes 42 possiblities. Two obvious approaches come to mind: |A._ Play one sting through all seven rrodal vamos; repeat same procedure ive times using the other strings, one at atime. Play through one modalvamp sixtimes, once for each sting. Repeat same Drocecure six limes using each ai the ather modal vamps. ‘One less obvious choice comes to mind: ©. Wite each of the 42 possitiliies on a fairy large pice of paper (8 1/2x 11). With scissors, cut out each one. (You'llthenhave 42 smalipieces of paper.) Place them allinsome kind of small container. Micthemup, Pullout one piece of paper atrandom and play what t says (i. E phrygian, #8 starg). Repeat 41 times as desired. Itsprobably a goodidea to try each of these three aporcaches at some point. Buf, forthe present, jstpickwhichover one seems most sensible to you right now. Lateron, try ‘itheror both ofthe otner two possibittes. Temporary Rules: 1. Donttuse any bends larger hanvathaif steo, You can only bend: 1.20 2E—>F 3.07 aB 4 FOS E 2. Doni play the folowing netes: Cit D¥ Fit Git A#Db Eb Gb Ab Bb For our purposes, they are wrong. No exceptions, 3. Donitchango ctiings. 4 you'e soloing against G Mixolycian onthe low E string, stay thers. Bepatient. Don't jumpto anotherstnng lusi because you slar to gat bores or repetitive in your soloing. Mayba play less for awhile, or maybe more, Ormayoe soltar, ormaybe louder. (They dor'teabil improvising for nothin’ youknow) But stay ontnatone siting. Forte ime being, that one stringis yourentireinstrument, ‘your entire musical voice. (You reafly should Estento some good sitar music) Re.ee Observations: 41. Here are some things that you can do on one string thet a piano player can't do al al: avibrato bering (remember, only hall steps: B-C; E-F) ¢.hammer-enspull-otfs d.glissand , harmonios (naturalnotesoniy) {.muitte he sing ‘9. change the tone quaity by attacking the string inacitterentplace. Make sure you experiment with allof them. 2. Each mode hasits own mood. (What sortof made are you in today?) 3. The haltstepsin each mode are verymportant, Let's look al them BF FE BC GB fonian: 3443 TB BT Doran’ 23 B32 EDT O76 Phrygian: 1-b2 24 5-6 UBS. Lydian; 7-8 87) R45 SHG Mnolydian: 6-b7 076 34 43 Aeolian: 5:6 be5 23 B32 Loctian: 4S D542 DRT ‘These haif steps contain the problem areas of each mode, or the places where you can runinto trouble with unwanted dissonance. However, he haif steps also contain the individual color characteristics of each mode. So, both aspects taken into Consideration, you really need to understand how aif steps work, 4, Two very important waysol thinking about modes are: a.dorivative: D Dorianis G major scale starting on the second degree (inding the rmajer scale from which the mode is derived), parallel: D Dorianis D major scale with b3 and b7 (constructing the mode froma parailetmajor seale/same roct) ‘Since we are using the modes of C major scale, it would seem that our approacn is dervaiive. However, when you are playing against vamp, I'd encourage you to think ofthe mode fromthe rootot inetonic chord (paralie). Welldscuss thisin more detail later on.Fe DERIVATIVE PARALLEL Clonian (CM7) Root Clonian (M7) My, eo oe 12 3 4 5 6 7 1 12 3 4 5 6 7 1 D Dorian (0-7) 2nd Dorian (C-7) Bb Mai. o 1 2 bo 5S 6 WT 1 12 4 5 6 7 1 E Phrygian (E-7) 3rd CPhnygian (C-7) ‘Ab Maj. oe aE ce = bobo 02 = 1 ba 3 b6 by 1 e ious 4 € F Lydian (FM?) 4th = C Lydian (CM?) G Maj 1° Hepes s 2 1 2 3 # 5S 6 7 1 G Mixolydian (G7) Sth C Mixolydian (C7) Maj, 123 4 5 6 WL Took as 6 wT A Acolian (A-7) 6h CAeolian (€-7) Eb Maj. eo 1 2 B38 4 5 b6 7 I 1 2 bee os Be Bn a B Locrian (B-7b5) Th C Locrian (C-7b5) Db Maj. e 1 b2 b3 4 DS OH OFArrangedin order of brightness: a ~ x , o o L ™ ag o y 6 F 8 &£ #4 ? N x R E R ° A I ° I 0 Y ¢ N A E A L 6 I N N f \ i o A A el N N N A N ‘Avrangedin order ofbrightnese: 1. Lydian; a 2. fonian: 0 3. Mixolydian br 4. Dorian: 7, b9. (03,7) 5. Aeolian: 7, b3,b6 (b3, b8,b7) 6. Phuygian, 7, 09, bo, be (2,63, bé, 7) 7. Loctian: 167, b3,bS, b2, bE (2,63, BS, 8,67) Clonian D Dorian E Phyrgian a wo dd} 2 ‘Can be arpeggiated for interest. ee;G Mixolydian A Aoelian 3 2 B Locrian Modes; Chord-Scales: ! Modes and chord-scales are extremely important, | thirk any serious improvising guitarist ‘would Le wise to bacorne as farrilir as possible wih them. Athoughi's true that rary fine playersare nol especially knowtedgeable about modes, this is cetinrely tne ‘exception, not the rule. (Andit's going to become more so as ime goes on.) However, | right azo point outthatthove are many gutarisis who know alot about moces and sil ont play very wo, Soles not startio equate modal knowledge with playing ebilty or musical. Letsjust say thal modes are realimportart. Modes provide an excellent overview of melodie and harmoni possibiltios. (Modal ‘thinking isboin melodic anc harmonic simultaneously: G7 alt. is equaly a scaiewith Infinte melodic possibilities as wel as a chord typo with vast harmonic possibitties.) Keep intind that allo! thisamountsto a felong study. There is no end io how much you could lear about modes and theirimplications, 1 scems that the kind of problems that many guitarists have with modes are twofold. First ofall, the very nature of modes includes so much wihinit thatthe overview aspect can sometimes lead to confusion instead of clantication (not seeing the irees for the forest). ‘Second, the complicated nature ofthe guitar tends fo lenditset to very Incomplete Understanding, laden with gaps, | think these problems canbe overcome andior worked through by an inteligant and thorough apprcach fo beth learning the materials and Teaming the instrument.ee i a Playing on Two Adjacent Strings: Moveable Mini-positions ‘We have five seis ot lwo adjacent strings: E anda (Pertect atn) Aand D —— (Pertectatn) Dam G (Pertect 4th) G and B (Major 3rd) B and (Perfect 4th) Notice that four ofthe five sets inveive the interval ofa perfect 4th. The other one (G and BhinvoWes amajor 3rd. This rears that al groupings of notes wise diferent on this set ‘his Coes complicate things a ile, butt also provides unique possbilites that wousdrrt comur otherwise, So now youget toimprovise on seven mecal vamps with five sets of two ackacent strings, ‘Thats 95 possiblities atogether. Youllfin that this approach gives you the advantages ‘t playing up and dow two singe strings, plus the advantages of partial postion playing ‘Smutanaousty, Youcan play alot of things on two acjacent strings! Melodic leape of ‘ins, ths, and 6ths are much easier nowthan before (on one string). You'lifindfive or six otesunder your fngarsin one area instead of tuo. three as before. (Thus the term: Novable mint-pasttons.} ‘Thisis also an opportunity to make a dataled study ofthe right-hand picking techniques thatinvolve movement betweentwo adjacert strings. Work with this alot; its extremely important, Usethe same modat vamps tobaginwith. However, before too long, you right want to change the vamps. You may sce the needito explore other tempos andortime fools. ‘Also, you might see the necessity of iguring out some higher register vamps ‘or soloing onthe lower set's ot two aojacent stringsto avold the-muiddiness" that couldoccur when Jow-registerbass notes ithe original version of the vamnps clash with low register melocy nolesi.,onE and A stings) ‘So, go ahead and figure out some new vampstorthe seven modes. Just remember: use al seven notesin each vamp and try to estabilsh a clear sense atthe root. Don'tuse stamps orflats. (Improvising vampss something you neec tobe ableto do a lot othe time anyway.) Whenyou're soloing, you might experiment wéh using onty three fingers, or onlytwo fingers, or even only ene finger as was incicatedin the previeus ceation on playing up and. down a single string. Since you now have two strings to play with, the effect of emiting one or two oF three left-hand fingers willbe very diferent Paying on two adjacent strings is ne point wnere “patterns” really start to emerge trom thefingerboard. Andthat’s great; its. very important aspect of tha guitar. But also kaep inmind the importance o knowing the names of the notes as welias the importance of ‘knowing the functionof the notes relative to the roo! of the particular mode you're paying on, You'll probably ind yourself paying more notes now than you did betore (on a simgle siting). Andthat's okay. Sometimes, i's aot offun to play alt of notes. But don't get complstely lostin 2 lot of notes. (Atleast, notfertoo long! Be musical. That's something thal maits being remembered. eeStudy of Intervals: Melodic and Harmonic (Poor Man’s Guide to Counterpoint) As guitarists, we tendo think ether lead” or“hythir; either “solo” or comping”: either “melody” of chords." (Melody couklbe defined as eilferent notes in succession; hamrony as diferent notes simukaneously.) Inthe early stages, melodies are “icks", chords are "grips". We tend te think of these two important areas of musicin very diferent ways. (Part of whichis understandable; thare ara ditfarences.) Butare melody and harmony really allthat citerent? We'l see, Hare's 2 very simple way to look atit: melody has 10 do with playing ono note at atime. Harmeny has 10 co with playingtthree, four, ve or si notes ata time. Tha usualwayto ‘bogin ine study of harmonyanvolvesttigcs (three rotes ata ima): this is usualy followed by 7lh chords (fournoles al a time); then Sth, 11th and 13th chords (tive, six and seven Toles atatie). The questions remains: "What about two notes at atime?” The study of two notes at atime would be called the study ofintervals, The musical discipline that deals with intewvals ie counterpoint. Counterpoint means pointagainst point (which could be note against nota). Counterpcint also means melody against melody. The point against point argeis vertical. The melody against melody angle is horizontal The notes C and E are a major third apart. Play, then E: that's melody. Play C and E simataneously: Thats the beginning of harmony. Youcan' callita chord, (i's a G chord, no, it's Aminos; no, it's F Major 7th; no, it's F#7 alt; no, ifs Ab+M7; no it's Bb lydian, etc.,. etc) Iteouldbe alot of things. But what sis major third. Counterpoint can be viewed as the study of intervals that helps to dissolve rigid ways of {hinking about melody as one thing and harmony as another. (Melodies have harmonic ‘mpications; chords and chord progressions hava melocic implications } Sotoreview: Melody Counterpoint Harmony Onencteatatime — Studyofintervals. —-‘Threenoles al a ime (triads) twonotesat atims —_‘ournotee atatime (7th chords} (Also, twomelodies five, six, seven notes ata time atatime (9th, 11th, 13th chords) ‘Now thirking about what an arpeggio is (slight cigressior): ‘Aspeggio—tike a ‘melted chord (Chotd—Iike a ‘rozen” arpeggo Countempoint (or the siudy ol intervals) isone of the most neglected andimporiant ‘aspects ihe guilar. tis the other “area” of work on the guitar that most guitarists are both deficient in as wellas in need. (The first‘area’ was playing up anc downione: string, as you'l no detibt recall) You'd do welltowcrk hard at this ‘area’. Youllnever regret ‘A. Four Types of Contrapuntal Motion: Parallel: both voices move the same distance in the same direction. Similar: both voices move differant distances inthe same direction. Contrary: each voice moves any distance inthe opposite direction. ‘Oblique: one voice moves while the other stays where tis. eeParallel ObliqueIntervals to woik with for now. 2nds: minor 2rd (halt step) ‘major 2rd (whole step) Bids: minor rd (step andahatt: 3 hal steps) major rd (2 whole steps: dhalt steps) ths: pertect th (21/2 steps: Shaf steps) augmented 4th (3 whole steps: 6 halt sieps: the octave in ball} Sins: diminished 5th (same as augmented 4th) perfect 5h @ 172 steps: 7hal steps) Bihs: minor 6th (4 stops: Bhal steps) major 6th (4472 stope: Ota stops) Tihs: minor 7th 5 steps: 10 hal'steps) ‘major 7th (5 1/2 staps: 11 hat steps) Later on, however, you might want fo work vith compoundiintervals (an octave and larger). + Allihatfollowsuses only naturalnotes: AB C DE F G (no sharps ortlats}. Play all diatonic 2nds up and down each ofthe five sets of two adjacert strings. Then play allthe Srds, 4ths, 5ths, and 6ths. Thenplay the 6ths again on two strings, ‘skipping the one in between. Then ply the 7tns on the same fourse'sof wo non- agjacont stings (E &D; A&G; D&B: GRE). Could you improvise against any of the seven major modes with these double stops? Sure yacould! Try 3rds first because they're easy toplay and sound good, Try 6ihs on non-agjacent stingsforthe same reasons. Then mayoe 4ths. Then ths. Then 6ihson adjacent strings. Then 7ins. Andlastly, 2nds. You'inotce that al ol tis work involves paralle and similar ration B. ‘Thenex! stepis c start moving romonc kindefintervalto ancthor—ard to a6th, for example. This next step provides orcontary motion andoblique motion. (See ‘examplesthat illow ater). + Hervis a ist of interval moves”: 2nd to 3rd; 2nd to 4th; Grd to 2nd; Sd to Att 3rd to Gih; 3rd to 6th 4th to 2nd; ih to 3rd; ath to eth; ath to 7th Sth to Sid; Sthto dh; th to Bh; Sth to 7th Bihto 3rd: hoa; = eth to Sth; th to 7th 7intosrd; — 7hto4ih; «== 7th to Sih; Tih to 6th (Question: Gan yeu see why certain inervals are bold? 2nd to eth; 2nd to 7th + Remember, allof this material can work for any and allo! the saven modes of C major. + Could you move from an interval to anotherkind and then to anotherkind? (ihree differantintervals,j.., 2rd, 6th, 4h). Sure ya could! (Iwrender how long the list of ‘interval moves" would be using Imewvals? Have you gel a computer?) How about fourcrlive of Sx or seven intervals? (Sorcerer's epprenilice, watch out!) But enough is enough. Just remember: when yousiow allo! your intervals, youl know allo your Intervals. Play and study the following exarnples: ee -,Write the interval type and then play. 2nds EAA strings A&Dstrings D&G strings 8va 8va 8va B&E strings 8va £ set E@Astings A &D strings A& Dstings E & A strings smings: D&G swings 8va Siva Sva 8va va 2 B&E strings G&B strings 8va, - 8va 8va 8va Sva Bai BA&E strings A&Datings P&Gstings — G&B szings ee E& A strings 8va 8va Sva 8va va Agjacent Strings D & Gstrings E&Astings *&Dsirngs & va —— ot eat tw a = 4 J p= = vg Zé I G&E swings Non Adjacent strings 5 i D&B strings ; E&D strings A& Gstrings Ae ava G &B strings 8 Bva Sve 8va Bva Sve (sss est fhee pest Non Adjacent Strings 4 g G strings D&B stings G& B strings E&D strings ws 8va * sits tet IOptional: identity he interval type. Definitely play.1. Chromatic Scale “a, inoctaves (great leit hand exercise) “b, atoiher intervals (Pertect ath up to a major 10th) “Two Wnole-tone cates ‘Three Symettical Diminished Scales ‘Twelve Major Scales Twelve Melodie Minor Scales ‘Twelve Harmonie Minor Seales ‘Twelve Penaloric Scales (1,2,3, 5,6) ‘Twolve Peniatoric Sogles (1, 28,5, 6) * 9. AllTriads andtour-part Chord Arpoggios inail Keys "Optional Atthis point, !m going to suggest hat those of you who are ust earning about modes, single-sting and double-sting soloing forthe frst time, sap this material fornow. Youcan ‘come back to twhenever you wan, For now, just play the C major scale in open position _andimprovise on the vamps fer each ofthe seven mades of C. ‘Thenprecesd fo Position Playing and only wark on tha materialinthe section called “The Straight Path.” PrxNamnan Observations + The maindiiference between the open position andposition playing (which follows, ‘con enough) is hatin the open pesition, tha open strings function ‘or the notes that in postion playing would tecpire 1st and 4thtinger stretches. (This may take a ltle ‘ime to undersiand,) From anoter angle: nofinger swetches inopen positon. + The openstrings tend toring out when we don’t wart them fo. This means that we neegito develop techniques of stopping open strings. This is usually accomplished ‘witha lotthanc fingor. Finger style peeplo alee have options with using right-hand fingersto stop open strings from vibrating. (See exercises thatfolow:} “+ ntaresting and very accessible possibitties of slurring {hammer.ons and pul-otts) exist Inthe open postion, ‘Check em out! + _Inthis approach to she open position there is one rule to be fofowred: sametinger- same fret. Anote onthe 181 rat must be played with the fstfinger, Anote onthe 2ndiret mustbe played with the 2nd finger, ‘Annote on the 3rd frat mustbe played with tha 3rd finger. Ante onthe 4th fret mustbe played with tie ath finger NOEXCEPTIONS! Conssquertly, we will not explore counterpoint and harmony in the open positon. ‘because the rule of same finger'same fret would make many voicings impossible, (Lator on, of course, you could explore counterpoint and harmony in the open position. When you decideto do thal, just use anyfingers you haveto tor whatever the notes ate.) * _Inthis particular approach, the open postion is out first uly “chromatic area of substantial metodcpossibilites.” Allscales, all moces, allarpeggios are there, (Think about what that means!) + Since the only note that has two locations and two fingerings isthe 8 (open string or ‘4th tretolG string), itwouldlee @ goodidea to experiment with both posstiltias when playing any scale, mode, or arpaggo that contains the note 3 (or Cb). Somelimes, ‘one choice is obviously better than the other. Sometimes, bath are about the same. ee+ Aperson could spend awhole lifetime playing enly inthe open positon. (Imagine tho Joy of playing on a guitar wih ten o elevenstrings that hac! only fourfrets!) + Sometimes people who write books make weird observations, Ex, 1BEx, 4A Ex, 4B Position Playing ‘Onthe guitar, aposition means a section ofthe fingerthoard covering six frets across all six strings. The range of a position is two octaves DUS a Pa (29 halt steps). In this range, every note inthe chromatic scale is present. Twenty-four ofthe available pitches have only one location and one fingering. The other six pitches have two locations and two ‘ingerings. 14.23 4 © (norma) 2.3 4 (firstingerstreich) — Strets 1.2.3 4 (fourthfingerstrotch) Sirets 2 3 4 (doublefinger stretch) 6 rets ‘These four combine to gveus: 112344 “The postion youare iis determined by the fretjust below the 2nd (mile) finger 112344 4 postion W's where the 1st finger normal fais. But sinco the 1stfinger covers two frets, this is ‘sometimes contusing. If you'te playingthe A Aeolian mods in fith position, tho low Ais played with tho 1st finger an the &th tratof the low E:string (normal placement of 1st finger forfith postion), But f you're playing an Ab Major scale fith position, the low Abis playedon the 4thfrat of the low E string withthe 1sttinger (stretched placement cf 1st ‘inger intith position). Eventhough you're playing a note on the 4th ret, you're sit in the ‘tthpostion. That ls, cf course, assuming that you play tne Bo with your 2nd (mickle) ‘tnger. Htyouplay the Bb with your 3c (ring) finger, then you're not inf postion, you'd be infourt, From this we see thet position is really determined by the placement of the 2nd and Sra ‘fingers (Tridcle and ring fingers). Fith position means: 4. 2ndfingar on 6th trot 2. Srdfingeron Zihtret 3. isttingeronSthtret (norma); tstfingeron tntret (stretched) 4. 4thfinger on 8intret (normal); aintingeronsth ret (siretched) eeHere are some rules thet apply to position playing: + Dontever stretch between 2nd and ardtinger + Dontshlt 2nd and 3rd finger up or down a iret (his amounts to changing ositione) + Donituse the eame fingerto play twoconseculive scale degrees if there's another way tofingerit (Sometimes there is; sometimes theraisnt.) Here are some suggestions that apply to position paying: 1, Become as famitar as possible with all atemate fingerings in a position. 2, Beespecially aware of alternate fingerings on he G and B stings. Thisis because of the fdtt thal the 3rd interval between those strings (as opposed to the perfect 4th interval that ocaurs botween allthe other so'scf adjacert sirings) changes things around quite abit. 3. Realize thatapostton contains the whole “chromatc universe” within the range (wo octaves plus a perfect fourth). Consequently, tis means that any position (and ail positions) contains: Chromatic Scale (Y2notes) Two Whole-tone Scales (6 notes each) Three Symmetrical Diminished Scales (8 note scales) ‘Twelve Major Scales (7-note scales) ‘Twelve Melodie Miner Scalas (7-nate scales) ‘Twelve Harmonic Minor Scales (7-note scales) ‘Twelve Pentatonic Scales 6.note scales) Alltiads and fourpan chord arpeggios in allxeys Plus a whole cl moe. ’msure by now youcan see the vastnesso! this projact callec position playing. 4, In approcecting al ofthis material, it woukdtbe good to keepin mind that j2sotten happens: thar are two different approaches, both of which ara important. For ‘example, let stake ne major scale. The frst approach wolld be 10 keep the major scale the same, and change the position (.e., C Major Scale in each! the \welve positions), The second approach would be lo keep the position the ssame and change the scale (.e.,alltwelve major scalesin one position}. This principle of "keep one thing the Same while the other changes; then change the one thing while tho other staysthe samc" isa very important concept when working with the guitar. Youllsea popping up ime and again, 5. Since most guitarists don't have large hands, it might make sense to stant extensive work in oné postion higher up on the fingerboard (Seventh position Or higher). The reason for this is that the higher the position the coser together arethe frets. Thus, a higher position would be physically a bil easier, particularly considering he 4s! and 4th finger stretches. With this approach, you would start with a relatively tigh position and gradually work your way down tothe lower positions as the let hand gol accustomed te tha tst and 4th finger stretches. 6. Position playing involves alot of whatis often called “Finger-pattem memory" t's a very big and imporiant pertot guitar playing However, dont forget the namesof henotes. And dor'tforgettne degree ottne note relatve tothe root of the scale or arpeggio. (The same apofes to chords.) If your aims tobe thorough, rememberthal noone thing or approach s the mostimportant or the best. All things and/or approzches are important. 7.. Position playing i an extremly dseiptined study. t's a great thing to workwith when you feelin the moodio be disciplinad. On the cther hand, when you're “playing”, you certainly don't wart to conte yourself unnecessary. Position playing is sort of tke a'gear" that you needto be able to “shit inic or outot at till (or as tong or short atime asis necossary). es8, Thereis no direct relationship between how well you know position playing and how well you canimprovise. On the ctherhan, it snould be easy to see that tere could quite easily be at feast an inciractrelatonsnhip! Or, to put another way: il youlmprovtse, knowing position playing very well sure helps. Things to Do + Gothrough the material sted under no. 3 of suggestions. ‘+ Play through any (or ail) .lazz standards) keepingentirelyin one positon while ‘you'reimprovising. (Remember: anything youwanl is there, somewhere!) = Play through things tke Rhythm Changes and Blues Changes allin one position. f you wanted*you could stay in the same position and transpose ‘either orboth forms (Blues, Rhythm Changes) to alltwelve keys. Orchange the postion and keep the key the same. + When workingwith scales (and especialy modes), as soon as you "know the fingerings,” stan improvising. Explore interval leaps -pattems, anything you += 120 6. HE oy ve E é ey 4 rn oH 6BR So, fromthis example we can see that rhythmical groupings are an important ‘consideration. Three notes por sting makes sense for ripe's, Sextuplets, et. Also, ‘wooo thal aticulaton can ba importart. Inthe above example, notes 1, 4, 7.10, 13, 16, and 19.are attacked; allothers are to be surrec (nammmer-ons). 3. Suppose you wantto play 1éthrotes; try these examples: Ea 124-4 124-4 1244 1234 1234 1 3 3 3 134-4 1344 ig 6th Sth 4th 1-24 1-124 123-30 123.3 3rd 2nd T241-1241-1241-1242-2412 4 1241-124-4 £24-4 13-31 34-41 3 3 In example A, the idea is four notes per string. In example B, the idea is four notes per position. In example C. the idea isto shitposiionsbotween hall steps., 4. Now, experiment wih playing the same passage many diferent ways by combining the idoas of examples A, B, and. So, toreview: 1. Notes per string: Iwo, three, four, (ive, Sx) 2. Notesper position: two, three, four, five, six ‘3. Shittpostions by haff steps (or any interval, fortnat matter) 4, Rhythrical considerations: triplets, 1eths, of Playing scales up and down with these ideas is interesting, but unfortunately, when you're improvising, itdoesn't “come up much inconversation.” So, start leaping aroundto ‘searchout melodies and interesting patterns. (Andpaton your finger-skates, Decause ‘you're just about to enter he-Realm Othe Fink.” ee ;,| To Do: + Expormont with all possible scales, modes and arpeggios using the entire fingerboard. + Improvise on Vamps, Standarc Tunes, Blues, and Rhythm Changes using ihe entre fingerboard. The Straight Path Improvise on modes of C major scale using the entire fingerboard. The Approach: Take 2, Take 3 ‘We've taken tha C major scate and its modes allthe way threugh“The Approach.” Now, {gp back to the beginningand go through the same procedures using the C melodie minor scale andits modes. (Youll probably want to use “the Straight Path” sections } When you've completed that, start back ai the beginring again, bulthis (third) time, use the G harmonic minot scale arciits mades. (Work asneciatly on the modes built on | VV) ls absolutely amazing what happens when you change one ro scale. (Echangesto Eb formelede minor.) amsjor Itsaiso absolutaly amazing what happens when you change one rote in ameladic minor scale, (A changes 10 Ab tor harmonic minor) + Yourmight also workwith other seven- note Seales. For example, G 0 E F G ADB C oC Db EF G ADBC. ‘Sheets on C melodic minor and C harmonic minor follow: Melodic Minor Modes ‘Melodic Minar (Jazz Miner) ———_—— Ss vo ae o 1 im b3 4 =: 6 7 1 b Dorian b2 (Phyrgian 5 6) ie a> —— jo sO b2 b3. 4 5 6 b7 1 Lydian AugmentedLydian b7 (Overtone Scale) A bas °. == —— 1 2 3 ao & 6 b7 1 Acolian Major (Mixolydian b6) zo 2 ~T 2 3 4 5 (bb oF 1 Loerian 4 2 5 bee © a 1 2 bs 4S bob? 1 Melodic Minor - 0 _ d 4 = ——o 6th=D Phrygian y 6Lydian b7 Ex, 2 Bx] AS Acolian Major Altered Dominant B7 AltFe Harmonic Minor Modes % useful modes (ac) = sightly less imgortant but stil useful Harmonic Minor Tonian Augmented r S a oS 1 2 3 4 #5 6 e 1 ; ——— is 2 b3 co S 6 v7 1 Phrygian Major SS —— 1 b2 3 4 5 bb 7 1 Lydian #9. bs. 7 —— 0k) 1 #9 z #4 5 6 7 1 Altered Dominant bb7 be 9 bd. To #8 5 hs wits eeHarmonie Minor Vamps Harmonic Minor Ex1 x e Tonian Augmented bo Dorian #4 (Overtone Minot) OD Phrygian Major Lydian #9 (*)Altered Dominant bb7 What Next? this poin, | thinkit makes sense to mention something. Ourapproach has been primarly derivative so far, (The mades were der‘ved'rom C major scale, C melodic minor, ‘Chamonic minor, atc.) Itwould be a good idea to 90 through the same material again, but ttislime, approachingitin a parallelfashion. Thal means: allte modes tromthe same fool. You might choose o pick C as the root since you probably know that key fai well by now. Personally | think it might be even better topick either E or A. These noles are the two lowest open strings, The idea hare is that would be very convenient tohave a low open-siring rootin going through the parallel approach. This is pamiculary true ct harmonic material, since you'lhave ether four or ive ofthe higher stings to play the veicings, as wells the low, open-string rool to soundagainst any voicing you want. That ‘might come in vory handy. E fonian E Dorianb2 E Phrygian major E Doran E Lydianaugmented —E Lydian € Phuygtan E Lydian b7 E whole tone E Lydan E Aeolian major E pentatonic (chinese) 1 23 5 € EMixolydian — E Locrian 2 E penialonic (epanese) 1 2b3 5 6 E Aeciian E altereddorinartbb7 —E sym. diminished whole step, halt step E Lecrian E harmonic minor E sym. dimhished (dom) helt step, whole step E melodicminor —£ Dorian #4 Examples: 1. Play ihe melody to "Happy Bilhday"inE ionian. Trensposeitto the other 17 7-note modes. 2 Write a simple melody in E lonian that uses allthe notes (soven) atleast twice each, Transposotto tho 17 other soven-note modes. 3. Goback to playing up and down a single string, using allthe material, then play the othertive sinings. Then five sels of two adjacent strings. Thenallthe above material inopen position, Than inone positon. Then take abrezk! 4. Explore counterpoint and harmonic material from all above modes and scales for at least20 years. ee.Next “What Next?” “The question remains: “What aboutal the other keys? (Andwhal a greal question His!) Im notone for schedules, particularly, bul a ‘ew interesting numerical coincidences might be worth mentioning at is point: Time Musical Material 7 days inaweek 7 modes of major, melodic and harmonic minor ‘Aweeksin a month 4 tiads; 4 famiies of 7th chords 4 seasonsinayear ‘2months inayear * ‘42keys; 12 postions onthe guitar etc.,ets,, etc. ate, ete. et. Youget the idea. I think much can be deduced from whathas been supplied andiorinterted ‘rem whathas been implied. Analyze anxticenily all of the folowing open-string intorvals: Line 2 a ae e@ 0° 3 4. Do ycuundersiand why the barlines are placed where they are? 2. How about the double bar ines? 3. Can youexplainthe relationship of ine 2 to ing 1? 4. Otherinterval combinations have been orntted. Why? 5. To what extentdoes your harmonic (and contrapuntal) skilldependion knowing ‘ese intervals? 6. Whatwould happen to these intervalsifthe guitar weretuned E A D GC F (all pertoct 4ths)? 7. Have you suddenly decicied to become a short-order cook? aI MATERIALS Trlads There are ourtypes of viads: major, inor, augmented, and iminishsd. These fourare ‘he result of combining major and minor &rdinterva. Major Triad = Minor Triad Augmented Triad Diminished Triad M3+m3 -m3+M3_ 0 M3 + M3 m+ ma CE EG Ch eC OF GH CE EbGd ‘Trigds have three inversions: Root Position ‘4st Inversion 2nd inversion GIG |GHGb cicjc|c Eb|E | Eb Eleb/E|Eb GlG|Gilcb cicjc c elelele elle leb = GIG /G# Gh ‘Tuiads can also be spread indtlerent ways: 3li|3 5/4] 3/5 |3 sjij3aisl1 siti 1153/5 OGTAVE OCTAVE 1[3|5 1135 23 5 Allinversions can be spread thase ways. “Triads can also have a note doubled when you need four pans: c F GA F C nG Ad Db G A FNow, go.ahead and eam all C major, Cminor, C augmented, and C diminished triads, all inversions, all registers, illocations, in closed as well as socead voicings that follow: Optional: Figure out numbere of lboations for minor, augmonted, and diminished as was dongin major triads, & (7-9) Major (2-3) 2) (12) G) G8) 1) g 2& @ @) M28) Oo o 8 3 ele S lel lob 3s Minoe 3 8 bg 8 « @ Shs qd die Augmented id Diminished ° bg 8 3 be be bs bes It's probably easier to do the closed voicings (Jet side) forall four triads before doing the spread voicings (right side} * These numbers indicate the number of possible fingerings for each voicing (which may vaty depending on the number of frets on any given guitar).Four triads trom twelve roots makes 48 triads aliogether. CoC Ce CF Eb Eb Eb+ Eb FoF Fe FY AD Ab Abt Abe Bp Bb Bor Bb? Db Db Db+ by Fe Fi Fie Fe A A At AP B B Be B D DBD D+ O EbEeReEe GG G@ @ These 46 triads can be randomly arranged to make vast rumbers of “riad rowe.” (Use all 48 triads, but only once each.) Bb+ Db EF? D B+ Eb’ Ft Bh Fr E Abe Fs A G- Db? & pb Fe A BY De F EF CG AbeG? A B- Eb C+ OF F Db Ee A? D Eo Bb? G Bb Gs FHP Eb Ab Dos C- B (Each row canbe re arrangedin avast number of ways.) Wecantty to veice-tead the whole progression, Moveeach triad to ina next withthe least amountof movement. To do ths, wa: 1. Look for common tone(s}, which is @ note that is comained in wo oifferent triads. {Nertcal Ines are omitted for clarity. Read ailtriads vertically) G G GtGbh ADA ADA A AD GEA E BE eb SE £ ED F F E FF commantoec C-C- C-C- C-C-C-C- C-C-C-¢ ROOTS 3RDS STHS: The common tone must remain inthe same voice: bass, middle, or top. The other two voices then move to the other two rotes in the chord: G AG-G Fe E fb-Eb D Di G-o Bb B-B ‘Sometimes, there could be two commen tones: 6-666 EE Eb- Eb c BBC 2. Lookforahalfstep, F you centtind a common tone: G-Fe GF G-Gb Eo ED E- Eb cA c-B © Bb ‘sometimes you might have two half steps, orevan all three: G-Ab E-eb c-c eeProper voice leading involves the least amount of combinad melocic movement inal three voices: halt steps halt steps G/A 4 Gio 3 Elm 1 A 1 cle Q Cc! Db 1 2hat steps Bhat steps half steps: half steps G\Fe ot Gia 38 jo 2 E | fe 8 cle 2 clo 3 Shat steps 7 ha ctops corjuretismooth) 7 disjunct (lags smeoth) Things to Da: 1. Now, go back tothe “tladrow" and voice-lead through the entire progression. (48 tad} Now, playitbackwards. 3. Start with acilferent inversion of the very first chord and go through the ‘sequence.again. 4 Play backwards, 5. Stan the saquence wit a spread triad voicing and go through the whole ‘sequence agaln. 6 Guess what now? 7. Canyousae otnertings too? {you eel hal younsed lowrile themiout on paper, gorightahead. That's agrest iningto do, (This way, 4 yeu lose your place or something else weirdhappens, you've got down ‘onpaper) But as soon a8 you car, its really good to go through these sequences just from the chord symbole. Aso, i’s a goodidea to have a notebook ancior music paper al hand when you are ‘working with tiads this way. You may come across some voicings for part ol the progression that you realy like, When this happens, write them down immediately. Don't {ust write the chord symbols. Take the time to write the exact voicings, because inversions can realy change the sourdf aprogression. You can use these litle “gems” ‘or songs andior piscestatoren. Observations 1. Augmented triads are tricky because the inversions on a given-sel of strings are all ‘tho same, 2. Diminishee triads are tricky because the inversions ona given setot strings are al diferent, 3. W's easierto hear voicos move with spread tiads than with closed tiads because {here's more room between each voice, 4. “This approach to tiads is somawhat ‘cry’ and a bittoo theoretical for some veople, Othe: peopie find itinteresting because they understand thet they ave dealing with all ‘of alarge (but fiita] number of pessibie units with almost infirite possible combinations. 5. There isa lot more to triacic harmony than many people would suspect. 6 Since most 7in chords consist o a triad plus one other nete, this means thatif you know your triads well, you already know atout75% of he 7th chords, as.7. Wausually think of harmony 2s begining with tiads. Intervals are really the beginningof harmony, but triad terminology conveys more information with shorter symbo's. ‘& When we gett the frarmonic material derived from major, melodic miner, and harmonic minar scales, | suspect that you'l be glad you've worked with this approach ‘0 nads first. It also wouldn't surprise me i, ater working with the harmonic materiat derived fromthe scales, you might decide to do some more work with the present approachte triads. Hwouldtrt surprise me at all. More to Do with Triads 1. Root Progressions Gycle2: 6 Db D EDE F Oycla7 CB Bb A Ab G Go 8 *(atternate) Cycle: G EG B D Fé A Ci E Gi B Eb Gb Bb Db F Ab C Eb G Bt DF (Fo) (atomate} Cyclo 8: C A FD BbG EbC Ab F Db Bb Gt Eb Cb Ab E C# AFYD AGE Cyclo 4: C F Bb E> Ab Db G6 EA DG Gos: CGD A E B Fa Gt Ge DF AR Ee (as) (Ga (ef) (08) on (elte:nate) Cycle 4: 6 F BE Bb Eb AD Ab Db GG F# BF Bb E AEb ADD G Db Gb (Abb) (30) (G0) (ebb) i) {ellamate) Cycle 5: G Gb Db G D Ab Eb A E BDF BF#CGDb Ab D AED DDE BF 2. Tonic Systems 2 Tonic = CFR 3tonic = E Gt 4 Tonic CE @Tenic oC DE Aso, allof the above retrograde. All these progressions can be dene with any of the four types of triads, Allthesa progressions can be dono with any mixture of two types, Allthese progressions can be done with any mixture of three types. Al these progressions can be done with any mixture of allfourtypes. 3. Cadences 14 8 1 InMalor crac 1 4 § 1 inMelodieMinor GF GC 14 5 1inHanmanicMinot CF G C 14 5 1 inNatural Minor CF GC Optional: Could 1 4 5 1 cadences occur in other modes? Could other cadences ocour in other modes? BONUS: | almoet forgot fo mentionit: triads can be be arpeggiated! (Maybe you had aimost forgotten, 1002) * Nternate cyclas contain two allarnating intervals. For exampe, (altemate) cycle 3 alemates between major and minor 3rd. ee ;;7th Chords ‘What follows are some pages cf important 7th chords inthree diferent voicings: Drop 2, Drops, and Drop2 and 4. {I you're interested, you might try Orop 2 and3. Some ot them are usatul.) ‘way close rop2 Drop: Drop 2and 4 Drop 2 and 3 Bb Bb Bb Bb & 6 6 E E E © c ( © a * ce S E © Allfour inversions ara shown for eachchord. (The remaining voiings that are lowerand higherneed to be tearned aswell: don’ forget. this 8 co-1-yourselt Book!) Question: How much of the material in the triad sections of this book would itbe possible toapplyto 7thchords? DROP 2 Mai. 6 Dom.7 Maj. 7 Min. 6 Min. 7 Min. Maj.7 Dim. 7 Min. 7 (65) Tonic Dim. bho We 2 a |\2 Aug. 7 Maj. 7 (05) Dom. 7 (bS) Dom. 7 sus4 4 ba 3Tonic Dim. bxe- - e a) Aug. Maj. 7 Maj. 7 (05) x» ° = 2s uo oe Dom. 7 (b5) Dom. Tous b =P- ee one poo = = 2. bo ©pe DROP 2 and 4 Min. 6 ° Min. 7 b. o Min. Maj. 7 oe % ray oO bo — OAS — By ug 9 By ge 8p B_ oe 3 os “3 3s ° 2b 2 3 3 ° Dim. 7 Min. 7 (65) b Tonic Dim. be 2 bg o |g Bg Ps} 3 ° ig 8 9°Intervals, Triads, 7th Chords, Others Major Scale Let's take a closerlock al the C Major scale, 1. Alltweive intervals are contained in a major scale: minor 2nd | — major 2na minor 3rds- [— major Srds pertectaths [= Somer a diminished Sth — periect Sth — minor eth major 6th minor 71m major 780 augmented 4thvdiminished 5th ‘Srd/Sth family 3+ 4 = 7 (Tritone} 1 enai7ihfamily 2 +5 =7 minor 2ndimajor 7th 2 AthiSthfamily 1 +6 = 7 major Srd/minor 6th 3 minor ard/major 6th 4 ‘major 2ndiminor 7th 5 orfoct attyperfect 6th 6 2 Triads (See Page 48) ‘The major scale contains: 3 major triads cFG wv 3 minor triads D-E-A ol Ill VE 1 dimmished triad = B° vil 0 augmentedtriads 9. 7th chords (See Page <9) The major scale contains: 2 major7th chords GM7,FM7 Iv Sminor7thchords D7 E7 AT it ill VI 1 dominant 7thchard G7 v 1 minor 7th (b6) chord =—B-7b5 vu 4, 9th, 11th, 13th chords:see hybrid our par voicings, pages 58 to61. M7 911 13 Atethesetriads? D7 9 11 13 E? bs 11 b13 FM7 9 HIE 13. a7 9 on 13 AZ 9 1 bis BS bo 11 bIs ee5. Quartal Harmony (fourth voicings) See Fages0, ‘Three part voicings: © PA + P45 Pa+TT-4 T+ P4-4 four, five, si- part voiings: see page 50 Play and identify alltriacs and cycles.Play and cenily all chords and cycles. dle 16 |g0)QUARTAL HARMONY (dim Voicings, C Major Scale) 3 Part 4+ Tritone Tritone + P4 y—— 2. os TT P4 PH Pa PS PA PE P4 Pf Pde TT Ph PA PS 4Part PA Pa P4 P4 TT Pd Pd TT Po P4 Pa P4 Ph PA Pa pa Pa Tr Pd PA Pd 3 P4 TT P4 P4 PS PA PA Po P4 Pt P4 TT PA PA TT P4 P4 PL PH P44 PH Pa P4 Pa TT Pa PA PA eo 2 2 2 o 2 2 PA PA Pa Pa Ph TT PS Ps TT Pa PA P4 Pa PA Pe P4 P4 pa TT PA PA TT PA P4 P4 PA Ph PA pe PS PS TT PA PA PA ogoIntervals, Triads, 7th Chords, Others Melodic Minor Scale (Real Melodic Minor or Jazz Minor) Let's take a closer look atthe C melodic minor scale. 1. Alltwelve intervals are contained in a melodic miner scale: minor 2nd 2 (BC; DED) major 2nd 5 (C-D: EDF: FG: G-A: AB) — minor 3rd 4 (GED: DF: AC; BO) majot rd 3 pertoctath 4 [augmented ath 2 ‘imirished 5th 2 Eb; BF) perteatstn 4 cs -G; D-A; F.C; GD) — minor 6th 3 ALF; BG) ‘major 6th 4 ten D-B; EDC: ~ minor 7th 5 major 7h 2 augmented-vdiminishedSin 2 (Trtone) ‘minor 2ncymayor 7th 2 major 3rdiminor 6th 3 minor 3rdimajor 6th 4 major 2nd/minor 7th 5 perfect dthypertect 5th, 4 sideinianily = 3 +4= z ‘The reasonthis lamifyis one anwTintamly 2 +5 = 7 uritshor isbecause ot the ainethiamily 2+ 4 = é interval B-ED, which's diminished attvaupmentad 5th, Ennarmerically, the sounds a major Sra/miror 6th 2. Triads The melodic minor scale contains 2majortriads FG WY 2rminor triads cD to 2dminishedtiads AX B’ VI VI Taugmentediiad = Eby Mt 3. 7th Chords ‘The melocic minor scale contains: 2dominart 7ihchords = «F7_—_«G7 Wwov 2 minor 7(b5) chords: A7D5B7b5 VI VIL Timinor 7th chord oF W 1 minor maj? chord CM7 ' ‘augmented maj? chord Eb+M7 Ws ee9th, 11th, 13th chords See hybrid ourpat voicings pages 59 toot. CNT 69 11 13 Avethesetriads? o7 bgt 18 EbiN7 9 #11 13 F7 a #1 43 G7 9 11 bI8 ATR 9 11 DIS B-7ibs) bo BIT DIS ’ Notice that the 11th degree of 3-7 (b6) is b1. This note is enharmonically the same as. Consequently, the mode buik on the 7th degree (b) tums out tobe B7 aligred: 1 b2 EG b4 bS'b8 b7. This is sometimes called ‘super Loctian.” (itis 0 "dar stars getting bright”). Functionally, the altered scala is writen: 4 b2 #2 3 #4 HS D7 bs #9 #11 B13 08 ‘You canthink: 3 chord tones 4, 3b? and tensions bo m9 bb aS at bta “This Super Locrian scale is used against adominart Tih chord net a minor 7(08) Even though the diatonic 7in chord Is B-7(b5), tne ‘altered’ Init. dominant means shal the Sthand the sth are altered: which means either ralsedor lowered (b9, #9, bs, #5). No9: noS. This is known as anltzsred dominant scale. So, you could ‘chang the listol 7ihichords tc include B7 {b5} anclorB +7 (B7#5). Functionally, ‘you coulddelete B-7{b5) because ihe altered scale sno usually used forminor 7 (05). The Super Locrianor atered dominant scales aso called the aminished -whole tone scale, bacause it starts out lke a diminished scale(B G_D Eb: halfstep- whole step - nal! step) ard ands Ike awnoletone scale (Eb F G A Ball whole steps). This ig important to keap in mind because all he melodic minor modes have these configurations, butin different areas of each mode. Quartal Harmony (4th voicings) ‘Thiee- part voicings: Pas Pa-d CHEIG SG | D DiGla oO7 Pas 7-4 8 F c TW+ePset OD A ED es -,Theothertwovoicings Eb Aare notcompatible with the previous B and Eb F 8 five voicings since these two contain he diminished Athinterval (which sounds ike 2 mapor 3rd). This is notto say thatthey cant be used atall. t's just that they don sound “Agni” in2 3-part harmony contest QUARTAL HARMONY ‘ (Melodic Minor Scale} 3 Part 2 TT P4 Pd P4 Pa P4 Pd TT P4 Pa B ‘Omit because of diminished 4th 4 Part a eo 2 2s ‘2 of PA Ph TT TT Pa P4 TT P4 P4 of Pa PS TT P4 P4 TT TT PS PA of 2 aS TT TT PS P4 of Pe PE of «PA Pa TT TT PA PA TT PA PA of PA PE TT PA pA TT TT Pa Pa of = 3s 5 88 Pa of P4 PA TT TT PA TT TT P4 Pd of P4 P4 of P4 P4 TT TT Pa Pd TT Ph P4 of P4 Pa TT Pa P4 TT TT PA PA of The diminished 4th inte-val seems to work much better in four, five, and six part Athvoisings. The sound ol the major3rd scemsto add a nice quality of ll esIntervals, Triads, 7th Chords, Others Harmonie Minor Scale Let's take a closer lock af the C harmonic minor scale. 1. Alliwelveintervals are containedin ahammoric minor scale: minor 2nd 3 (O-Eb; G-Ab; 8-0) major 2nd ~3 (C-D; EDF; FG) minor Src (C-Eb: D-F; F-Ab: B-D) major Grd 3 (@G; GB; Ab) perfect 4th 4 (CF; D-G; Fh-Ab; GC) augmented 4th 2 (FB; Ab-D) diminished Sth 2 {D-Ab; BF) pemtect 5th 4 {C-G; F-C; G-D; AER) minor 6th 3 {C-Ab, G-Eb; 8-6) major 6th 4 {D-B; Eb-C; F-D; Ab-F) minor 7th —3 ; Eb: G-F) major7th 3 AbG) augmented Athidiminishod Sth 7-2 Srd6ihtamily 344 = 7 {Tritene) miner 2acimajor 7th 3 2rdTth family 3 +3 = 6 miner 3eczmajor 6th \: auvsintamily 2 +4 = 6 | major 3:diminor 6th a) “The reasonthat both the 2nd/7in major 2ndéminor 7th 3 family and the 4thvSth fanily are missing some unitsis because of porfectAthyperfeet th enharmonic intervals. We've got B-Eo again ikein medic minor}, whichis a diminished ath/augmanted 5th that sounds ike a major Srckminor Gth. In addition, theres the augmented 2ndidiminished 7ihintewval, Ab-B (B-Ab), which sounds ke arminor3rd/major 6th. This augmented 2ndintervais really what givesthe hermonic ‘minor scale its very dsiinctive ‘color’. Tha construction cf the major scale and the melodic minor scale invovved only hall steps and whole steps. In he harmoric minor scale, we've got an intervat larger han awhole step bctwaen two sealo degrees for tha first ime. 2. Triads The harmonic minor scale contains: 2 majortriads GA ov Vl 2 minortiiads cr tow 2 diminished triads 0° Be ow 1 augmentediniad — Eb+ MW 3. mihChords ‘The harmonic minor scale contains: 4 major 7th chord ARNT vi 4 minar 7th chord RT v 1 cominant 7th chord o7 Vv 1 minor 7(05) chord D-7(b5) a 1 ciminished 7tichord Be? vit 4 minor major 7th chord CMT ' 1 augmented major 7thchord — Eb+M7 mw I thinkyou can see now why it's called he hamenic minor scala! (seven diferent four-part structures). Sec the hybrid four-part voicings, pages 59 to 61. ee ..9th, 11th, 13th chords cm? 9 11 BI Aremesetriadis? 0-7(05) bo 11 13 EDeM7 aon ed 9 #1 1 a7 be 17 bis ADM? # #11 19 a7 bg btt big “Things startto get a ba complicatad al this point. Notice that B°7 has abt {Ennamonically 3). Also, hotice he D13. Since ie B°7 already nas bb? ( 6), this ears you get b13, 13, axdno 7Ih! Kindot wid, isrtit? Notice that Eb+M7 has 18, Since Eb+M7 has #5 inf, weget a siilar alignment: #5-13, (though Lydian augmented —third mode of melocic minor — has the same ting, italso hes #4, Which seems to redeemit somehow. Eb+M7 in harmonic minorhas 11. (Ab) Weird!) Also notice two otherthings: F-7has #1 ard AbMejor7 has #9 plus #11. These give very interesting colors that we haven't seen before, We could calithe mode uit from F asort of uues dorian’ and the mode buitttom Ab a sortot“Dues Lycian’. allof this helps to explain why | suggasted that only fcur harmonic minor modes were eaily useful, (From, 4, 5, 6). From the 2nd degree seems to spol the soundol the V7(b9) prematurely. From the Grd degree and 7th dearee just sees too "weird". However, hisis just my own personal opinion. As always, you mustdecide for yourself, 5. Quartal Harmony (4th Voicings) ‘Three-pantvoicings: B | C FIG F/G) apc —b G ‘Asin mebodic minor, we have the dirinished ath (which sounds Ike a major 3rd) to consider. B Ab B Eb F B {tums outto be an Ab minor triad) However, since the harmonic minor scaleis so inleresting harmonically, | hinkit esto lel each person decide wnat does or doesn't sound good.QUARTAL HARMONY (Harmonic Minor Scale) 3 Part bos ° 2 be a oF to ° os 8 hg ee ee ve @ TT Pa a od Pa Pa Pa Pa Pa pe ir Pa Tr od Rgixe PA 6 Part Pa PA g RAE 2 IT of PA Tt of Pa TT P4 P4 P4 P4 P4 Pe ‘tT P4 AgEszoe Epdar de be o aT P4 PA Pa P4 ae P4 P4 sis ofDiatonic Four-part Chords: Part I Inthese seis of possbilties, the primary sytrbolsystamis ihe 7ih chord terminology while the secondary systemis triads over bass notes, Major (7th chords } E £& @ & B® ¢ Bb ¢ Db E& F G A .B Cyde2; CM7 D7 4 FM? o7 AT B7b5 BE 2 ¢,B & G E c B A G & — o oye?) CM? BS AT G7 FW ET ODT & G Bf Db ££ & & Cc E Ga B D F A Cydes: CM? E-7 G7 B-7b5 D7 FM7 AST BE ¢ & EF DBD B g c A F D B So g Cyce@: = CM7 AT FM? (D7 B75 G7 ET & & o G g é— e ¢ F B & A Ob G Cycles; CM? FM? = B-7b5 E-7 AT 07 G7 8 £€ € G@ B & c G oO A E€ B Ee CycleS: CM7 G7 D7 AT e7 B7o5 FM7 Melodio Minor (7th chords} Bm F— G A RF & Bb c o E> F G A 8 Cycle2; CMT D-7 EbM7 F7 9 GT) ATDS. BBS fh 2 & 8 & & E € 8 A G F & OO Cyce7 CM7 B75 ATS G7 ce Eb+M7 0-7 mm @ 8 2D EF @#& & Cc Eb a B D a A Cyola3: C-M7 Eb+M? G7 B-7b5 D-7 7 A7b5 fb C¢ 4 EF Db gg & © x F 68 8 G & CycleB: ~G-M7) A-7bS F7 D7 B-7b5 G7 Eb+ M7 Eb AY a G & 2 a c F B —> A D G Oycle4: =C-M7 FT B-7b5 Eb+M7 A-7b5 0-7 @ fb B F G@ G 2B # c G D A Eb B F Cycle5: CM? G7 D7 ATS Eb+M7 B-7b5 F7De Harmonic Minor (7th chords) Cycle 2: cycle? Cyces: Cycle€: cyded: Cycie 5: Be c M7 ED c cM Edt c cm mr ¢ eM? f= c cur cur e g ab BD & F D-7bS Eb+M7 F-7 rc fF B a G B7 = ADM? G7 g Pe b G B EbeM7 G7 BY or é Ab F D AMT FT DTD ab ow & F B Eb 7 BT EteN7 RP EF & G D Ab G7 —D-75 ADM B G G7 FT E D-7b5 pe B? c ADMT G Eb EbANT Diatonic four-part Chords: Part ll Inthese sets, the symbot systems are reversed. Major 7th chord variation (or hybrid 13th) Oyele 2: Cycle 7: cycles Cycles: Cycle 4: Cycle: M7 g& ov E7 bp c D B-705 AY Bf A Gq —7 G7 & & D F AT EMT & E G — FM7 B75 E p E A G7 D7 g g F c FM7 — e or S F B75 BP A DT a Cc or g F FM7 ong mm G AD AOMT Eb Eb«N7 meg m™Z olmT OP a z >Re OFF ADM Ee? Be G ar FTMelodic Minor 7th chord variation (or hybrid 13th) CM7 D7 EDM? F7 G7 ADS B75 & 2 Bm CE S a & cydle2; B c DB mF G A GM7 8-705 ATS G7 FT EbINT D7 & B ae s e Eo =D oe?) Bo A GF fm od C¢ CM7 EbMT G7? 0 BTS D7 FT ATOB - i & Ei 2 — x Cycles: B D oF A C Bb @ CM7 A7D5 FP D7 B7bS G7 EDAMT 7 x = o & G b+ Ces BG & Cc A F D F7 B75 BAM? ATDS D7 G7 + g Be 2 a g cles: Bo Eb A D G GC F G7 D7) ATS EbiM7 8-75 F7 a a ae co = rr Harmonic Minor 7th chord variation (or hybrid 13th) GMT DDS EbIM7 FT G7 = ADM? B*7 c Q Eo E g a a ocee BC OD fF G Ab CM? BT ADM? G7 -F-7 Eo? 0-705 & a 4b & = a oO cyte?) Bo AD OG OF m oD ¢ OMT EbeM7 G7 BT (75 7 ARM? a fe Sf g 2 = ab oyes: B DOF am C & G CM? ADM? ~—F-7 — D-7D5 BT G7 EDI? c 4 E& oD B G Ete ces BG fb GC Ab F D CMT 7 BY? EbiMT ADM? D-7bS G7 & & & b+ AD pg Sg Cycles: B fb ”b OD @ oc F CM? G7 D-7b5 ADMT EbsM7 B70 FT & g Q Ab fo = cyees: BB FC G Dd Ad &bDiatonic 4-part Chords: Part tif Inthese sets, there is no succint 7th chord terminclogy system, so the sole systems ‘viads over bass notes. Major (hybrid eth) go A&A B FG B E& E oeleez © dD EF %-F G A B 6S £€ & 2B GG Bk oye?) © 8 A G F E D 6S 8 -2 —€ A G E& ces € F&F G B BD F A G@ & 2 & E 2D 8 oe C A F OD B CG E go ¢ — BF & & b ces CF B EF A DD G G 2 & & B E @g cees: © G BD A E BF Melodic Minor (hybrid sth) Ss © Bp G DB Br E ceo2 C D om F G A B oc £— & 29 & BF Bw coat C BO A G F & BD es gf Bb E£ & & ED ccs: C E G B OD F A GS bm G #& EF 2 & cee CoA F dD B GG & 6 G EF B gr & 2B ces CF 8B oe OA OO So 2 & be B EE & cys: C 8G DBD A Eb BF Harmonic Minor (hybrid 9th) & Ab B c& Qr Eb OE cee: © D & -F G A 6B Go & mm Db & B & cywe7; CB AD G F Eb © G Be DQ — am Eb Gyles, C Eb G@ 8 OD F Ab G bm &¢ m& £& DP fF ces ¢ Ab F OO B G_ Eb gS & & a Ebr fb DF oes © 80F 0680 COBO os oD fb be BP EF f cyes; © G OD & & B F esDiatonic 4-part Chords: Part IV Inthese sels there is no succint 7th chord terminology system, 60 the sole syetemis IWiads over bass notes. Major (hybrid 11th) & DD & & gS Cycle2; C D E F GS A B Pp & G&G £ & DB & Cycle7: C B A G Fe = D e op £ A G E& & cydes: C E 6 B D F A Be G & g@ & E & Cydes: A F D 8 a & PF & & 2 & Gg E owes C OF B £ A OD G Pe £& G¢ G DBD & & Cydes: CG G D A 4 B F Melodic Minor (hybrid 11th} BP ¢ DB md E G #& Cycle2: D Eb - Ss A B r #2 G EF B&B BD & Cycle7: B A G F Eb D B op EF & & fH @ Cycles: CO Eb G B D F A fF G mb & 8 E Bb Cycle 6: C A r D B G Eb Bob 2 Db G@ G E Cyded: £ B Eb A D G fF o£ G G DB B® Ee cycles: C a D A eo B e Harmonic Minor (rybrid 1 1th) BP oc 9 b& & G & Cyde2: C o Eb r Ga Ab B Be a G@ E & PF & cet? © 8B om GU UO Pe p £& a Gf & & ces; © bb G B8 OO F Ab P G & & & & fF Cycle: C Ad F BD B G Eb Be ob 4 2 G G E ces GF B Eb A D Bo EF & G OD 4b Ebr Cycle5: C Ga D Ab Eb B Fe eeSESE oe Modes; Chord-scales: I! When itcomes te chord-scele reletionskips, a ot of tierent people wiltel you alot ot iterent things. Most ol tho time, there's some truth to whal anyone might el you. However, younesdic watch out for any tendency to thirkthat ‘there rmust be one way Ihal’s the best " There isnt. Any sytemof chord-scale relationshipsis bound te have certain advantages aswell as Sertain disadvantages. Consequently, '¢ advise anyone fo find out as much aspossible about many diferent approaches, ly. the two mostimportant approaches are derivatve and parallel (as we've indicated before). Derivative has the advantage of relying on velatively ew "master scales," which ‘WOuld include the major scale, the real melodic minor scale, the harmonic minor Scala, the ‘symetral diminished scale, the whole tone scale, the pentaloni scale, etc, The Complexity ofthis approach invclves tho fact that you needto learn many diferent Felationships 0! how ine “master scale” relates to the chordtype. Examples: chord symbolis F Lydian. Think major scale buiton the fith degree (C major scale). (Chord symbol is G7 altered. Think melodierinor scale buit from (Ab melocic minor : scale}. Chora symbols A7(b8)b13. Think harnonic minor scale built rom the root of where this dominant chord would tand to resolve (D harmonic minor scale). ‘The Parallel approach starts out with all the. complexity because in the beginning you have ‘olearn sevenciflerent modes fromthe major scale, Sevan modes ‘romthe melodic minor, seven modes fore the harmonic minor, etc. As dificut as his may seem, itdoes have the distinct advantage of a consistent uriderstancing of nota relationships lromthe 10018 of the chords. Consequently, tis approach (paralle} is usually understood to be especialy important and usefulfor musicians who pay chords. This way,wo know notoniy ‘the notes that are available, but ‘also their relationship to the chord type in terms of chord- ‘tones and tensions. some stations, #'saitly obvious that derivative is quicker than parallel or vice versa. Forinstanes,ilthe chord symbol is Gb Lydian, derivative thinking might be too siow: “What isthe major scale of which Gb isthe ath degree? Let's see, dol go up a lith or down affth?" The chord mighi be over before you figure t out. Whereas, f you know that Lydian means a major scale wih the 4th degree raised a hat step, you can gotto the Roles right away. So, in this situation, itwould appear that parallel thinkingis quicker than aetivative, Ontae ofher hares # the chord symbolis AF-7{65), parallel thinking would be very Gurribersome, to putit midly: “Let's €¢e, Minor 7(b6) is Locrian. All have to dois take an ‘Ad major scale (A# BE Cx OF Et Fx Gx AB) and flat the 2nd, the Grd, the Sth, the 6th and ‘he 7th. (By te time you figured tout, the whole tune could bo over!) Derivative {tinking would be much fasta: "Minor 7(05} is Locrian. Major scale up a hal step. Oh! I's ‘he notes of a majorscale iomthe 7hdegree, AR Inackition te derivative and parallel, there are olher ways 01 looking atchord.scalo : Telationships. Probably tho mostwell-known ol altemalive chord-scale relationships ‘wouldbe the Lydian Chromatic Concept. (itis beyond the scope ofthis essay t0 go into ay depth on the detais of the Lycian Chramatic Concept, Anyone interested should ‘see George Russel’s book, The Lydian Chromatic Concept of Tonal Organization). One appeaingteature of he L. C.C. is that tis acomplele and ; ‘consistent system within tsell. One less appealing feature is that t can tend fo be confusing to someone who coesnt already have a sirong background inboth derivative andparalle| thinking. Like ary other approach, the |... has t's own distinc: acvantages and disadvantages, | would callthe L.C. C, alybritderivatve aoproach : Because, like derivative, you don't have to keamallthe modes that you have to lear i Parallel You donesd to leam particular scales, in diferent ralaionshipsto chord-iypes, ‘ut tne"parent scales" are somewhat diferent than in normal derivative thinking, es |.| personally think that the most valuable aspect of he t.C.C. has todo with the way that the author Yooked at the overview" The way Mat he chose to organize twas one of severalpossibilties. Butthe factthat someone could lok this way is quite valuable, 1 think. There ere examples of L.C.C. thinking that I've found tobe very usotul. You't find someot temin ths present volume. Again, Imust add that my own feelingis that any system has certain “raps” built into i by virtue of being a “system.” Ontha other hand, to disregard the benefits ard valuable aspects of someone's workjust because t's asystem ‘wouldbe silly, So, my advice wouldbe to checkit out # you're interested, andtake fram t what makes sense for you. ‘Theteis one other approach to chord-scale relationships that needs to be mentioned: Commore-one thirking, (Tomy knowledge there has been no organized approactior tmethodto this kind of thinking, even though many players use kfrorntime to time.) AS {You might quess, has to do wath common tones. nits most simple form, it could be ‘expressedias:"What stays the safe? And whal changes?" works in progressions of chords that have a common tone. For purposes of demonstration, let'stake a couple of progressions and show allfour ways o! chord-scale thinking followad by atheme thathas been moved around to fit each of the tour approaches. Ex. No.1 ‘Derivative Maj. Bb7 Ab Maj.7 Bb? e (C Major) (F Melodic Minor) (Bb Major) (F Melodie Minor) Parallel eo eo -e" ,a0e? (C lonian) (Bb Lydian b7) (Ab Lydian) (Bb Lydian b7) Lydian Chromatic bo be (F Lydian) (Ab Lydian Augmented) (Ab Lydian) (Ab Lydian Augmented) Common Tone ue os ~° ° (Clonian) {C Aeolian Major) «C Aeolian) (C Acolian Major) (C Mixolydian b6) (C Mixolydian b6) Thome: 7123465 Derivative major F met. min Eb mapr F melodie min,Clonian Bblyab7 Ab Lyd. Bb Lyd. b7 Lydian Chromatic FLygian AbLyd. aug, ADL yd, AbLyd.aug Common Tone Clonian C Aeolian mai, C Aeolian GAeotanmai. CMix0. D6 CMbo. bé Notice thatin eachof the four approaches, you a’e stilusing exactly ihe same ro‘esfor ‘each chord. But {think that you playedthrough the progression a number of times using each ofthe four approaches, you would come up wen alferent resus. Observations for Example No. 1 + Derivative is probably the easiest, bul you "mp around’ some. ‘With parallol you tend to shape your ideas the same way the chords nave. + With Lydian Chromatic Concept, thinking F Lydian for C maj. 7 is abit tricky for most people. Onthe othernand. the restof he progression turns outto be stung together in common-tone thinking. + With common-lone thinking, you canstay rightwhere you are and play without moving arourda lot because i's easy to soe “what's the same? Andwhat changes?”Ex, No. 2 Derivative Maj. 7 #11 D-7 (05) 49 G7 Alt. = AT ALL ol {Bb Melodie Minor) (Ab Melodie Minor) (G Majo) (F Melodic Minor) Parallel 1,002 St (C Lydian) (A Aliered Dominant) (D Locriang 2) G Altered Dominant) Lydian Chromatic ¢ e022. = = (C Lydian) (Db Lydian Augmented) (AbLydian Augmented) (Cb Lydian Augmented) Common Tone, (G Major) (GLocrian 2) G Phrygian 6) (G Altered Dominant) ‘Theme: 3125476 Derivative F rel. min. Ab mel. min. Gmgjor G7an : Clydian Avan. D Locrian 2 ee;Lydian Chromatic, Clydian DbLyd. aug. AbLyd. 20g. ‘Common Tone cDLys. aug. Gmapr G Loaian 2 GPhy. 6 Observations for Example No. 2 + After playing the four variations of the theme, you might be temptedto exper ment ‘with skioping rom ona measure of one approach {o another measura of another approach. Icertainly nope so! + Youmighteven see the possbitty of transposing the theme to get even more variations than were given. itso, go fori! (Themes and variations are a very important parol mprovising.) + Yournight experiment with your own seven: note themes, (If yourun outot ideas, you ccoulduse atelephone book for sourca mater) + You mightexperimert with themes o! lass than seven notes (or more). Afterthoughts: ‘Again, no singe approach s"the best” But each approach has definite uses. Each is valuable. Each isworthwhile exploring. Dervaiive: Accessible; very good for “enovervien.’ Parallel: Important harmonically: vety good forspectios” Lyden Chromatic: Less accessible than normal detivative; very good for “enother overview" (could lead io even more ‘overviews).” Common-tone: Uniquely cifferent fromprevious9 approaches; more like an “underviow" than an ‘overview." Chord Type Mode(s) Major 71h tonian; Lycian; (Lydian#2); (Lycian augmented} Minor 7th Dorian; Phrygian, Aeolian; (Dorianif4) Minor major 7in melodic minor, harmonic minor Mirior 7(b5) Loctian, Locrian Dominant 7th ‘Mixolydian; Lydian b?; Aeolian major; altered: dominant; Phrygian major; Dorian b2; whole tone; symmetical divinished (1/2, 1, 1/2,1, 102 1, 1/2, 1) Maior 7 #5 Lydian augmented Galt Fr —“‘s‘“CCSC‘iS@SRSSProcess Idlike to show you something that | hinkis interesting. After deciingto demonstra‘e | haw the Major 7th, Maj. 7(b5) and Maj, 7(#5) chords canbe used as subsites for other chords, Iwas listing tor mysell the possible functions of CMaj.7. lcarne up with six possibieuses: 1.CMal.7 2. DT sus 49.13) 8, D-14 (in Dorian only) AFMARTD BAT 6 B7sus4 (#5 ,b9) “Then igured it would be a good idea to show the use of © Major 7thfor each of the six Cchordsin progressions where the chords ocourrediin context, So lwrcte six progressions ‘of three (or four) chords. Then, i wrote several more versions of each of the six functions using oferent voicings of the C mig). 7 chord, (The prograssions wereusually II V Lor ‘some variation oft) | compiled athe material and wrate tout on papar (which flows) “Then | wondered iit would be possible to string these smell harmonic fragments togethor to make alergerprogression. (The trick would be touse each and every fragment, but ‘only ones!) After much experimenting, finally figurad out a way to do t. | admit ick take some ‘attic iberties’ wher needed, but that's ckay to oo. Then wrote t out on paper {which folons) ityou wrte something like this thal works. youcall ta ‘chord progression’. trot only works but really sounds goodto you, youcallita ‘harmonis continuity! Inthis case, the harmanic continuity came first. Then, I simplified t to write the progression (the changes) wachtellows. Play thraugh and study allot the following pages:Uses of C Major ASC Maj.7 as : D-7 GTA C Maj7 . . D7 G7 Alt, C Maj7 D-7(b5) G7Alt.* CMaj.7 2 o oe io Te AsD7 Sus 40,13) AJ D7Sus4 , Go? GMaj.7 ATAIt. D7 Sut GLyd. — bo best a 2 eo —— 2° os 3S = AsEifyeian G78) CA. Alt. G7 TAL Fly GT) CTA Lys it ga 8 A = i$ & wo f) As BH7 Sus 4 b9 FH7(b5) B7Sus4 E- F#7(p5) B7Sus4 E+ = F#I(05) B7Sus¢ — E Lyd ASAT Ad D7 Al. G Maj. AT DIAL =GMaj.7 AT D7 Al. GLyd. Ey le 2° — 3s Ss 3sHarmonic Continuity ET ob a Cyd © L 3 a 2 CATAL D7 Alt. Bo7(b5) E7 Alt b3 ths ETAL A-7 DT AU. GLydZLAlt EV Alt F#7¢bS) B7 8Chord Progression AT DT AI. GMaj7 ET AT D7 Sus 4 Go? G Maj? AT Alt D7Sus4— GLyd. CLyd. = F7(bS) —BT7(b9) EE GT CTA. FLyd, ATAL. D-T GAL. CMaj.7 F#7(05) B79) E+ AT D7 Al. —-B-7(b5)_— ET Al. F705) B79) ELyd. G-71@S) CTAR FF Lyd. DI GT Al. = CMaj.7 Ab-ll — G-7 CTA Flyd. 0 E7AI AT DIAL GMaj7 D-7(05) G7 Alt. CMaj7 AT D7 Alt Bo BT Alt AT DTA. = GLyd. EV Alt 2 AT DIAL. B9 E7Al —FHRT(b5) BT m3Observations + Ieouklntuse the D Dorian voizings because of the low D* tuning, but | did transpose themupawthole step! (Last two voleings of harmonic continuity). + Inthe first page, aC major 7th chords are bracketed, chord symbois are simties. ‘Analyze and be aware of all chord tones and tensions in al voicings. + Innarmonic continuity, chord syrntts are used only on “passing chords" (litle “anistic Ibety’) that ware nat incudled on page 68. + Notice all © major 7th chords on pages 68 and 89. (Brackets are omitted on page 70). Notice all ether major 7th chords cn pages 68 and 69. (FM7, GMT, BbM7, DM7). Itmight be a goodidea to write a molody for this harmonic continuity. Thon, start improvising onthe changes. ‘+ Think ofall the other tonalities that could have been usec i [had been able to transpose the C Major 7h chord +The harmonic conthuuity is a very good study in four, five, and six part voxings, Study voice leading carelully. = You might have to use atape recorder to play all he notes in the voicings (or another guitarist; or abass player), Uses of C major 7 b5 a CMaj7b5) D-7(b5) GT AL. CLyd. AT AL — D7 B-7 ET (69,13) = os , F#-7(5) FH-7(bS) BT Sus 4 E AlAb7 Alt Eb.7 ADT Alt Db Maj.7—_Bb7 Alt. er ad B-7(b5) ET ag D7 Alt. B7 Sus 4 (69) F#-7(b5) B7 Sus.4(b9) E-Maj.7 Gl3 Stop, Write three ormore vatiations for eachot the six uses (three cr four per variation). Use the three voicings above for the three variations {or uso. others, if you preter) ‘Step 2. Wrile aprogression using at least 75%of the matevial you came up with (add passing chords if you like). Step3. Write amelody. Stop4. Write outchanges and begin improvising. Question: Can you find sx citferent Major (b6) chords in the previous harmonic continuity?Po Uses of Aug. Maj. 7 Chord lo C+Maj.7; C Maj.745; B/C so Tonic Substitute D7 G7 C+ Maj7 D7 G7 Alt. C+ Maj.7 2 es ow (C+Maj.7 is particularly Tateresting Domsinant Substitute (fer C7); in that itis & way to hammonize the G-7(b5) | C#Maj.7 FMaj.7 natural Ton aDom.7 chord, 2 Five uses derived trom Melodic Minor modes: ‘C+M7 isthe lll chordin A Melodic Minor, consequently we shail see that it canbe substituted or used for A-(I}; D Lyd. b7 (I 7 alt. (Vil); and B7 sus4(b9,13); and that, in fact, alllthese chores are somewhat interchangable! CHMaj7 as; A-Maj.7 B-7(b9) ET Alt, A- as BT Sosgh) F#-7(05) BT Sus. es E Maj 9. z qo tpi 2 o as D131) A-T_— D Lyd. b?_- EB Maj.7_as F#-7(05)9 FH-T0S) BAI. E-Maj.7 y ll oor GY ho, 2 Libs as Ab7 Alt. Eb7 — Ab7Alt. Db Maj.7 (hes) 1 Tob ea a le_ Triads Over Bass Note: v1 ‘There ate 48 possible tiads over ary bass note. Twelve of these 48 tum out to be just a ‘Wiad with on ct the notes doubledin the bass. Therefore, wa'l elminatethem. Using C «a5 the bass note those “tedundant” structures would bo: PSG: Cer Bee: ADAR: ACAt ece ce cece eo co ‘addtion, wahave some repottion of structures, sinco the twelve augmented iriads are tweally onty fouraugmented triads. C+ (E+; Abs) was aiready eliminated above because of “tecundaricy” The remairing rine augmented triads are realy only tree. We't waite ‘them ke ths Dos (FeAs) Bos ,iF#e; De) B+ (bs; Ge) ‘This means that, out of 48 possiiltios, only 90 tum out toba structuresot four different notes: Ob Ob Op DO BE EEE Ccctceceeecocedsd FES GG Ab AbtA Bo Bb BOB B Bt ecCceeccececcaoeocce Co : c ° ¢ ‘These 20 structures fal into three convenient types; 1. Obvieus 7th chords (6) 2, Less obvious 7thchords (7) 3. Hybrid stuctures (15) Let's ist them: Obvious 7th chords (8): Bae 07; Boe C-76); Ei =C*7 altcBbn)-0 M7: E-CHN7 ECU? B= Conic diminished c Lessobvious 7th ehords (7; B= DbM7: De =Ob-M7: Dy = Drank cin, c c D-D?, 2--0.7(F8); D075) F6 c ¢ c Dheifa:As) = DbuMt7 ¢ Hybridstructures (15): ES BAER; G & Gr Ab aby A ccc cog ce & Bp Bb: Bh’; B- By BbsiF#s: De} ccece c These hybrid structures can te analyzed as incomplete 9th, 11th, and{ Sth chords. A130 posstiltizs are useful. Not oniy are all30 useful, but each canbe usedin atleast Severalways. (Soa ‘sk Usesof CMj.7";"Usescl CeM7).” 'Rorderto explore this materialthoroughly, you'll have to take eachot the 30 structures and analyze ttin all 12 koys. Exampl: — D=G*7, Gy., Clydo7, D7. Eb" 7.E-7 (b5, 9), F?, Fe7at., ce FH 7; Ab? ak., A-G(11); Bb+lA7(9); B7(#9,b0} Even though you could come upwith allthe possible uses on paper, cont expect tnat youl be able fouso tem al incontaxtrght away. Thatcouldtake some time. You'llind thal you may not reall ike the soundiof some ofthem. iihat’s the case, thendont use them. Outot alitne material thal you generate, youlllbe doing wellif you can actually incorporete 10% into your playing. But having allthe possibiies knowns very usetul because you can always come back tothe ur 4 matoriallateron. EN] esObservations #2 ‘All30 siructures could be ameggialed in countless ways. Ityou take the fourdiferent olesof a particular structure and compress them into one octave, you'll have mary = Each of the 30 possbilties has many inversions onthe guitar. Dont forget that you couid try to voice these chords with the triad spread position as well as closec: fe a gen 4 wo en oom on ith ‘out have ahara time ncn allo these chords # you dont know your tds taiy Isalso very possible to arrive atother structures by puting the bass note above the triad or in the middie somewhere. (tn other words, the "bass note’ does not ahvays havo to be the lowest note of the voicing) ciferent four-note scales for interesting melodic possibilties. Triads Over Bass Notes: it ‘The next fow pages inckide some examples of acifferent way to use triacs over bass otes. We arent concemied with figuring out al he possible uses for each chord. We ‘take a pantcularstructure end move itthrough either throe-or four-note tonic systems. (A ‘Three ‘part 4th voicings could also work overbass notes! three-note tonic systemwouid be an augmented triad; a 4 note system would be a diminished 71h chord} Be sure to voice-leadthe upper structures very caraluly. Thess progressions have an interesting e'tact which s the result of the fact that, alhough each structure isthe same chord ype, the symmetrical bass motion (in conjunction with the non parallel triadic voice leading) disguises” the sameness of sound that migt occur otherwise. Keepin mind that (as was mentioned before) you could spreadthe triad and you couldput ‘the bass note anywhere else in tha voicing thal you wanted. G ee .. ChE & Bo Cr E Bb- EG Bb CH. G CRE G Bb DOF ADB F ABB D BoD F E> FR A Cc fb FF Bb GE. AbD F ADB CF AC Eb A Eb FRA © CH CH Bb GE B BG E GFDb- c Dp ce a2 o« BB ao a 8 40 Bo wS to fu we 28 fo 42 we us Be uo #8 $0 62 @< w8 ue fo ou fu at 2 Be 28 Ba bo 28 co BH Be fu af Bu du of 68 2a 48 do uS so du vu 2S to 88 wx us te a8 a2 b< 68 20 eg gy au ot bu Su af 62 8c 28 Bm do 28 ca BE OB @a fo w8 ua fo So 48 Bx 42 bx 88 ao 58 So 48 au du 88 Be wo am Bo fw mu St So og B« dw Bu et b8 ba <8 2a do BB co HB BB uo #8 83 85 48 48 La Bo a8 b<' 88 do 68 Sa afi du du 88 40 68 2. «f w® ua to 48 20 <@ Bo wS uo Bw wu uO fo B82 we uB Em wo a2 o< S86 62 dx du au ot 62 o< 48 eo 68 So 4& au du &8 ao Se a2 o< 43 Bo B F Ab B D Fo Ab DF Bo CH E+ o- Bb. Db. E- D F Eb Gb A D B B. B E A CG ED FE C Eb Fe A Ab: Bb F G 8 CRE Bb CHE G GHE FE Db E G Bb E G 8 Db G Bb DE D- Db. DOF EG DE D Bb Db Be G Bb ChE Geo G Bb Db F Bb. Db- & Cc E> GA Ab Be G 28 ue aw a8 uo ow a ow 2a rac} a8 22a uo ow oa <0 Bu oa omp E Bb E. c At E B c eB I0 one ogpz om>o opp> om> emm> of Match the descriptions balowto the appropriate volengs above. 1. 2 Ob 2. C6 (rom major pentatonic scale) 3. Vechord from F.harm. min. ‘Ab13#9 (dim. scale) a Bb 6 C7 withs andsus 4 2 & D 8. AM7i11); D7#14 F#-7(b5,9); Abatt 9. C7#9 (Irom dim. scale/ also at. dorm.) 10. ALorC-69 D “1. Ab Bo 5 “Weird” Structures: 12, Gia ; Fiyd.; Ddorian 13, Fourpartpertect Athwoising, 14, Ae Bb 1, C7ak, 16. A B 47. Ablyds C aeolian; E7al; F-6,9 18. CM7b5 19. Ab D 20. AP E 21. c7asit) (symmetrical aim, scale) 22. Ab A compe omanPeniaionic Scales “Denta* means tive. Theretore, any five-nole scale could ve calcd pentatonic. However, ‘wo important five note scales emerge as being very uselu! © DE @ A Major Pentatonic Scale (Chineso) 129 5 6 © D Eb G A Minor Pertatonic Scale (Japanese) 12 be 5 6 Notice that these scales correspond to tne major scale and the relodic minor scale with the dthand 7th cegraes omitied, “The major pentatcnic scale works in all he places a major scale could work. ‘TH minor pentatonic scale works in all the places a melodic minor soaie could work. In addition, since the C major pentatonic scale is contained inthe G melodic minor scale, itwouid work for some melodic minor modes. Also, since the C minor pentatonic scale is conlained inthe Bb major scale, t would work for some major modes. Isn't this interesting? {Cmajerpentatonicis also contained in F major scale.) Dispositionally on the guitar, the major pentetonic scale “tals nappy.” (After al, the ‘tuning of the guitar is an expanded G major pentatonic scale.) The minor pertatonicis more difficut or a bi less accescible. But work with I, Sn@ k's so useful Another approach that you might keep in mind isthe following: since the “problem areas” inthe minor pentatonic scale are the minor rd interval between 6 and 1, and especialy the major Grdintarval between b3 ands, sometimesit'sadvisable o add the ath degroe to ‘cet a sic-note scale. This Yals more happily” on the guitar and is just about as useful as the five rote scale. Another usoful five-note scale is CDEGBb 123507 covers some ct the modes oi the F mejor scale as well as some of the modes of G ‘melodirinor. CDE GA C69 D7 D7susd E-7b6) FM7 G7sus4 G-7(Corian only) (From C majorsoaie and majorscale) : AT BbBT#11 (The chords inbold irxicaleimportantuses.) FromG melodicmin, :G-6 A7sus4(b9) C7 Fé7alt. BoLyd. CD EGA :C6 D7susa(b9) FF A-7(05) BTall. (From C mel. min} FromBb maj scale: EDM7#11 A-7(b5)_C-7(Dorian only) CDE GB C7 E-7(5) Favalt. G-7{¢orlanony) 6-6 ATsusib9) BbM7#i i(weak) P-S. |almost forgo! to mention something very obvious and very important: C-major pentatonic works real well for Blues in! (How many of us started with this? eeSuggestions ‘Check out fingerings for C major pentatonic scale in Positions one through tweive. (Ak, Open Postion.) Explore Position six alo. It's absolutely fascinating (and not vary easy, a ist)! Easy postions aretwo, five, seven and twelve, * Check out fingerings for C minor pentatonic scale in Positions Open through twelve. Especially, Positions two, live, seven, ten, anctwaWva, (Hint: think "2 notes per ssiring).” Fingeingsfor © DE G Bb Penatonic Scale: think twonotes per sting.” 123 5 0? Major Pentatonle Scale (Scales aro shown under staff.) CMaj.7#11 ATA. = D7 G7 alt E7al. A+ (G)_—F#7(05)_— BY alt, DorG Eb F Db Bb c D F Bi C7 Al B7 sust E-7(bS) —ATalt. D-7(b5) G7sus¢ A c Eb Bb F G g A C7al. = FMaj.7 —-Bb7#11 ED Maj.7_ ADMaj.7_- Db Maj.7_— G7 alt. Bb Fit CoG Bb BborF EborBb AborEb Db Minor Pentatonic Scale (Scales are shown undar staf) CMaj.7#11 A7al. — D-7 G7al. E7alt. = A- (G)_—R-7(bS)— BZ alt. A A c Bb: D- ‘Ab- EF C7 Al B7 sud E-7(05)_— AT all. D-7(b5) G7 sus4 OE G E A Bb- E E C7 al. FMaj.7— Bb#11 EbMaj.7 — ADMaj.7_ Db Maj7 G7 alt G Db- D- F. F Bb Abe© Major Pentatonic 6th Position eo a eo S&S = - — =e 2 oS 7 6 o ° 3001 a a 2 21 2001 3 1 3 4s 4s 4s 4s 4 ds oth Sth 4th 3rd 2nd Ast th Sth 4th 3rd 2nd Ex. 2. Sth Position © —-EX.3__Tth Position 2 I 1413 1313 1444 24141413 2424 6th «= Sth 4th = 3d nd Ist oth = Sth 4th 3rd nd st Ex. 4 6th Position wo — Ex.S Gth Position 22 2 s 4 131212121303 3 48 24s 2 452 4 3 45 3 45 6th Sth 4th 3rd nd Ist 6th = Sth «4th 3rd and Ast Observations: #4 closely resembles #2 (everyone knows this one'} and is physically and dispostionally ust about as easy. + f#5.closely resembles #3 (almost everyone knows this one! buts physically and

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