Guitar III & Guitar IV 8th night Spring 2005

• Moving date of performance night• Review of Scale stuff• Have a Marshall Rep (David Spann)coming next

week.• Will also do All Blues by Miles Davis – it is a 6/4

blues in the key of G. Very cool bass line, chords and progression.

• Time for group playings.• Time permitting we will work a little more on

Here Comes The Sun.• Purple Haze – Really fits in with All Blues.• Born To Be Wild

David Spann

David Spann is actually an accomplished multi-instrumentalist who began his playing career as a drummer, but realized that guitar was to be his true calling after witnessing guitar legend, Freddie King. In 1981, David had his first brush with the big time when Steve Walsh of Kansas left that band to pursue a solo career. Walsh contacted Eric J ohnson regarding the guitar spot, but the guitar virtuoso could not take the gig and recommended a hot, young kid named David Spann. David flew to Atlanta and became the first member of Walsh's new band: Streets. At 19, David found himself in the enviable position of writing and performing with a platinum-selling artist! Interestingly enough, Eric J ohnson reaffirmed his admiration of David's playing five years later, when, in an interview with Guitar Player magazine, J ohnson described David as one of his favorite "unknown" guitarists. Since leaving Streets, David's guitar playing has been in high demand. He has recorded with top producers like Richard Mullen (Mullen's credits include Stevie Ray Vaughn, Eric J ohnson, etc.), Andy J ohns (J ohn's credits include Led Zeppelin, Rolling Stones, Van Halen, etc.), and many, many more. He has also appeared on bills with artists as diverse as Roy Buchanan and the Beach Boys! Unlike many players whose understanding of the technical side of gear is limited, David has always had a keen interest in equipment and the ability to share that knowledge with others. In fact, as the Pro Guitar Manager at Musicmakers in Austin, Texas, David helped guitarists and bassists of all levels put together custom performance systems that ranged from simple, straight-ahead setups, to sophisticated world-class guitar rigs. His roster of clients included members of the old guard like Pat Travers, Charlie Sexton and the aforementioned Eric J ohnson as well as relative newcomers like Sister 7, Vallejo, Push Monkey and Monte Montgomery. They all shared on thing, an appreciation for David's ability to understand a player's needs and to help that player select and setup the best possible gear. Korg USA is very please to make David Spann available. We are confident that his talent, experience, and product knowledge-along with his genuine interest in helping other players with good, sound advice-will ensure a memorable and rewarding visit.

Watch the fingering

• While there are a couple of ways to play some of the scales, most have only one fingering that works. If there are more than one fingering pick one and stick with it until it is mastered.

• Keep your thumb in back of the neck and do not move it when playing a scale.

• Don’t press the frets too hard – it makes the notes play out of tune. Play close to the frets without being on the frets, do it with just enough pressure.

• Try to minimize your finger movements.

1

2 3

0 0 0

1 1 1 1 1 1

2

3 4

E Major E Form (G Major Chord)

Here is the form of the chords that the first scales are based on

G Major E Form

E Form Major Scales

3

Position 1E FormG Major Scale

Notice on this that it stars and end on the 2nd finger and that is the root.

Don’t play the 1st string 5th fret for the major but for the Dorian and Mixolydian do play it.

The Dorian Mode will start on the 2nd note of the scale – this is an A Dorian. It can be used also against any Am7 chord (or Am – any number).For the Mixolydian mode it will start on the 5th note of the scale or the D on the 5th string 5th fret. So this is a D Mixolydian Mode.

12 3

X 0 0

1

3 3 3

X X

A Major A Form (C Major)

4

A form

4

A Form of the Major Scale

Ideas

• Notice that both scales start on the 2nd finger (E form and A form). There is a shift on the 3rd to 2nd string – that is the only difference – same fingering.

• Also to play Dorian start on the D (5th string 5th fret), again D Dorian mode.

• For Mixolydian you will start on the 5th degree (G) so start on the 6th string 3rd fret and you will have G Mixolydian.

2

3 4

1 1 1 1 1 1

2

3 4

G Major G Form (A Major Chord)

A Major 2nd Position.G Form

Note: 3rd string 1st fret can also be played on the 4th string 6th fret.

(4)

( )

G Form of the Major Scale

1

2

3

0 0

C Major Chord

1 1 1 1 1 12

3

4

C Moveable Chord (D Major)

Use this as a visual basis for the chords and the scales.It is one method that can excel you learning of the scales.

Notice how the notes in the chord are all in the following Major scale. In fact, 3 of the 7 notes in a major scale areIn the chord. Try to visualize that on all of the chords and ‘Scales. It will also help you with doing chord extensions.

D Major – C form

4

C Form of the Major Scale

You can also play this by going all the way down to the 6th string 2nd fret – that would fully cover the position. The pattern above isMore of the standard way to play the scale.

Ideas

• To play Dorian start on the 2nd note (B) and you will have B Dorian.

• Mixolydian start on the 5th note or E and you will have E Mixolydian.

• By now you should start seeing the pattern.• The next scale is the C form and is a D major.

Note how it is the same as the G form or in our case the A major! The difference is the change from the 3rd string to the 2nd string.

Previous Slide Information

• It is the C form in D major. So it is a D major scale as played.

• Start on the 2nd note of the scale and you will have an E Dorian.

• Start on the 5th not of the scale and you will have A Mixolydian (5th fret of the 6th string is where you would start that.

1 2

3

1

2 3

4

D Major D Form (E Major)

0 0 X X

Note you can more the F# on the 1st string 2nd fret toThe 6th string 2nd fret (both strings are the same letterName – it works out better for most cases.

E Major D form.

Or E Major0

1 1 1 1 1 1

3 3 3 3 3 3

4 4 4

4 4

D Form of the Major Scale

D Form of the Major Scale

This is what Santana stresses

• For this form the 2nd note F# is the F# Dorian. It just lays down really good.

• For the Mixolydian start on the 5th or B.

• This concludes the 5 forms.

• I practice these every day in the following order. C, F, Bb, Eb, Ab, Db, F#, B, E, A, D, and G (Cycle of 5ths). But start by just memorizing the forms.

Take your time and master each form! Do every day until you have

it down.• Play each form at each fret. Say the scale as

you do it.• For example, doing the E from starting at G

major (2nd position but first note starts on the 3rd fret of the 6th string). Then move up one fret to Ab then another fret to A Major, etc. Say each scale as you play it.

• Then practice them saying the name of the scale degree. So for the E form it would be 1, 2, 3, 4, 5, 6, 7,1, 2, 3, 4, 5, 6, 7, 1, 7, 6, 5, 4, 3, 2, 1, 7, 6, 5, 4, 3, 2,1 – always remember to just play the top note once.

Next Steps

• After this is mastered you can work on the other scale forms.

• For minor (usually Dorian Mode) you lower the 2nd and 7th degrees of the scale – that is why you need to know the degree of the scales.

• For a dominant chord (such as G7) the scale is the Mixolydian mode. For that you lower the 7th degree of the scale.

• You will find that you can do that with all scale forms. It makes it very easy to learn new scales. You just have to know which degree(‘s) to alter (raise or lower).

Summary

• Scales are derived from the chord forms. You should know the chords before the scale forms. The scales all have the same whole – ½ step form.

• The scales always go up the neck in the same order (CAGED).

• Learn all the scale forms in every key.• Once they are mastered try the other scales.

They are all derived from the major scale.• Take them slowly – speed comes with time and

practice.

All Blues – Miles Davis

F. Markovich

Before we dig in!The process

• Start by listening to the piece.• Then Analyze the chords.• Listen closely to the repeated bass line. Sing it!• Now the melody. It is built largely off of intervals of a 6th. • Learn the Melody, then the chords, then the bass,

combining chords and bass.• For this it is possible to do all of the parts at one time.• Do the scales used.• Analyze the solo.• Do your own solo• Put it all together.

Count (1&2) & 3 & (4 & 5) & 6 &

The bass is written out for both guitar and 4 string bass. Start on guitar by playing it in the 1st position. Then try the 3rd and 5th positions.

Degree of the scale 1 (rt) 5 6 5 b7 5 6 5

Note that the chord tones for G7 (The chord for this) are G B D and F. E is the 6 th which can be Considered as part of the chord. Note that the 2 notes used the most are the 1 (G), (root) and the 5 th

(D). Note that the G or root is used at the start of the measure!! This is the note that will be usedthe most on a chord change or at the start of a measure. There is a swing to this so listen to the

music to get that feel correct.

This 3rd version will lead to combining the bass and the chords.

The key is to get the feel of this even more than getting the right notes. It has to really flow!! While the timing is written out it is like a swing. Without that swing it will be stiff and not flow.

The seaThe skyAnd you and I Sea and sky and you and I With all bluesAll shadesAll huesSome bluesAre sadBut some blues are gladDark and sad or bright and gladWe?re all bluesAll shadesAll huesWe?re all blues

All Blues Lyrics

All Blues Chords

1 1 1

C/E

2

3

G7

G13 or F6

1 1 1 1 1 1

3

1

2 3

4

6th

Fret

Here is the voicing and look at the next page for the Rhythm figure.

Next add in the Chords

Chords are as follows:6/4 ||: G7 | | | | C7 | | G7 | | D7alt|Eb7alt D7alt| G7 | | | | | : ||

1 1 1 1 1 1

2

3

G7 C7

1 1 1 1 1 1

3 4

For just this class play G7 at the 3rd. Can play just C7, D7 and Eb7 for the C13, D7alt, and Ebalt respectively. The next slide will have the chords that are exact.

Next add in the Chords

Chords are as follows:6/4 ||: G7 | | | | C7 | | G7 | | D7alt|Eb7alt D7alt| G7 | | | | | : ||

1 1 1 1 1 1

2

3

G7

1

2 3

4

D7alt at 4th, Eb7alt at 5th fret – index)

X X

C7 (C13)

1 23

4

These aren’t the only voicing choices but good ones to start with.

Remember the count is a 6 count.

G7

1 34

2

Here is the voicing used for this but any chord voicing works.

Chord Progression

6/4 ||: G7 | | | | C7 | | G7 | |

| D7alt|Eb7alt D7alt| G7 | | | | | : ||

Remember to count to 6.

Class will break into 3rd’s, first group will start with the G7 bass – 4 bars as an introduction of bass only. Then chords coming in for 4 bars of just bass and rhythm guitar, then the melody at the start of the progression. So 8 bars of G7 vamp to start.

This is an example of a melody in 6th’s The D to B is a 6th ( D, E, F#, G, A, B). 6th’s and 3rd’s always sound good. The whole fist section of G7 is 6ths and

then ornamentation on the melody. Start with this. The ornamentationcan either be played individually or use hammers and pulls.

Here are the first 4 measures. Very simple but sounds great! Learn this as the first step in the melody. Be able to sing it also.

This part of the melody is just playing the C7 scale starting on an A. The D at the end of this is leading up to going back to G7. Watch the timing. It is counted:

(12) 3 (45) 6.Count (12) 3 (45) 6 (12) 3 (45) 6 &

Back to the G7 – again 6ths’s. Then the G# leading to the D7 chord.

Very interesting here as the it is mainly just the 5th of the chord for the melody. Then on G7 it is a background riff.

The next 4 measures are really a vamp to go back or to the solo section.

This is the backgound

All Blues Melody -