Vol.2 - Intermediate

8/4/2019 Vol.2 - Intermediate

1/95

, ,,-_T h e C o m p l e t e J a z z G u i t a r I M e t h o d

Beginning. lnterm ediate Mastelring Chord/Melody. Mastering lrnprovlsation, - .lODY FISHER] -, ,~ \ ~ . ' . \.::; _

~_ . I ... . . . ! r--_-_ . .. ---;- , . .

'. , _ - ..

Alfred, the leader ineducational publishing, and theNational Guitar WorksholP', one of America's finest guitarschools, have joined forces to bring YOLI the best, most

~ progressive educational tools possible. We hope you willenjoy this book and encourage you to look for other fineproducts from Alfred and the National 'Guitar Workshop.

l

Copyright MCMXCV AUied Publishing Co." Inc.Ail rights reserved. Printed in USA.

Ar;qulsllicm, eailona'; musil': Iypesettfng. inten"ordesign: Nathaniel GU1'Iod,Workshop ArtsGD reoorded 8mjeflgineered by,s'eve Robe/1son ~I Slanding Room Only Siudios. Fontana, CaliforniaPho'fo acquisiilon: Michael Allain, Wor1(shop ArfsCover phD/( ) : Jeff O$hfro Cover design: Ted iE'ngell:JanIManf)a WrdrnalPl lConsull ing I3dilor: Vnk Hamsoarger, Allfed Publishing

1


2/95


3/95

I

1

J~ ' 1.l

Tille "A" LessonsChords and Harmony

. ,Ttle "S" LessonsIrnprovisa tlor

Chapter 4Le~son I A: . Chord Connections _ ...56 Lesson IB. Learning U:: :s # I ~ ~ __. S 9 -

: Major Chord Udu: _ _ _.._._ , _ _60Le1!lon 2k Chord Cl'lMec6ons #2 .._ ._.._._ 62 'Lesson 2B: La~ming Licks#2 _ _ 6,4

litnng Set 6-S4-1_ _ __ .. ._.~. _~.~. 62., MinQI", '~k~ ~._ .._.~ .._ _ ._ _,._ m_._.._ _.6,4'String Set 5-4-3-2 .._ ~__ _ _ _ _.._ iliJ iiString Set 4-321 _ _~. __ _ __ _ 63 Lenon 3A: Chord CI\7nr1(!c(Jon,sn3, .__ ___ _ _ _. 6' : Lesson 3,8; le .arning Licks #l_ _._ 68

MovingAcflO~!j; the Suing SeES __ 66 . ,lesson 4A! CheF

Dom in-lint. U ck! _ ""."" 5 - 8 ,Lessen "8: Learning Uclct #1 ,,"" __n

min-tS L icks _ ..__ .. _ 72

,Chapt:er 5Lesson III.; The Blues frogrucsion .._._ ...:......._ ...__ ._. __ .1"1 Lesson 16:Soloing OYer Sluc.s Progres.siens, _ ....,,_ ......._. 7Sii C Minor Pem:om:micFillgerif l{:s ~ ,._._ ~ 76

C Blue:$Scale Fingering ,s __ . . _.. _ 79 C M ixolydian Fingenngs _ _._79 Sample Blues Solo~,__ _ 80: B lues Solo #;/ _.~ _ ~" "~_._ .._.~.~ 80

Blues Sol!l,#2 ._ .. ~~_~~.~_~ 81Blues 5"'0QnIA TYrr1l!IVund5 .~ _._ .. H _ , _ ._ . . _ _ . . ~ _ . . ~ _ . _ _ 186 Les$On IB: Soloiog 0 er Tr~rnaround5 _~_ 87Chapter- 8

ILessol1 IA: Chord Solo ~_._ _ __ _ ".. _ ,81!1 Lessen I'B: Slngle-NOle Solo "" _ _ .. 90. ,, F o g g y ~ . . _ _ ~ _ _ ._ _ _ . _ ~ ~ _ . . . _ . _ . ._.S8. Single'N i ll e s . II lI !1 C 1 1 1 i i i 1 _ _ _ _ ~ " '90Coda-A M,edleyo( Suggestions and Musical Concepa

PJaYll"lgWith G,oodTone __ _.~ __ .._ _ ._ ._ _._.~ _ __~ 91More About Practicing _ ~ _ __ _ .. __ 92Th V . lue of PraCtiCing Along a 'SIngle String _ .._._ _._ ._ .._ ..__ __ .93Singing Along With Improvisad Lines _ __ __ _ ___ ._..__. .. 94Us"enin,g to: the 'Grc.atlo _ _ "" _._ ~ _ _ _ _ _ , _ 91

Table of Cencents 31


4/95

A B O U T T H r A U T H O Rjody fisher has wo'rked professionally in virtuaJly all uy~es of music during his career,from straight-ahead and contemporary iran, to rock '1'1' roll,couotry, pop and she .....tunes,He taught Guitar and Jazz S:wdies atthe Unjve.rsity of Redlan,dsin Southern Califo.rlllill andat rhe Idyllwild School of Music and the Aru (ISOMATA). An active performer in [heSouthern Callirornia area, he still maintains a pr'ivate teaching practlce, serves on the fac-ulty ot the Univenrty of La Verne, and as an asscciare director of me National GuicarSummer Workshop's Callifornia ;mdl Nashv.ille campuses. Jody Fisher is [he author o r theGui[or Mode E.ncydopedia, also published b . : y [he National Guitar Workshop and A.lfred.

41 About the Author

L

[

C'L[,B IIc

[


5/95

I H T R O D U ( I I O NWelcome to [he second book of :a four book series "bout to Iplaying jan gUIt .:ar : Theftormat Q r this book is thesame as B e gio nlin g J az z G ui!ar. e ac h ~ hilp te r is : divided lnn o les-oons,and each lesson is comprised 01 two sections. The "A," section of every lesson dealsithchord work and harmonic concepts. while th'e"S" secrleneentains inferrnaeion aboutingleline improvlsaticn, The CODA !leeriQ["l ;'Hthe end of the book discusses techniquend a variety of other areas af im.c:r~st co ian guitar students.o get the most out of this book YOlJshol.illd a,lready be rami liar with major ami minlore nt~ tQ njc sc ale s, triadsi!.nd chords with ex tensions (,>ucl1 ..s '9 th~ . I I rhs and : I J rhs )" .trans-osition, basic diatonic harmony. the modes o,f the major 'scale and melodlk patterns. 'iicuon't need [0 be an expert in all of these areas, but a l'irm grasp of I)he concepts willrc;IJinly help ymlget through ' m i s , vol!Jrne more easily.

series, 8 'eg inn .ing joz l. Gu, i (( lr ,lmemrl :d jacc 'ja 'z z Guitar, MOSLeringjozz Guilal':Cllord/Me/odyd .Moste'fing jo'rz Cuitar: Improviso. t ion, ICl".vers an. enormous .amOl..lnt of maleriaLBe sureo ,Supplemellt this, information with lesso:n~, pr~ctice, and other iO$~n:!ctioni!1 boob and

tapes. Also. playin;gwith others is very important. for your o'evelopment.hile the (oyr 'books in this series progress from elementary id,eas to very complex con-epts, the more advanced playerw,Quid benefit by checking OUt all of them,Even th~

book comains some "Iery challenging maeerial, The series, is designed so that itan be used asa reference-5,Oft of a C'at:a.lo,g;ue'f concepts for jazz guitaristS-OIF as all Of't:~F1iLedmethod to be used with an insuuct.or or on (HIe~ Own.wish .Y O IL l lots of joy as you absorb dhis il'lfol'matjo'l'i. ,llmpe this book will help you find [heelf-expression you ar,e looking fot through music ;1od the gUitar.

\ - : ~)Ti""~_d!!;~g

A compact disc is o,,",aHobfe fo r leach boo.k: indl'is, ser.ies. rfle,N~discs con Imake rearnJng with th'ese ,p'ooks eaSier and more enjoy,oMe. T'hh symbol' 1 1 1 m appe,(jrne~ to every !'!)I!"Qmpfehat i~p,rayed on the' CO. Use the CDtoherp insure ~hClt you Cl!l'e'optul":ingthe feel of the examples" iote.rpret.-lng the , rnythm:s: cori'ecdy. and so on. The' Track numbers and Jnd'e'x num-ibercSbelow tnJ! symbob Ccunisponal d'fli'ecdy to the examp.le yOU' wont tohear. Truck I wWhelp )('OU tune ,to tilll!! CD. Have fun!

:.

. .'

Inrrodccclon S


6/95

I I

( H A P H cl e I J O n I A : T h e i i - ,V7-IP r o g r e l l / O R [,f you have been pl,wing blues or rock gl.lj'tar for ~ n r length or time, yO y should be qUite

fam iHnr w ith the 1 -IV -V7 progression. It is the harm on ic . b asts for countless $ ,Q ngs andarrangements in many styles of music. In jazz. the Ii-V7-1 is the most imponanc chordprogression. The ii-V1-1 progressiOf'lI is so tmpoetarrr, and 50 common, because its soundesrabllishes the key of [he 1chord.

I[;In order to understand this more fuilly il: migtlJ[ be' helpful ro think ofthe [ chord ln any keyas a gjan~ magnet All of [he diatonic chord's in iu key have varying 'levels of attraction backto it. For instance. in the ke y of' C, if you plar it G7 (V7) chord by itself, your ear feelsuos:!.Cisfied. When you folloW'that G7 chord with a C Major c-hord (I) there ilS a r~eling ofresolUtion or completen~s:i. The iiVI1 progression implies the key Genter in ,0 1verypowerful way because of me harmcnlc momentum sec:tip by the ii and V7 chords, and the"pull" 0 'the I chord on them, All chords, eve.muatly"wanc" ro return [0 I. but they alsohave an artracdon to orner chords In the key (and sometimes outside ehe key) as weJI. Thefollowing chart shows m e most' Common chord movements. [;

r~L

~ Attractionr _ _ Establjhes ke y centerIi ,.. Moyes to V7 or Iiiii ,.,Moves to vi or ~iii~V M oves to V7 or I

IV7 Moves co Ivi Moves [0ii or vivii Moves to [

[J . j , (

Many songs ill the stanidard jazz repertclre consist of various ii ,-V71 pirO&l'tessions travel-ing through many keys. We w iU calli tl'lese"'tnveling ii-V7-I's." I c is impor"pililt to nQt~ thatthe ii and the V7 chord will scll! establish [he key center reprdle'ss of whether me 1chordis present 001' no',- As yo u will see, onis I. s a commo,n- srtuadon. The following chon! pro-gresslen is based on "T une U p, . by Miles Davis. and illi.l!strates 'the idea of the [lnivelingii- V7-1. The circled le:rre'r~ indiGate the established ke y c;el'liter.

[:(p o :

~ ([: t( .

6 Chapter I-lesson IA . : The ii-Vi-l Progression


7/95

]

' '

.-

,

. Jl

T~.ci"1.1

I.

- ~

~ - ,' '_ '~~.:l

iiEmin7 "1A7 'IDMaj7

1Bb ,Maj7

,\,1G7 ICMaj7L. L

tJ@ii V1"Cmln7 F7I.lJ;fr'T't J ./ " J ~. J ../f)

- @ii V7/i,Emin7 #.7,. ./ " . ,- . , - " .,-....J,~@ ) i i

Emin7V7A7

L .L L : ).Any and all chords in a ii-V7-iprog"essionca,n he altered or' extended, It ......l l sWlbr:

considered a iiV7-L For insum:e.Ornin9-GII-O'bjl.3 would still be considered iIii-V7-I in. C, As long, as the rcotsa ..e a perfect 4rhapanand tl1e qual1ities. appear lIS minor,domln:B.'f'lt and maior respectively, a ii-V7~ exists.

t :: "\1 ."~IIAminS

'V 7011

IG6

iiFmirm \1 7.B~13 IE! .Ma j9

S in c .e s o ' ma r ry : s ong s 'cOflsi~[of cr,3vellng ii-V'7-J progn~ssiQns.youl can see tint memorizinga lot of songs is,n', such a,big deal. You simply remember the :keycenters [hat appear in theoverall! progression,. In almo.st every song you'll learn there will be sections that do not fuJ'1into this ii-V7-J paltern. These sections are geoer:allrth~ p;i.irt$ that add mtere$t t thel;Of'lg anti make it dis{inctive. Obvipiusly.you ml.1s.[knQw what the ii-V7-ll)rogressioru arein every key sotha:t you i:iln pick 'them out easily, Here 'they are-memori-ze tbem!

'Key II Y 1 . 1 ~ li V 1 JC Omlin7 G7 eMal' d .A~miI!117D~7 G~Mil.j7F Gmin7 C7 fMaI7 B umin7 F;] SMa.jlB~ Cmln7 17 B~Ma17 .E ~milrl7 B7 EMajle " , ~Ma17min7 87 A Bmin7 E7 AMa.j7A~ s'~min7 - 7 A~MilI7 D Emin? A7 DM.2 j7DL .~mjn7 A7 D~Mai7 G Amil17 D7 GMa j7

Fcx more inform.ationconceming the ii-v,.r progression check OUt Ma,ner1ng Chord Mefod)"al50 (ro m thi$ .$,ell'ie.~,

Chapit.erI-Lenon IA: The i i-V7-I Pl"ogre~slon 7


8/95

l e s f o n 1 8 . ~I m p f O V i I i n g O v e r D i o t o n i (ii- V 7 - / P r o g r e I f io D I

I e", ~~r~

Tile rule forimproYI.sing ever diatonic ii~V7-1 prcgressslens is quite simple.iI.1: leastae thisstage of the game: use t~e: major scale otclle I chord, If [he progression is Gmin7-C7-FMaj7. improvise iHiri.g. t n ' e F H...~(N5c~le;(Qr Cmin7.f7-SiMaj7. use the B~major scale.etc,Be sure the chords in the ii-V7-1 are not alcered .. 10other words. aJI chords with a raisedor [ewered 5d-n (~S.~S).9th (19.~9) or llth (lil. ~II) woul.dl make this rule inapplicable,bec!iwse t.lH~-:H! .altered cerres iII!"enot dia[)onic(noc. i t ' ! the m.ajor scald. Artier we get ahandle on U'sing the major sc;.;jll,we wHI I'earn ho,w to handle non-diaconic siruariom .

[lIExample 3 will help you get used rethe ii-Viel sQUlld,andcrain you co gee around fromkey to key, Use (he CD chat accornperues thiS book. or recQrd Ot'l:chord -prQgres!>ions,and play along. Simply practice ,improvising over the 'i!ntir-eprogresslcn withoutscopping.Each ii-V7~1 progression is repeated tw.ice and then moves 011.[0 the nexc k~r. Use all themajor scale fingeriingsthac. yOU' know in all areas of the fingerboard, For some general 'tipson howto get started improvising ..check out the CODA sectlon in the first book of this.

r , ILIn :L (series, Beginning Jazz Guitar. 8 ' I

V7G7

.r2 77 Z7 !I 2~I 7Z 7IeMaj7I~IP 7 7i ZI 7Z I2 72 77

V7-0 7

z7 77 J z z7 '77 z 77 7 77 7 z7B {,. (FMaj7 77 7

zI

8~Maj7I 7Ir rIJl'V1

F77 I I7 1l 7777 ;1 7 . . . 7

7

[E~Maj7

1.J:? 27 2 L : U[.(6 ,. ,,F (I.: ,[ 1[

. . V7,871 : = : 0 2 7.7 z 2 2 z

u V7 I~~~~IB~b~:~i,~n7~~2~7~~;~7~~;~/~~~E~~~7~~i~/~'~2~7~.~ ; ~ / ~ ~ b ~ ~ ~ ~ z ~ 7 ~ ';~r~.~l~l~'~ ~ : z ~ ' ~ ~ ~ I : ~ 2 ~ . ~ l ~ ~ Z ~ i ~ ~ : : L ~ , z ~ . ~ ~

z 7

1D~Mai7 'I t Z 77V7A ' - 7I 7 77 7 22 7"7 /z 7 z

8 Chapter I-lesson 18:lmprovising Over Diatonic ii- V7I Progressions


9/95

ii \/787 IE,Maj7 1 : : c = % 7 I7 6 81/ 7 7ii \/7 I

E7 A77 ;r 7 I z Z 7 if Z - 7' -- t /7 J' Z Z 7' 2 Z ?

\/7 IA1 DM:ai77 I' /' I I' 7 2 Z ! 7 ,Z , 72 7 7' 2 7' 7_ I . . . . 7 ;/

~Bml.n7Z

V7D7

IGMaj7I7~7 7

The following progressions will give you some practice dealing with traveling il-V7-1 pro-gresslons, To do this effectively. you must be able to pick out the IndividlJal iiV7~1 pat-terns and improvise using the major scale of the current. r chord. Pral:;i\.icethese ulltil youcan impl"O"'ise freely using several differ.!;!I'ltmajor scaje fingerings upand down tile linger-board. Afcer rhar, make up you'r own exercises chat follow the same idea.

@..ILatmin7

@..IIAI>min7V7E \ . y IAb~171 7 7"7 Z IL~ I r - - - - - - r ? 4 ; ; Jd/Majo, Sca le . I

1 / ;;z~ Z1J

ii 7 0.. \'1 @.. V7" L IFmin7 8'7 Gmm7 C7 Fmin7 B k r7 J z z,0 ' / : 1 _ 7 7 7 i' 7 1


10/95

7 7 - 1@ Il V1

Cmin7 F7/~ 7 I 7 ;; ;; ? j 7 -7 Z Iz, - - = : : : : : : z . : . 7 . Z -I 7 ~ ~r 7 2 7________ ... B~MaiorScale _

iiFmin7

78'7)I'I 7/ 7 7 7 z z

EL M a jor S ca le _- - - - - - - - - - - - - - - - - - - - - - - - - - - ~V7A 7I " I,Z L L r r 77 7 z-___________________________ , IO ~M a jor S ca le 2I

--~~----------- ~_I

@ ) ii V7 0Omin7 G7 Gmin7

~Z 7 L;1 [7/ / 717 / LV1C7

7 I 7 / 7 I ~ I II Z 7c t lt la JorS ca le , FN la jor S ca le ..Jj Ie Ie .' o ii .G.,.min7

6~!7/LZi'".. d. - F IV Isjor S ca le - _ - - - - - ~ ~ - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -'S.l

V7C7

iI 7J 777, 7Z 72 7 I2Z77J ;=2@ ii vi

B'~mn7 . E'7 .~ 7 7 7 7. i / , , , i ' 7 7 , i ' L 7 7 i=7 r L L:L 7 Z L:' Z 7 Z':L I Z 7:

~ -A Major Scale - - - - - - - - - - - - - - - - - - - - - - - ~ - - - - - - @ itArnitl7

Z 1 2 ' zV7D7

Z 1 . /V1IO ~1 77 7 L LL I %2 z 7 27

GWeior Sca le - - - - - - - - - - - - - - - - = - - - ~ G bM :ijor S ca le ,o Iii V7 IGmln~ C7 FMaj7

~ 7 Z / 7 i 7 ~ 7 7 i 7 ~ ;:_, 7 i 7 L Z qZ 7 7 : 7 L I 7 : I r ~I :r 7 7 ' = = = = =F I \ A : I j O f Sca le - - - __ - , - - - - - - - - - - - - - - - ,

10 Chaprer I-Lesson IB: Improvising Over Diatonic iiV7-1 Progressions

7

r~1L 2 ' 1

E :It,~H (C

F't P(


11/95

\17C7

i.iGmin7

7C7

IFlv\aj7

IFMaj7 -z-;p;r~ B

ii V7Dmin7 67 CMai77 I 7 ? II IFMaj7

lo r Scale ,

'7D70..IAmin7

0..IDmin7

\'7G7~7L 0-----/ ' I /

, jcr Scale ~ _ ~ __ J G jor Sca le C IV Ia jor ScaJe '

Vi [G7 CMajl

0..illGmin? 7C7 IFMaj7____ - - - _ - - _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ F - - ja r S ca le s ..J01 7 I .. v , ii 1 It II

Dmin7 G7 CMaj7 Fmln7 B~7 Dmlnl 07 CMfl.j7

C r..tIjol' Scale , E~rM a jor S ca le ~ C I\/Ia jor S ca le

Chapter J-les,son IB: Improvising Over Diatonic ii- V1-1 ProJ!msslons II


12/95

, . : . .

I e J J o n l A I 1 B : D i 8 l o n i ( A r p e g g i o I SEGeol"'geVall Eps once said "arpeggios are mellted chords and chords are fr'ozen arpeggios."That Is pretty accurate. Arpeggios are simply [fle notes of a ehcrd sounded one at a timerather than simultaneously. As you wilJ see, it is very important tQ know arpeggios be-Gause they will help you g:'lin more control over' youI' solos. They are also all importantingre!l'ien c in understanding harmony, which is why this is born an "A Lesson" and a"8, Lesson," [The following diatonic arpeggios are based on [he major scale fingerings firs,( introduc.ed inB e gin nin g J az z G u ita r. The diagrams that follow show the arpeggio fingerings preceded bythe' major scale fingering on which chey are based. Note that all rhe lIrpeggios begin onthe lawen chord tone In [he scale fingering. and not necessarily on the root. For the mostpart. [he fingering,,> for each arpeggio are consistent; wid! the scale ringelfing kom which itwas derived. Plck one or ewe sets of these arpeggios and memorize them, Come back tQJ[his lesson later, alndimemorize some mere.

[t

The scale fIngerings are named (or [he poalrlon of lowest: root in [he fingedng. Forinstance, 6/2. 'means that the lowest root in (he fingering is on the stxth srri'ng. and playedwi(h the second finger. Read the scale and arpeggio ringel-lngs, from I~It:to right. startingon the lowest srring and moving to the hlghes c.

Ji : -eMai7 . . . . ! t 2-._- ~ - "'----_T- - - - - ) ' . -~3 -- .. - ";--'-1 . -_:]=--1----r.- -,", :>. - I- _ .- - - - - - ! . 'R _. _- -- .,-- -~ I . - . _ .. i'. --' ---_u . U,)'i}-~.__... __ J _

VIII X

r[C Major Scale. Fingering 6/2[:

,_

Dmin7 Emin l

VII

: ~ . = ~ ~ -~ l,.----~- . . . .-~~--- . . . . . .

rL[FM:a j7 G7

VII x

rb

Amin7 Bmin7rS [I -~.-2_ 14A_- 3 .1 A 4 . I1 . ~O I2$ J R I 4 eI 4 .!- 4 .1 : : ' 3 1 1 ;- ~-1 R - 4 , .VB x VII x ['r 2 Chapter l~lessol1l lAl2B: Diatonic Arpeggios


13/95

C Major Sc:ale.Flngeri~g 614' . ~ , . ,~- _ - ! ,"f'i' r1 . _ 2 ' . r ' ; 1, iIl", 3 .-- I . " . I: ,GeI ' . 3 .Ie 3 , . 11' IV vIIDmin7- l , I , t 1 ' I~. '~I 1- - - - - - r _ ,.'1.__ , _ _ 3.,13:-_.)]:: I _ ' " }- l ' ~~' ' ' - . I I . . [ .,. I, -.- I~_ = ~ ; . . _ l _ LII, .v v VIIIIfMaj7 G7- . J . _I-'i~._ i

1._1--_~__ : I .fl.1 .

Amin7 Bmin7>.s

VI I


14/95

,IF M a jor S cele , Fin gerin g 6 11" . - F I ' 1 a J 7 - _ 3 . ~ 4 . _ j _~ .: -_ .. - - -;I -~__~. ' - ~ ' . ,- . - . _ -- ~ I . _ _ - -,. -_ _. I __ ... __

v[:

3.....,J-- ~. ~ , _ ; ; ; .' I . ~ -l.l@ 2 . 4_-II

[,Gmin7 Amin7 [

! , I . If!JI 4 ' : :i~ ~,::I 2 e - --I 2;;'' \ B . -- -

[II[ v

IJt:[C7, . - = ~ ~ .i~i.-r-i('!'-- - --~---- -----"~~I _.- ---------- -_~I _ . _ 4 . - - - - - - _ _ ___. ~J 4 . . . . I _

III v

-r-'-1 C)2 '

: I .-i~. 1 4 'A 4 . :--f--~R) I___ 2 ..-l ___L [ill v[.i.L[

Dmin7 EminPS r'lwI' - . , - - ~ - -Ft II - "i'----, ~t_ 1 1 4 . , _ _ _- 2 . 'I I 4 fl ~2_- 14. 1- -

14,.,-- 3~,.,! R I

1 'A - - 4 .f-l. 4,3_.- - L[

m III v

14 Chapter- '~Le.s;son lAIlB: Diatonic Arpeggios


15/95

-[

j

F Major Scale. Fingering 512~~--~4 1~_~ ..., FMajJ

VII. '. x

Amini. - . -1f' 4'- - t . _-r-- ' ._ ~@'I-I-- 4._' _"~Fl=tXII XIIVL I x tI xC7

VII XII' ..! . . 1 . _ 4 .I~- f - ! . . . --4 . ___ til, . __ _I ' - = - ~ - ~ ~ ?. ~ : , - -J ' ! ~ L = = r = * , _;-- J-_ - /,. E -;- - 1 - -- J-_ - . ._ L__2 I- - - - 1 1 , - - - - - - - - - - - -VI I x

Dmin7 Emir,T'S' . ~'Il)_3"1Jli\_ _I"" "'ee 2e2_ .~VI I t " - F E : , _ . ) =.L- - t ~ - - - l l -1_ _L_ aLX XII

Chapter I-Lesson '2Ai18: DiatonicArpeggios "5


16/95

FMa j7 ! -, .'"!~:I~L.[.' C ' I-.~

Gmin7 Amin7 L :,

e- -.I

2 . _ l"-I J ., I R -' . -2 L-. @ ..l VI III v

[8 Mall C7 l J.----,.-"-1.

l- . :V II v VI1 ' [ . ;,.[

Dmin7 EmlnPS L[I .-'---"':---2 . "1--,- 3-- '-------+-- 3 . 1".- ._-.--I~ II""" 1 d";;;' f---i---. ' - -, Iii' I I . - . - -__1 I J_ -- I - 4 eI= ' I :l'1I-- 12_ ,- [".~

Fr-;- .. .tv . v , v . nI[16 Chapter 'I-Lesson 2Al2B:DiaronicArpeggios


17/95

~

J

]

C Major Scale, Fingering 5/ I

Dmin7

eMaj7 r : , - -r , i~j~ , , ' , [ : f. -- -. . -I ' ~ ~ .--\ l 1 J

:3'- --'-=.-r.-r-~.-r--' . - ~r?-~ ~.__ll.,_j I ~.II

Em!,,71 . _ _ ~2 . . I--lie d 11 . ~.;_ ..l.e 2 ~ _ I J2 . _ _m vFMaj7

! !'I " ' . - r--I ' . 4 .I 2 . I ~ f--I 2 a "' R~. .:IeVI I v VIJIIG7e--r''F t' . 3e 3,2., - i-- r-------- ' . < .~ _ I . ------ .L-R:1__ ~I~_'- . - ~ , .II v

Amin7

VII v VI I

J ._...;, !'I- .1.---I .JaI ,'.--'. l- ~ 3@-II v

_,'.- ~A-

=_I;~-~"~J~::= = i-~..-~ .J- - - 3 -4 --~-- - - - QY- - - -VI I I II vuChapter I-lesson lAJ1B: Diatonic Arpeggios [17


18/95

L (( H A P T E R l

l e f J O n f A : A l t e r e d ( h o r d J [ne of the most: distinctive' sounds in jazz, and part of what: makes jazz different fromother forms of music, is the libernl use of altered chords. Up to thij'i polnt, the examplesin this series have contained all uma'i ter-edl diatonic chords, which tend [0sound a litt!ebland. t: t is important, however.ro g et. a hand le on straight diatonic harmony before veot-rying [00much about: altered sounds.

[All types of chords may be altered. but altered dominant chords, are by far the mostcommon. At first. these formulas and sym bols m ay seem lntirnidatleg, but you will see thatthe only neres that can. be altered in . any chord are the 5th, 9th and the l l th, [Remember that: the CWo most essennal notes in alilYchord are th e 3rd and the 7th becausethey distinguish major, minor and dominant chords from each other. II is common IO omitroots. Sths, 9ths, and I,lths in certain situatlens. (There wW be ma,nyexamples of thisonthe pages to corne.] These posslbllltles, along with virtually endless voicil'lgs.ke,ep thesearch for great chords interesting,Over the next several "A" lessons Y r O L l l will 'learn fingerings for various altered chords.Because space limits the number ( ) , f examples thar can be shown, it is a good idea toSUlpp l ,@menc YOlJr chord vocabulary with a good chord dictionary. I recommend Alfred'sGuitar Chord El lcyc ioped ,i o .

The dominant is cbord is an ext remely important sound In [azz, It ~$constructed frromthe fol'lowing formula: R'o,ot-3-~5h. In the key of C this is c-E-d-s'_ In F l't"sF-A-C.~_ Inocher words, it's the old familiar V7 chord, bur with a ~5_

C7~5 F7~5

~ '~~ I I I b ~M [o ,.'Here are some sample voicings for you [0work with. Try substituting these for o,rdinarydcmlnanrchords In ! i ,ongs you already know. These will give your progressions a distinc-tively jazz rf1:a'/or. When ),ou are ccrnfcrtable with these sounds, tr y nattilr lg the 5th in thedominant: 9th, I I th and 13th chords yOUl know.

[I . II I I.~ I I

I I I 1

[-, -

~~v'"R 1 7 3 ~s

' g " I I " XI IIIP o 3 ~5 L 7

XI I [Ia Chapter 2-Lessan IA: Altered Chords


19/95

Here is an ewde ,loosely based on the chord change.s of the ~til.nd!!'rdT h e N ea rn es s o f Y o uthat uses some 7"5 sounds.

.

~

j I' I

( )THE CLOSER YOU A R E

FI!l\aj7 Cmin7I B'dim7 Gdim7" I I. ~ I . . II . I.1 .. . . ..~V" . . ,tJ = t ;; . . ~7' (; V - I_ , _ Ii.z; :-;;: " " . .L -ri ;: : ~ 'u ~ ~ ~l\ " ::' l:: : : -\-..; - - -w -,;' ~ ~'" ~

Amin7 Grnin7 Arnin7 Gmin9fI. J ~ 1,. 6. IE ~ lib' Q ~ . . - (f- 1. b , , .1.1 . . ~ . .L-rr."\ ... . .~. ill -; .. . . I T . .~ Q----4A, : , ~ . !r ~~ ~-A ~ ~ ", ~ :. -y -{j ~lJ '': ' "., ~ 1-;2 :- A . . . .~ . . .

FN1a j7 Cmin7/\ P , . I .. 1" " .~ ~ ,~, ' " I. ., . . . . ,~ . . ~"II P' lit V

" ~~ --;;- r-;: ; ;: n Cn :: ;:- .~ A ~. . . .Amin7 Gmil'l7 F e F6

r1 1. , .

~Jlb, b~ fL b t. .. ili-.I': . , I'_""Vt.l ~ -o 7- < . , , ' .n(1 9 ~~ . . . .. . . - - . ; ; - ;,;.. . i" .~ . . Z ~ -J.!l\ i;i; S l~ :. .I - : P ow " ;;; -. . -..Charter 2-Lesson l e A : Allcered Chords 19


20/95


21/95

l e S I o n l A : M o r e A l l e r e d ( h o r d JThe dominant ! ~ S ChO.rd is .'it10ther v~ry cornmcn sound in I l ' I Z . z - It is immedi,nerl recog-nizable. 'reu 'Nill see It wr,lttel'l a var,lety of other -ways, such as 7'*",7aug and 7 13. Theadd.ition of she 9th is alse common. i'n which case 9~ S Olr 9+ are the lnIJal symbols... Theformula forlhiscnord is Root-3J5~7. In [he key or G,thiS would be G-B-DtF. In [he keyof D Jt'~ D-fl-ALC.

G7'S D7~5

~g I I 1 : " 0 I I

Here are some common voicings ror YIOU to Use, Ooce .again, realin that " , , I I chords havemiln)' different fingerings on the 'I1ns:erboard. YOI J should expe1rimem to Ilnd your ownvoidngs :and check out the various chord books that areavailable to expandyour vocabu-lary :u n'ltJ(n as possible.

II

1111 Ii I 3 , I~ J II ! U f ' ": I t~~~~

This etude is based on thechord changes from the $OI'l3She's FUlilnyTtIlJ.t War and will helpyou get to know ,the 7:5 sound, -. F U N N YT.-ui


22/95

l e I f o n 1 8 : P r o g r e J J i O D J l o rP r o t i i o g A r p e g g i o J

In the coming lessons: you will be learni!'!g how to "spel l our" [he chard c t tanges as they goby while you solo. You will start to realize how important It is to know your arpeggio,fingeFings on an imuitive level. Play along with these progressions using the CD thataccompanies this book. or record them yourself. Improvise using only chord tones. Thesound will be rather bland. but whac you are trying to do Is make [he chord tones to eachchord you hear very familiar. so that they sort of "Ii,ght up" all over the fingerboard. Youshould come up with some of your own practice progressions as well. Pra~tjc:e slowly and!"emembel'-chOli'd [ones onl')'! Starting wieh Example 9, the chord tones will be shown atevery change of harmony, You can \,lIse these tone,s in any octave,lfsin,g ,:arpeggio fingeringsyou have learned. Exampl'e 8 shows how this is do,ne.

Frv \a j7 Gmln7~l. . ,8 A h ~ ~,'--' -I ..J "'-..J I : ITrulc , -,.j

" .~ _.l:_ . . L:_- " . . . ,.II . . 'I"'L ~ -~

lC :

(

[

c :B ;E :

I

CMaj7 Dmin7

"Emio7J'l

F f o . 1 a j 7

-~V -

22 Chapter 2-Lesson 28: Pr'ogressions for Practicing Arpeggios

[[[Lr


23/95

8

F7I b U BIlMj7[ 1 - z I7 II II F ~ 7I 7 : 1 1

1 77 A777- :/ 2 p i t H I~// / /1 : = 7 / A72 /j"*~, / 72 I

F~min7%I , 7I 7 j/ 7 7 ;I 2 I

2I "7 z 77L 7

Chapter 2,,-Lesspn 2B: Pmg.resslons for Practicing Arpeggios 23

' J.


24/95

l e J J O D J A : A l t e r e d ( I l o r d ~ , ( o n t i n o e d \[.t,Adding < I lowered 9d., to an)l domjna.n~ chord' (7~'9)gtve~ a chord p"ogl"f;!~5iona very distlac-ti....sound .. Check. OUt [he formula: !\oot-3.SJ].'9. In the key of E this is E-GtS-D-F. lnAit'~A.C!~E.G.B~.

A7~9

~~..~d~~il ~iD~.~jtE7~9 rlL,ID,L IIQ .Learn these voidngs and try .substituting them for the d'ominam chords in progressionsyou play.

C7~9: - " I ~ -'.'.. I - 1 - . 11. . I " . .- J J ~ ~ 9 1II 1 I~__I ~ , r ; "r/ 1 1 1

Oneim:.er,esting aspect of a 79 chord! :is, that, whe .1 l r ol l drop ",he root, you can move 'thesame fingering: around [he 'fingerboard ae intervals of 3 minor' 3rd without changing thechord's qua.lity.

rLo II' 0 ' . '~!

IAlso. notice '[h3t r 9 chords without a FOQt are idei'l~liOiI[0diminished 7th chords. Thesechord,s also remain [he' same when moved around in minor 3rds. For more lnfcrrmnenabeue diminished 7th cho,rds chee::k out MaStering Chord Melody in this series.

C7~'9' Gdim7F'6[[[

24 Chapter 2-Lesscll .3A:Altered Chords, Continued


25/95

:1

--I

Here i. $ , , 1 1 etude, t;Ja~ed loosely On the changes to Just friet!ds. by Klemmer and ILeW'i~,illuS[raring the use of dominant. 7~9 c :hol"d$, _

. ~~FR IENDLYTr~'~II

eMai7 F7~9 GMaj9 SLmin7I

Cmin;;tfI L I .. ~ I , . . . ",. 1 I I ~. ~. L b , ._.~ . . _ ,. _r. " '..- ~.~ . . I . . , . . -J P ' 1 I -.

.sr: " . , . . ._ " ' _ . , I_ . . '" _. . _ j . . . _i" . .'";; ~ ~ :; ;, ~ - " > _ .; . ~ :1 ' ,., c _ - _ ~" '" . .. . . , ; : ~} " n . . IV I," ~.~ -v '" -vAmln7 IAmln7 [)7~9 Dmin7 G7~9m il17 Em in7

in-8 e: -c- ' "5 ~ :; . . .: . . - I ~ . . . . . .i' A ,J!!_ _,,_ I : ~ : : :;;' : ' n _ ~ _ I . i E_') . . , ..- 5CMaj7 CMaj9 Cmiri7 G IV la j7 GMaj9

t'I II I I _ . ' J". ,. _ ~ , . . . ~ _ t _ j ~ _~~, "L


26/95

i e J f O n J B : ( r e n t i n g l i n e J # /_t~~P~J~~bUTTH~~I~AN~ES . r . . . i ; ~ .

So far. you have been improvisilng with ~he major scale in a progress ional manner-freelyusing, (he appropriate scale in a fairly random manner over the diatonic chords, When yayllsten to' an accomplished improvisor. however, you can actually hear the chord changesbeing ,spelled oue in their solos. This is accomplished by combining what you !know abeueabout arpeggios with, what yOy know about the: ma,jer scale, Instead of nndomly playingth~ major SCOilh~ over a progression. 'try to begin each phrase you play with a :note of thechord that you


27/95

.i 1 4_1 QT I " " : : I . C : 1 c :J Ifl..1

" 1S1 I " . . . c i 1 .IU

] 1 6'T"~\.~1

T~.k!U

~~.- ..11" ' I , ~-; ' ('-';_). . . . . ~_" 1'. .. .,k12..4

- - 1'.j -~ 1

Using Roots as target chord tonesDmin7 113 7 CMaj7

r. ('. _ , , _ ~ r - - . . . . . _ -~v r. I' _I_ r"" ,- t h o . . I .J. _ . . . . . ?tJ - " ' " " ' - J ~ ~ sr_.. , ~_ '" -""_ 8~ _1L _1 7 r- . . ., . 'T "L 5 _L_ ~ .s:.a . ., "'- _c _.. - -- B ~ - - = -Gmiril7 FMaj77f'l .~ "... . _~ " " ~ _Lv t; :"It.1 r". 1 _~ L , . . . . . . .L. - .,; _ . _ I",-uI'_ . . . - _ . _if) - . _ _ , '-J-". a . ..., c ~ ", _ . , _ I I.d_ , 5 --'= . .. n . . . --"- _"- .-_!_ IlJ s _"- 3 _ .. . -.5 _"'_-" w . . ,. . . . . v _ " , .s: -- 8 , "~

lJsiing 3:rds as target chord tonesFmin7 8~

.".._ I I...i.~ V

.,lIl. 6~~

3 ~ ...-= ,,,'- .- ,

J = Target chord [ones

Chapter I-Lesson 3B:Cr,eating lines t J i 21


28/95

..l[ - (..: ((b r(

E~min7 s

1 8 r t~J1}b=M E 1 I rtr C j 7 = p I u I I: tJ - -. ~~. . .6 - - - ~ 6- I-S e- ,~ ~5 . . . ~J I

. . . . ."

1 9 .D I I -""I ." _1" ." I ~: , I _J~['\ v I II" . I I I" I I I I,~

..- "J I--' '~ '-J. /. \ 1 ~ f"if " - " 1 -~ . ~ . '"J. I ~,


29/95

. . . - . '.( " , B

IJ1- - -

Usin,g 7th:s as targe't chord tones:6min7

Emin7 A7 DMaj7" J , I , I ~ I ~" r ~hl r- . _ ._ ~ , . , ._ _.~ Ik ~ '-J \ " . . 0 0 0 1 - " \ ) 1 . . . . . . . I - -3 2 a _ '" - - 3 - ar 1 :2 _ .. _" " . . . . .. .. 5 3 . . r I . . , . , - ,A ," ' ..__\a I. . . .

Amin7 07 GMa j ; 7

2 5~4.~

-0- _~ _ . ~~f'-. 1'. r = ~ f- .,.. 'P I ' ( 1 1 ~ . . . .r ,IL.-l~ J I - - - - - -r t , l ~ --...; '. . . . . 0-- e , . .s ' ~ 8 ~ 0--8----4 t\, 7 ~ I t , -">. . .

{l

lChapter 2~Lesson 3B: Creating lines # I 29


30/95

I l e J J o n 4 1 : A l ~ i e A l t e r e d ( n o r d J ,I . IL ,6 :Dom inant 7~9 chords ilI.re also vlJ ry common io jlln. They add a certain. funk iness [:0 aprogression. Here is the form ula for dominant 719 chords; Root-3.5-~7J9. 'In the ke y ofF ch.us F-A-C~!?-GI. 11'1 it"s S~-D-F-A~-Cl. c :

1 = 7 J 9 B~~9

~b I g I I ~fi I I

c :

III IIII I Ih,

. I ,~ I .

XIII

L ,I~~k1 8 '[

Once ai~lin" try $Iybs,ticuting rhe domina.m chords in progressions you know with some ofthe foillowing volclngs.

IIi ) I I I

This ecude is based on the changes, ro MQonf igm in Vermo nt, b y Karl Suesseorf, and illus-trates [he use of dominan t 7:9 chords.

I[: : . B Y T H L IGHT O F THE: M O O NTn.,kIS

'" ' I J 4> ('- : : I 1$I h .J!. _h_ _'"Ie-~ _~ I C~ . . ~,'-i t 011- ~" ' . ft .T e . . ~ , " " .. ..' . _ , - :x - . .;:, , ; : ; ~ ;. . . ~ I .;~, ' " :; I ): v Iv . . - . . ~ _A.-

Cmin7 Fmin9

[rb

Fmin7 Gminl Fm!n7 [11 I :J . . ~ If! f! ~ i~ ~~o. ; J I II' I ~-f,tJ ~ " " " I

" "l. - Ui. .: . I 0;t:!.. l= : ;:: I .i:_ . - " " ' ~ - 0 , J'l : : :In[[

30 Chapter 2-Lesson 4,A.:M,ore Altered Chords


31/95

,6.1

]

l e J f O n 4 8 : ( r e o t i n g f i n e I # 1 1 - - - - - " .t 8tf you are comfortable with your arpeggiGs and beginning phrases on the various chor-dtones. you are ready [0go on. The next, step is learming to use neighbor tenes. These arenotes [hat an lrnprovlser uses to approach targeted chord tones. B y Car.the most com-mon neighbor tones are th:enotes ene ha~fstep 'belQw and above 'the chord tone. Neigh-bor tones a whole step below and above are common roo.This technlque requires "looking ahead" in your solo. Targeted chord (Ones are gener~i!JI1play,ed on the nrong beats of the measure, so you need to a p ply [ ne ig h b or tones elther onebeat or half a bear before the "lOrd eene. Neighbor (Ones can r'eally appear anywhere in'che measure, burt since [he examples thac follow will emphastze chord cones occurring onthe first beat of each measure, we' l l look at th e n ,e ighbor tones r ight 'before [he down-bears. This is an excellent w;ay '[0 ernphaslze a chord change: and extend the length of yourmelodic line as well.'tau should rnemoriae several of tfle examples that faHow and transpose them to other'keys and ocraves. D'olog this will help tau internalize this cechnlque, Any chord Lonemaybe approached with neighbor tOI"!C.$"aJt,hou,g,hnosr players-tend to use 3rds ,lind 7th:;, Inthis book we willi sway this, technique with all the basic chord tones (roots. 3rds, Stbs and7du). but [his lesson will deal with approachlng roots "'nly.One half step below 'the root

G . C7 FMa'7fI mm7 , . . . . . . K - J ~~.- - .i .... - , -oJ . . . . . . .~- \ ~r ./: . , . [ , . . .- _ . - ,~ I ~ ~ . . . ~! # . . - I , . . . 0 o I ..I"\. . -" 5 I ~!'" -. C7 It .r e. ~ -< 4 _". . . " . . ~ ~ . . ~W a r "Q_ 7 - ~ vOn,e half step above the root:

C7_ t o _ mm J . . . . . . . , ._ 1" , .~ s - ~cI.J~ . , ;; D _ H. r l n . v ~. ~ - . . . . . . . J 'J - 4 J '" I9 . . - '" '" " " 7 . . .~ . . ~ (3 . . 1:- ~ , ~ --- J : _ _ " " . .T 9 ft-- - V~

J = Neighbor terres

Chapter 2-les-son4B: Creairng line'S #2 J I


32/95

Gmin7 C7 F/IitI,j7~r~~ r - 4 . . . I

.-L . ., J - - - t : - . . _.J_v ~ "'I...685S


33/95

Mixed approaches to che root:FMaJ7

~I = l f l q l l = : ; _ . " . r . = _~ I~ : " : ~- rr _-, -,~~ 1~\ _ ' ,I ....V

Amin7 Dmin7

l.u-~~

Jr

Gmin7 C7 fMa7I

B~M ajif'I ,. l'

C7 , . . . _.~ I _. r" V ' , . .~Omin7

I11 I' - -._r ...... "'J- ~ -

I-i---- __W_T-.. _,..__ E i --!---!..-------:; "1 " B -+~-------~- 6 -+---;...~_6_"..--_6_If:_--;-"t~---_If -.~~ ~~J ~ w 'rJ[

Gmin7 C7 F I V Ia j 71 '\ . . . . . - ' I , I _ ; , . . _ . , '+r-(', ---t , .~ I_ I - . _ , - _ _ _ ~ I . 'r: " i lI1"'\" r I ' . . .\" - - r ~ - . . . . .tJ " " " " " " I o . . . . J '"'I: , . . Iw a .s: 5 _I!_ 6-6-5 8 e.-r. ~ 7 " E " I"\' , " _ " 8 ~ . . ,~ " w 0 . .c ~ ," ",' ~

Chapter 2-Lesson "1B,;Creating Lines #2 33


34/95

~ : -t- .1.......... l e J I O D f l 1 : ( h o n l s w i t h ( o m b i n e dA l t e r o t i o o I

In the previous "A" lessons you have been introduced EO ' the basic types or altered domi-nant chords, Remember; you need many mdri! voicings for che.!ie chO;t'eh: [!'iii!'! there isspace to s)how in iii me'chad book. You5hOlJlld:5;tart collecting chord encydopediil,$. You willreap many rewards by exploring other ways [0 )produce these chords. Strive to develop alarge palerte of sounds from which C IO choose.II'!additIon to adding alter~d 5(;hs and 'hhs to dOlll inanc 7th eherds, you ean also c:ombinechese alterarlcns, The (oHowing eX;)Jmple:oshow serne of t>he possible ways to combinealrersd tones. These are JUS t SOl lT1enew combin.3.[jQn~ of ~he alterations that are a j l readyt3miliar to you. These sounds, [hough very COmmon In jan ..may be: ne .....for you. They mayeven sound stral1ge a,t first. With IcolilclnuedexpDsure and stud'y~yOUlli" eanwill becomeaccustomed to them.

.v:.~~ -:f-II--. -, H t . l ~s II" ' C ' 7 ' ~ 5 1 1 9 . '~ . . ,.~ - - ~ - - - it -" ~ I; I. ~~..: .. . ~, . ~ ..~.. -. . . . . . . . J .1I.37:'~S

lm "" "m ' ~ " J I ~ " 1II _;>(11,; , "-, c-I,j"1 J 5'1 1 ~'O JI-I-f~.i-. n JH-I--t-t- ~Where d o D we use all 'these altered dominal1t sounds? In ian. we of,"en subsdtute the,original h!llrmof!Y of a.$(mg, wkh more $Qphi:;,jC:' l.t,ed chords, Whe :o a fa up lay (:1 " sees, aC MaJor chord he Olr she koows that tc m ay be possibre co use a C6, CMaj7. CMaj9 ..CMaj IJ. or iI host of other major typ'e ,dlords with (he same rOOL The same eoncep tholds true for minol" and dominant chords as weJI. In the case or dominant chords. alteredSehs and 9th.s are ;addt!dto the fist of POSsible subsutudens,Remembertha~ w hen enhancing 01 '" substitlH ing c::hQl"ds,cQnte'xt Is !evtuy~hin!g. JUIStbecause a subS'tf,tlJool1 i . 5 ' "[neoretically correct" dOl!lsn"c .nean it sounds good in e;veiryins lance. Expe!riment


35/95

, " 1 1 } ~1--""";1 ~~ III..-,I , ) I 1 ~~!.f . . _ ~ It![-;ft~V7

C7~5:9

~ .,..--.; > . ..~JF6

2.11)'Jr'~. IIIthi'iIFlvlaj7

iiB. Gmin73 . 3

2 } I , '!..!!.l..!..~ 1'l!I 1 ~1>- !..1 .1~ VII ~"III5 - l ~ ~ '1

ii V7 [ n V7 I~ G : : 7 C7F5~9 Flv'iaj7 D. Gmin7 C7~5~9 FIVIaP3I I I-- I I I = Z () / 7 Z Z 0Z Z 7 Z l- 7.11)11 )""l~ I I I

III Etmll II11 "~ ,

ii "7 l ji \17 l~ G ; C7~5~9 F6 F . Ganim7 C7~5~9 FlVej9/ L, 10 _. I I 7/ 7 7 2 0 37 l 7l.l~1 >,.7 } I I _lI.'" ..1I I ..!.1..!.l:

VIII VII VII V!l1 . X I I XI I Ijj 1 I ii \17 t~ G m ; 7 C7~5~9 F6 H, Grni ,n7 C7~5~9 FM3j '132: = , 1 0 I I 7 I 7 7 I 0 ~L L_7 I I 7 7

Chapter 2-Lesson 51'.:Chords with Combined Alteratiom. )5


36/95

l . . . ;f e i f O R f B : ( l 1 o t i n g ' / i n e I # J [ .:". ,

ln [his lesson W,e will deal wit'h Fl1eighbor (Ones approaching the 3rd of the chord. As inlesson 4B, )Iou should learn several of these exam ples and transpose them [0Other keys .arge ing 3rds is a greJt way to pOin( our [he difference 'between major and minor chords.Often. we will approach chord toneswich multiple neighbor tones as some of the follow-ing examples illustrate, or course, this means you mast start your approach earlier in theprevious measure,One ha.lf step below the Jrd

Amin?[ "'.~~

D7 GMaI7

Triilck119.1

r. '" 1 " " " ' 1 - _~ , . . . . . . ._ _I_ _c _ . _f---(,:" .~ , . . . . . . -'""II , _L_- II. , K~ , , , , _ , . . _, ; : I , r - ~ - ' ' ' - J . V '" - . J - . : : J_'L _ < = . .~ .,A 4 ~ w v w '" ~ __ " . . . . _ . . 5, 3 A 3 I3 'I " n.n -. , .~

C :.r n,.,

One half step above the lrd r'_ ,A 'il 07 GM.a7

3 S , . , , j . jmin .f'-,,-. ~ _ J i " " ' I I_I :f _ _...-!V ,10- ,)~ r: ___L ,~ _ . _ . _ , - r " . .- . 0 :I ,',u q- . . . . . . I, t , . I . . . . "-I . . . . ! . , . . . o J - - - I

" ~ 3 -"'-.sz. - - _" _c_ -"ti. ..6 E " 2 " 5 A -"'- - 5 4" "S, - ~- " " ' I[" = : . ' j). .. ._\ J"

T, .: I Ic k19.2

Multiple Neighbor tones; haH step above the ltd, half step below the lnilAmin7 1 D 7 Gr..-taj7 [

3 6 fl. ,~ I ..tI._ ~ .......L ~'~ _ . _ _ . _ - - - .E - : , . /.I q~ IrIT"\ " . _. .'f _. J": _ . . : ~ - I " " .s: ..,~. . . ~~ . . . . . . . . , " '" '.J - '-J y '-J - - " ' - J. . , _C _,,_-"-~,~ . . - - . : - . "4, .- " . . _ . . '" 5 - 3 _de - 5 - 3, .A.. . . .- :~5 :1 ~ ~ ~ ," " I ~ G':,.1 " .;. ~'~.I

l...d,U'..l [[

J . =: Neighbor tOn@!;

3,6 Chapter 2-Lesson 58: Creating Lines#3


37/95

Miix,ed n a i r step 311'1dwhole step approaches to the , J 1 " . 0Amin7 07 GMaj7

M,ultiple neighbor tonles; rrrixed half step and whole step a,pproache:s to the 3 ..dAmil17 D1 G , t J w a _ i 7

Muh:iple neighbor tones: mixed approaches to t:l'le3rdAmln7 07 GMaj7

3 9 ~~g~~~~~~~~~~~H~~~" ""_-",...---------------, . . .

k . ! ! ; I 'Il:.,_NN,1-'":t-oild---'-c:1.w

"a"KllRil !. . .eF: a1 2: : : : ioV

"";-:!:ii.l&'~8a:t"-

Chapter 2-Le.~$on 5'B:Creating lines #3 H


38/95

Mu'ltiple neighbor cones: mixed half step and whol,e step approaches to the JrdGMai7 Bml117 Emin7 [

[4 0C;j_" "Tr1ck11I'l , ) . I , " "'"- ~, . . _ . _ , ~ ~-f:- - r : . , . _, " 'It..r: " - 1 - :~i. _ .. 1_ I ~~' r:, I I - - l o " ""~ k . . . . J 1 - - " ' " " - o J I ,. n !O-{11H--t1 I}} 7 -. . '1 . . 1(1., - ~-;r_ _n-----q.. . . . . . 9' - 6 A "- : - 108 ~ A I ~ ~

,{}[[

Amin7 D7 GMaj7tr. t i , ~. -ft~ .,i .~ . 'r , ~. ~ '~~I I.Jl"i . . . . . . . _ - :..... "( _ ) - - '.J I -., . 6 . . .~o-a 8 16 . . 0 _0. . ... + ., " . . . ., t- " " '", , r-. \ 13-. . n ",..;:: ~ ~ ~. . . . reMaj7 017 Emin7

_f I M ' .~,;t "I , . . . . . . , , _ . t -f '-1'" ,._ " " . I ' . " ~ ~~~.:l#. r: ..k....' - .,1ft'\. . . . . . . ~ , - _ .-- . . . . . . -".J I ~' . . . . . , Y " I.. " _7_ . . , '" ," -'.Q , I" ' ~ " 6 H}-7I " - , , - 6 . . , . '.ft --f9l H-_"r I _ ' ,_, I [[

Amin7 07 GMaj7 f'LiJJ l r - f L it" (L ,- ;0--\ . . . . . . . , I'" I IJ. ! - I _r .._, III~ ~ 1 0 0 " ' " ~ IIft, G ~,

" I _"T I"'. -"'.lJ " A '~, . . . . , . .'" ' , A I,'t- n 1 Q ~ - ,~ , _y rf

38 Chapter 2-Lesson 5 B : Creating Unes #3! "


39/95

f e r f o n o A : A l o l e ( h o r d s w i t h( o m b i n e d A l t e r n t i o n s

Here are sorne more dominant, chords wil:;hcombined alreranons for YOI..l to Sink yourteeth Into. EnJOY el!;plorlng these new sounds,

.. I J :I' ! :. II, II. ,i ! I~ 1 $ 1 . , !I ~I ) -t

iii, :) ! I 4 ) 'J .; I (0 1 It i I t I

Example 41 shows these chords In the contle'xl of ii.V7-1 progressions.

ii ]f i R t 7 FIVIaJ7/=-z7 Z Ii 0~ '",lll. LU_3 ~.U II II

j i 7 ]

i $ G m ; C7~s!l9 FIVla j77 7 /- I 0Zt)] " I ] " ~ ]I II'II. 7 ~ll a $ j v l Ill : ixIi V7 I~7 C7~99 FMaj727 27 7 01

~ A . G m ; n l 14 1 !/I!..

iiII " 7

1. ill]

I -'-I I 4 1 I~ II . _ _] ~ II' [ . , ' I I. ~',~''-. -- h 1 - - 1 - 1I1I.ll.7~9~S l- , i5~9'1< m ~ " ~:"-ilXj., I~ L!...,J S'/r'1I7 , .L

The Chord FormulaROOt,.3 JSh-~9

J I I

The Chord Formu!aR;tun-J-~S-~7-~

IFMaj7/ 1 - 0 I III

l.lJJ~~11iI"!..+r . " " i I.'

2 I" I~\l1IIJ : t H - R7C7~S~9

VII

1F6? 1 < >

IFIIJIaj71 0 iiB. Gml119

IIi11: '1 I ..Ii .

it 1VIIIIID I . Gmln7i I

II

IIF. Gmin7

iiH. Gmm7

" 7C7b~9 FI6L" I' 0 1 17

777r Z 7

.II I]I

1n.-\3j131 0 I I

Chapter 2-Lesson 6A:. More Chords -ttl Combined Extensions ) 9


40/95

LJ" l e S I O D , 6 B : { r e o t i n g f i n e I # 4 '

The r:ollowing are examples of neighbor tones approaching: the 5th. Memoriz;e some or allof them. transpose them [0all [he other keys and use them ili1l )lour lmprovlsarions,

. J = Nleigh'bo;, [ones[[ne half step below the 5th

Dmin7 87 CMaj74 2 II # ~ '~~ ~ ._f!' _ ~~,.~J .l , .~. r " - ' I'J_ , _ . 1""'1{, If' I-f ~ ' . . . . . _ ~I IU -. J .... 1" - . - " ' : ; I :

4 . . " . . . , . '" ... n . . .~ '1'" ~ 6 , - . , . _ - ' = - Il - 4 --'" I~ - ~ ~I ft__"-

r : I[-:Lf "! I:~:..:_ . .

. -Tr;I.I;"n.1

One half step aaove the 5'thDmili7 G7 CIVIaj7 F4 3 ; t & J 4 W a tr D r IED i$lJ I !JJtf j l J g . . II'

m'~~k~


41/95

IMultiple neighbor tones: mixed approaches te the Sth

Dmin7 G7

9-7

FIv\aj7 G7 Amin7

Dmin7 G7 cMaj?

Chapter 2-Lenon 6B: Creating Lines #4 411'l

B


42/95

f e i l 0 H I I : O t h e r I m p o n o n t ( h o r d s n o dii- V7-/ f i n g e r i n g s

A 715~Schord is sometlmes called 7~5~13.because a L13 is an QUave higher than a 15.I " I , I . , 1 , . . . I I 1 , I " I J ) I ..- I I . . !i! IX ----.: I- . I I I V I ~ , I !VIII IC7#5~5:, I I ! I ; ,

1

, ' I I ' I ' . I The Chord FormulaI I I : I : i ROOt-]JsJ.'ih(-~ IJ)I I , "" iI , I ! I i r.i'5 ~7 1 ~SR ~7~5 ' 5 j ~S ~ ) ~S R , ' 1 . 7 ~ .5, ~5 )While dominant II] chords with '9~s;(I]~9) arenot "ccmbined' alterations, they are impor-eant to take a look ~t now. They are very comm-on bur have a distinctive sound.

C 13~9:,I I I l '! . . . . . . . . . . J IIi . I, ; 1 I 1

~ 3 1J~9

The Chon! Porrnulall.,oot-3:-S- ~ -~'J-! 3

'1 J J J jl

l - W 1 1 " 1 1! . . I ; :~31)~~3You will of ten see chord symbol is wid .. a slash el ) in [hem. This ha s (Wo meanings, Forinstance, "FiG" means that an F chord is to be played. but with the note G added in thebass. Another usage of the slash. however, refars to quality: C6/9 means tha che 6th and9th degrees of the scale have been added eo a C Major tlliad. ell. shews a C7 chord thatalso ecntains a 6th. from here on, you will find various slash chords in the examples.Here are some ii-V7-1 progressions to practice widil your new chords.

t t m " 2 ~ I l ~ I)I~,~ llll.~L.Tj7l ~-i~ I VI W J 1 - ~~i , ! ' VI~ ~ n f - J f -:.. ~ 1 1 ' iii Vi I.B. Gmlin7 C1:5~5 FMaj7

I I / 7 7 7 I 07 7_ ii

~ . . A . , . Gmin74 7 77- IF6

Z 2 7Z 7 7 o

,42 Chapter 2-Lesson 7A:.Other lmportant Chords and i i-V7-1 Fingerings

' [ -~[c[.

E -. .o .J

r~IJ[] 0[


43/95

It's often said that )('0'1.1 are only as good a jazz player as the number of i i- V7-1 progressionsyou know. There is some trl.1th 'to this. Knowinglot5 of l'inigerings will allow rou to playwitl1 greater taste and variety. The various sounds th.u:. the cha.nges produce Will alsoensure newer, Fresher ideas lor improvisation. You can lirerally learn a new progressionevery day for the rest of your life' and still feel like you need more variety. The followmgIngerings should get Y O l l offto a good start. YOll may want to practice the ' I i - Vi-I progres-sions (rom the previous lessons lIsing some of these ' mgerings. or better yet. buy a fakebookand learn some tunes while you lPut putting some or this rT\o,ueriillto work EnjOy (hesounds!

Play from left to right.11 V7 I II V7 I 11 V7 I

~ t> ~C~9 chmln7 C '1 IFH~i7 FMai'l G-rnlnll2d)) 'K14Jx rQOOJ~ l...." 'r .E

II II II II II II

t> ~- ~c i " 1 ' 9mln7 O~lJ'''' F6 Gn\Ln1 CJ ff.~HI~. " ", 1~ I Ijl~i'~I. I J I ~. r;...!.l..!.!} 2 ..'31.- W i l l i1 ~=rlil l r~i!"II II II - l ' : R - 1 = 1 . I> ~. . .mm'} C7"f~ f,i'1a17 Gm"" cu Gm,; Ci F > 1 : I d I ' 11"JJ3~ 1 1 1 . . 4 1.1 111 2,)]].

~

& I' 22. l - i -J_!II IV E - - = - I I I II; - 1 rfi.h~.~ r> ~C7~9mlrnl;dd;~) I'::.dd'l' ell FM:;.i~ (jm,n7 C;'il fM'"r 'I ) ( I I f i n " m f f l v , ~ , I I I 1 . . . . . . . . . ! . . ! . . 3_.~1!_~ " _ ' _ 1 _ ' _ "IY ~ ttrr: . U b 1v j-~.;IV H = h - ' v $V " ! ' 1.r . n1.,. 'j- .

!-.... . 1 ' ; . . . ~cl:h ~Gm.!'I7 F6 C1 F2dd 'J Gmln7l6 CII FI1'i'),,1 C ,! ,,'2 )I~. .)1 44 1 II o i l ) 1 ~ .1 I ~1 ".. , ~{~y " Ii V ~ ; ~ v " " I ' I ' T - v II - -J-.--l1 + f i ~ ; $ r . , V I ITurn [he page for even more iiV71 Ideas!

Chapter 2~Le5son 7A " . Other' I'mportant Chords and il-V11 Fingerings 43

U , . . . " . . . ' A".. .,.~._., . : : . . .


44/95

-n V7 I u V7 I n V7 I. . . . . . . li>G1 C6 0""1,,6 G7 C6 0,"11\7 cu CHili)111).~ m t l l J.I~2x 41 j i I .,lll~. Ij 1v I I V \/11 m \Ill m B " l I1 ,I t : > '> .~~ . . . .

Dm,,,7 G7 CM3 19 0..,m7 C6 G 'S (41~.1'" I 1 'I J , 1I I 1 J 1 d -4 ~Cill~ ~F' ~ I I I Ir _ . ; . ~ : 1 " " r m n v , r f ! f f i " I~II ::~}(' . .;-:- I I~ ~' >G7LS~9 G7MS~Om.,,1 G7"9 C6 0",.,,9 Dm.n C...

.I!;" I 1 IE JI J '. ',1 I ~ I r I ij$ ~I ~VI Q 1 W V I I 1 ~ \ l 1 I VII L~_"-1\11II ~T~ I .-_1-'-4~ ;> ~G/'S~!I G7~SL9 G1~5~9min? C6 Om,,,7 C6 Ornln7 C6

I T m 1 ' "1 I I I 1. l_]~Ll Z~. '1 i11 j " , iii' f 1 If !(

'~1 t I _ _ . . , . _ _ . ~"~\l1IVI ~I .. -. Y . . ~:;1 rI '. ' , .. . . . . . .-,

t> - ~ --- .~C,m.n7 G7~S~ 01~i7 Dmln7 C;~S 01-.,1 Gil eM"i'" I " 1 4 ] . . 1 1 r 1 .1 I 1" "l i1 'i. I J ))

~vVI 'til A l l d V I x ::_;-~II.. II .. '.- . I> ~ .~G.J~9 G7=S~i CM~p e",ln71 1 1 CM.oill D"",,9 eM}I'3

l 1I I I I 1 , ., '~12' I 1 I ~

W i : '' W . . .! . L . L . . ! L!..!..!...!!--=-- 1:\llj1 1 - _~i '. t -.I I I ' ; X 1 t - : - : ' 1 IX T: c . . : \'TI VII .:!.. VII. I . - - - .. '! ... . , .I' I~~II. . , . - - - - ; : ~ . : . ," . . ---"iI , .

t .I C[[w ,..

1

m 'd

Ru

[Try combining :a iichord from one prcgresslon with aV7 chord from another and 'a I chord from yet oilnother.The p0:5.!iibilit'ie.s are endless .. Be sure [0transpose theones you like [0ocher keysl

[r .

44 Chapter '2~Less0I1 7A;Other Important Cilords an d ii-V?-J fingering,s


45/95

Chapter 2-Lc5son 76: Creat;i l '1l& Ufies #5 45

1I t

j Eyen [hough approa,oing the 7th of d chord with neighbor tones has a s.lightly more lim-ired applic:;ul1on. it is well worth your time to explore this sound, Learn some of theexamples and make up your Own. Eventually. you will need this technique to be secondnature. Note the B"'s in lhi5 tune-just lower the B rwo hair steps [ene whole step).

J.

i2 ,

'1

Fmin7


46/95

L :More rnl: !d ap.pl"oachfts. to the 7th

EbMaj7

~- ,. .-. ::[~[c ;

Fmiri71 '1 I - : j ! : . r ~ f'- .' f-_~ ~ . : r 1")----,.,- , .~,_ ; _ ( _l" I _t . . l V ~ . . . . . . . . ,, " _ " ' . . . "" ~ 3 ~ ~ r .. , " 4-r .. . 4 ,'" .. , _", __. _ _ . . .I:'i ~ . - - - 1 [ . :I ',


47/95

( H A P n R ~ l ~ J I~l e S I o n I A : ( o l O p i n g S w i o g F e e l s

Camping is the term us.ed to describe CJccomp'(]rlyiof. Of'complimenting with chords, This is what jan guItarists downen ocher plil),ersa.re soloing. We ,provide a harmonic: back-ground . When playin.g with it keyboard player. it is pl"e :I 'e l l< lb leto take lurnscom'Ping behind the soloist, If both the guitar-i51; and thkeyboard player comp freely at lihe same time thetune wiU become like a harmenlc can of worms. Always listellC i l l " e , f U l l l y to W n a t i s . gQ i l1 !go l1 around r O Y .It's < II good idea to strum down Mon the downbeats and tostrum up V on the upbeats. This will help you keep your placein the measure. AI.so, try to damp the strings so that thechords don",[ sustain dludng the rests. Camping isaccomplishedby either rele~ing pr~s~ure. with the r,ef[ handl, ~he'reb)l' halt-i~gthe sound,Q,r b y !topping the vibl

1 " " 1'. .

v

Chapter 3-Lessol'l r A: Camping Swing Feels, 41


48/95

HI

A7~5 Dm.il"ll9 G 1JV M V , - , , , . M " ~ V 1 / , . , V MkTa910' E f f 1 1 r [ ' r fr

J

Cmin7, . , v

D~Maj7II M V

t r ~ E f J O f ''17.~

E7

Cmin7

A7'IP t ' "

V r\

'J

A l . gV ~ 'O i l f r "

"Fmin7'MI T , . , vr " ' lD r ' " 0 to'~rG~Maj7

'l 1 " ' 1 ' " 'I't I 1 0 r U 1 P O

D7

G9 emin7J" \ o " ' ! V I " " .

! E.ir ' " ..~,'" p1:oo [r( r pJ

D~Maj7 B~min1~M~ M ~ Y r " ! V M V M v " ' , v n ~ M M

I0 0 ' II T j 0 0 ' I r rf 0] ,1 ' [ 'firl_7 .s

Emin7 F~mln7M

j s )Emin7 F~min7v M V ; . ,

D r, I f c 0 r, I [ ; I( f "I

48 C~apu~r3~ Lesson IA: Comping SwingFeels

: 1 1 [

P- - - - - 4 1 C[= = : 1 1 [

b~I I . .[: 1 1 1 [[l

t


49/95

l e S I o n 1 8 : M o j o r l t b E x t e u s i o n s

]6 2.r --...!"Tn;chlB.1

This is a nice Iltrle trick that is used by most jazz players. It adds a little variery andsmoothness te the lines ewer the V7 chord. 'simply pia)!' the nores ora major 7[h


50/95

,'" LIl e s J o n M ( o m p i o g l o l i n l e e h l . i" -(L ([I

In today's Jut. many rhytl'1ms '"r~ borrowed {rom other culeures and styles of music. Thereare many diffl;lrent fe;~ls tl1.l'tare called Lalin. In (ace, there are so marly of them that wecould never cover all of them lnthls beck, The term lo(in refers eo rhythms borrowedfrom or inlluenc:ed b y the music of SouthAmerica. Tilis lessen willll '1trodl,Jce' you to serrteof Itnemost common blun feels. There j,sagreat wealth of latin Oavomd jau in ,the world.and you shoul.d try co explore it all. Lee Riu:notJr iSi! good example of someone wl'lo, usesLatin feel's extenSively,

M ,.,

D I f ' f ' 1 f ' , . ,v i r , [: 1 1 [[GO ' l ] J [ :

,. . ...

IG I - , ! o S

II ,., Ii M

60'H( 'Cmin7, . , 1 " ' 1 ,

D IGun' I [ ' ( ? o f F9'/ , . . , V 1 ' " 1elr'{/P D, Ic o c

'I ,.., 'I 1 " " , , '1 1 " ' 1

C~dim7,I" M Dmin1I"!

O!dim7I 1 " \ , r " 1

Emin7

G

r : 1 1 ~L

1 ' " 1r t f ' 0' ( : 1 1 f J[-.~-J[ ' c r u o ' a ' i E ir a 'D B '1 [ ' O l f 0 ' 0 ' _ : 1 1 [

f

, . , Dmin1r" I G7'i. ~ r [ ' tru0'Cmin7

~ r"IF9 M M,

;rIE9 Amin7

r" I09

1 "1 y ,"~

SO Chilpter3- Lesson 2A Com ping Lati inrgeJs


51/95

7 1

1 2t:~Tr.ockle.1

1 3~-;... .'~~. \ . -,-~.-T"""l


52/95

l e J f O n J A : ( o m r f n g F u n k ' F e e l lThe use ,of nraigh( ~jgh(hs in jan st< \rted in [he 1960's whe1"l < I, lot of the fOCI< feels , wereb e in g I nv e sr ig a te d by jazz artists. T oday, stra .i'gh t eighth:; and funk fee l:s are standard fare injazz. Linen to The Hippingtons. YeJlowjackecs and Fourplay to hear this $~yie playedweltAlso, lisrert to the classic runk sounds of Tower of Power and james Brown. Here are SOmeexamples of m odern funk fee ls .

E9

11.1

7l~~ ,JTrackJ 1.1

Gm,in7 ,Amin71 ' " 1 ' 1 1 " " \ J M V I " " 1 I"";I/I"'l l l"'i'll"'! etc.

D9 E9 D9 E9" D9 E9 09, E9. .(I1 " ' 1I r ' O "1 " '1 , : I"'l' I ' ~ C 1 ~f f _ ,

Amin71 " ' 1 1 " ' 1 , 1 " ' 1 M, f ' f ' If b J i E7~~91 " ' 1 . . . , " 1 " 1 IIp(lrtlJCm,in7

I " ' lG7~9 Gmin7 G7t9 A~9

1 " ' 1 I f 1 " ' 1 V 1 " 1 , 1 " 1 , V 1 " ' 1("wqfl I ( " m'l @ ' I ( ' W i e ' } I ( "G7'9I M V M '/ emin7M V 1 " ' 111.7

G9\I M V I"'! II fo 0 " 0 " : 1 1 ~E7~9a ' u 0 ' 0 ' 1 U D ' m o o ' I r r r r ~ o ' a ' w ' e r r : B [ .[A7~~l.~,.,~~'f""dc;lLll ~ ~~ _52 Chapter 3-le!i1ion ]A; Comping F'unk Feels


53/95

l e S I o n J B : A f ( e n d i n g l i n e s f r o m( h o r d l o n e sThis is iI very cornrnen melodic device .. Simply play ascending scale-wtsepanerns sun:intfrom chord conies. Experlmenr on your own. Mou players find' this a vlery easy techniquec incerpora e.

Drnin7 G7 eMaj7f'I ~".-_f-~. ; ; . . . . , . . . . . . ,.. ~ JI , . . . . .-- - . . . . ' 0 . . 1 - ;#~~ .. - _\"'1, .'"r=,r. .7T ~ -, _ , -V ~ .1 -.I -r J '_) =r ~ .e or . : : - . L . . . 8 J ' "'"'_::')8 " . . . . ,'" - .s: -'"J. _.,\~ ~ f~\,,_.,. -""".L ,- - ( -r:,.-'lu:::_-=a. ''J , -'.I ...,- ,. . . . . ''J \,1 ~11 . .\. ~ . . . ,-" _ "-

:.

Gmin7 C7 FIvla j71\ - ~.~0-,1!__ " "f.'. r: u. _ -iI . . . W _ : _ - ~ ..~ .r\.)


54/95

Dmin9~ G7'5, . ,1 3 >CT


55/95

l e f l o n 4 8 : D e J ( e n d i n g l i n e s f r o m( b o r d J o n e s

This cechnique calls fo,r simply playin,g seale-wise patrerns down".".:ard from the (i'1.orcllone:>,

A . I

~~~~~~~ __ ~~~L~~~" ~~'+{'~8~~b~_~HF~~~~~~:~~-:J~~,~&ftB4';~~~~--------~~----'\~~~~'-1~?~~~-v1~ 7"T .-

B~min7 E " " ALMaj7~.J __ ._ , _ - .~ -"_E - : A ' . . ~_ 1 . < - ~ .,)- , . . . '- , - . . _~ . . . ." ~

'


56/95

r lJ iJ I- 8 I U ( H A P U R 4Ll-'

l e f J O n 1 A . 4 ( b o r d { o n n e r l i o o J

Armed .....th [he knowledge gained from this study, you will be able to arrange campingp art!; an d c ;ilo l" di m,elody arn,n;gerr IUS with much moreartistrr an.d variety. You wen'e bestuck using the' same tired \lokings over and over. and you wHIbe exposing youl" ears tochord sequences tl1a[ eould Imp,ire you to write- your own tunes. The more you know.and ehe me re C'bn[r:ol you have over die elements of rnuslcrhe more "in tune"Y!:lul" self-expeessien will be.

W~SM!onlgomery

Over the nex.t four "A'" lessons tOU wi;llbe exposed W < I system of learning andorgan'i:ziIl8 chords according [o~tring setsand veicings. While you will be shownthisusing a verr specific set of chords, under-stand Wll this type of or,ga,niUltiQn ~houtdbe applied to other chords and chordtypes as. w e.!1 .

[

w~will divide the six urings of [he gUitarinto three string sets (6.5,.4-3, 5"3- '2 an d04-,3:-2-1 with (; as the low E s tring and I asthe high E . sLring) , 2 1"ld flnd the differentinversion's o r specifiC chord s going up,down illildacl'1ossthe fingerboard. For ex-amples. we willllJlse Dmin'9 (i.i)., G9 (V7).CMa j 7 O J : !: ln dC 6 ( .a l so J ) as Itl1e materialfori iV7J progresslens.

~f:' _ -[C .[ -"[rt,

The Ii,-st sltep is simply to familia.riz:.e ),olJrsell with these volelngs and tl1is :system ofarganiz-acion.Note char [he rOOtS ha,ve been omitted [ram both [he Om.in9 .ilI.ndG9 vOiclng-s. This ls 1r0allow the use of more interesting chords,. It . will also give. you experience org~njzi!1gchords 'that have na root,. Playing rootless chords o.ften permits the use ,of more: exten-slonsto chord ...oic.ing~. The various voices can actJJally"jmply" cl1esound I O f m e root, Tryto "hear" the root in your head when playing these chords .. If you piay in jl grol..!p setting,the bass player ean lake care of playing the roots, Someeirnes a bigger 'sound can beobQ,ined this. way.

r'LLL

Transpose and "hang-cue'" .....th ~e' following chords undl they are familial" co you. Wec'JIbeputt ing these ro use in tlie follo . ......ng lessons.

56 Ch


57/95

I . - _L' rv.

~9~J~7

III I i W, ..: ~ I I it j~3 t . - , , ~ ~

J ~ I ~:t: II

~ " H 'm - m~3 5 '1IIString Set6-5-4-3 .o j",. .:., 1 t i i i , ) ( ~""Scrh'lg Set5-4-3-2 .'

...- l! 1 r

-, Scrlng Set4-3-.2.-1

jij-:.~" .- ..G 9 ,( '{ } ) _ 11, , R o . . 1 '.'~: -i \_ ) - - - _, i ] 0 , o j ~ b;l VII:.I I Ia '1 9' 5

'm"l r'rx Is 9 > J ~ ,r .;,String Set.,.. .' 6-5--4-3 ,."", 1 !I IJ I I ~ I IVStdngSet5-4-3-2o n . i) :,1'111 ' m ~ I ~'_l.IX ,, .! .

9 ! S b 7 3 J~95

i_ 'I III J III 1

I i - = ' = I .i : f f i l9 3 1 7. " String Set'. 4-3 -2 --11Chapter 4--lesson 1A: Chord Connections 51


58/95

L ~

" . , :'!,'i""

' , . . 1 1

: " . J

v:"

;,~" .

Ma j7

S R . J 7M a i 7

R S 7 J

6

m "R . ; ) t.(; ,R s E . 1

Mai7

Ma j 7

R . 5 "I :1Ma j 7

(; ,

R S 66

5 R )1 7 S, R J t.

6

' m l' I I, VI " m .: , , ' , . '_' V!, ' .- .-

J '1 I I . . S 3 6 I I . . SM ' a i? 6. I 11 i j "

I

7 J 5 R

Ma j 7

S!:rlng Set.: ....::1 ~3 -:2 ~ I ,11

1 I I I

f'~ - . , : , . 1 - ~ ~ 1 I

'. ',_j ,., I

Haj7

(, :I s R

6iii Iii V ~ l ' I! I=-::q::j v

,IR S 3 6

I : _c

1 6 R S

[

[r e i.~.'r:~L

Lsa Chapcer 4==-lesson IA:Chord Cenrreetions


59/95

]:

1

I

l e S I o n 1 8 : l e o r n i n g l i c R S # 1The ideal in the art of improvisation is to hear music ill your head and [hen execute it onyour instrument. Some players wOlJlldlike yo u to belie ...e that all of their ideasare totallyspontaneous. Acwally" many de....ces and concepts go into cre


60/95


61/95

A, "Maj7" I I , . . . 1 * . Ii I . . ,.il ,. , ' . . . . .

~ . ~- ~ ~ -.< !' .; . . T_:ri'"l

Tndt)6GMaj7(I . J , I , .". r , _ t*' , _ - - -

.J ~ '-! I. . '" . . . ' e . . . .. . -w- IU , - . . . -n - fI~- . . . . . . L.."1 ~, " .

. . ..~ - .,...- - . ._Ie

. -

Chapter 4-Lesson I: 8: learning UI:ik's#1 6 1


62/95

- , . ,!~. ' l h " . ' . 1 '- . L.. :l e J I O O M ( h o r d ( , o n e ( / i O B J # 1

1 1 1 ~hi$lesson. (he ehordsyou were wQ,ri


63/95

M " .!)Z4. 1. I ] j( I .21 I l ,\,111 V W f i l l i l t i h ~ I I V VI,I X. R ~ : 1--._"", , -l ..I- - - - - - - - - - - - - - - .. . 7-----G91 7I 7I , .I -----~~~-~~-I2fI~ T~j.1 m IX \,1 1 1 \ ' 1 III III I 1I~ C 7 7 7C6 CMaj1 - - ...... - - - - - - - - ~ - - - - - - ~ ,...= .., - - - - - - - - - - - -,7 I C6 Clv\aJj7 C6 eMaj7 C6~ 1 - 7 ~ LZ ,% 7 I I2

V 1 - - - - - - - - - - - - - - - - - - - - - - - - G91 /

~ .11.1 II 2

LL..l..l..J....'~I I I I

77

v

Z7

l 4 I)

II

II If

I-----~------.---------------------------------------,[ C " ; 7 C6 eMai7 Ci eMa i7 C6 C~j7 C6Z Z c - - - - - I z / Z 7z 1 1l

63hapter ~Lesson 2A: Chord Connections #2


64/95

l e l l 0 n 1 8 : l e o r n i n g l i ( R ! # 1Herl:!lare sorn e sarnple licks [0use over minor chords, Once again, learn. transposa andimen these into your solos ~~soon as possible.!

Cmin7a I I ? - I ..-"1 1- ~ ,.-: .-.J 10.0-' . - . . . _ , ; j - -,'" '" c:. . ., . " . . . ,_. ft ~ . . ' . . ,a . . . . . e . . -""- . .. . . : r '" ~ ~ I lI[

J .~~f{j I Fmil'l7 . . ,~ ~ ~ ~ ~ , ..I: ,

I< t J - - II" - .c,. . . --1.- L

r.f

Emill11: [ :-,

r' \ U " ~!

. . . . ,:.r,t> ~ - - - . . . . . . . - d . -

, J< . . . . ,L -- ' " ' E- o . . -"'-~ ,~ ~ [C ' : I ' " ~, ,

Gmin7 t ', ,_, . - ~ ( I t - -~'\ 0,.I''v

" - - - ". ". . . ., ~,- " -_'Ie{: I:l[

64 Chaerer 4---Less.on 2B: leaFnin~ Licks #2


65/95

. . . . . . '

InT....."38.2

fI r I ' : . , . . . . . , - .; P.iii h l;~Lt -..,..., v I', ! l . I 1 0 0 - " " " ~. . . . ~, , ~ . . . . ~ = z~"


66/95

l e l f o n J A : ( b o r d . ( o n n e t i o o J # JBy now, these: 'chords are su:rely- gening easier for yOY to h.mdle. The allowing ii- V7-'1progressions move across the suing sees. Once "g,ain, each chord receives one beat.Trnnspose[he.se to 'all twelve keys.

II II II

ii - - - - - - - - - - - - - - - - - - - - - - - ,

.7Z

II

27 77

II

L

[11

'77'

II

7I

II

f:UV7------------------------G9' j: 7

%I 7z

~if i ~'117---------G9] z Z~ - - - - - - - - - - - - - - - - - - - - - - - ,/"'mJlI1'IV

, ,, .

2

S i f f i V 'I = A = H ~

II

e m "I~

/

I~ --'

72

II ~ I----------~~~~~----~-~-~~-~----~-~--~~----,C6 B,.~ C " ' " ; 7, . 7 7' I I2 :;;I

Y I

IV~ :.-

---~--~"""',.",.----.,.,,=-~

7Z

VI[

I

' "7

] - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - .~c::7

I'

C67Z ;ZC ?7 1 : 2 Iz I7 27 I I [

[

,66 Chapte,r ~Lesson JA:Cllord Ccnnecticns #3


67/95

ii - -- - - -- - - -- .-- - - --- -- , V7 - -

118~~D~m~;7~n9~~~~;f~.~~7~1~~~~2(~~~TIj~G~~~.~~~~;r~~~~/e J

l111 Gli"j"jR]]]~ '11

1 1Z " .

J - - - -

7

t I "0 ~~~9~ - - - - -- - - - - - - - - - - - - - - - ~

119~ Z

" I ~ .; F W1,VI I- I I I. . ~I ' . . , I\,11Ixl] Itill VI I - - ~ - - - - - - - ~ ~ - - - - - - - - - - j

~ 7 I .. '"~ C ~ ' : ' = : I X- H . ~ . IX

-- -- - - -= - - """ "" - .- - - ..... - - - - - - -IC6

2 7 1 17 / rI I

m f f i " ' ~I ,I~ ) : } 0 1 1 I l! Jt m .:ill}. Ii' .. 2 1 I J m f ~Xl X X a xx .. . I . ,1 . , .I 1 Iv 1 - - - - - - - - - - - - - - - - -G9

--~----./Z 7 77 Z2 Z2 7 J2 /L

~ M}311. ~ I lJ J Hl...X .l m " E m . X I' m ~ ' );1. ~XI_~)(l , .~ , . j I I o. -r- [- - - - - - - - - - - - - - - - - - - - - -~ C ' ; 7 - -_ -_ -- - - - - - - - _ - - - - - - -- - , - - - - - - -- - - .C6Z 7 / 7 I ~I Z2 7

Chapter 4-lesson : lA:. Chord Ccnnectlcns #3 61


68/95

l e f J O n J B : l e o r n i n g l i ( k I # JL J 'I '~."c

Here are some licks [hat will work well, over unaltered dominant chords, Try using themove .. dominant 9th, II th and lBth ehords as well. Transpose them and apply them toyour solos,

C7 f -.. , ( I t - , . "2 0 ~ _ . . _~tJ - - ~ IT.... kn.

n '" -=A ~ C , " ., _ '" _L- - ~ -c _, tl . . _ .u _.,.\ , I~ , , I~ , I

" " , A, ~ C - - " ' _ _';_ ,. ... . .1

T ' I I; . . . .~._2 2

[,['UL

A/J

68 Chapter 4-Lesson 3B:l-e'llrningUciks#3


69/95

,I

1 1 5I To-ukI ~O"l

1 2 6' Tn.c:k, ~O.lfI

I

1

A7

1 14 "~ .~ fl- ~ r""-! 3IJ , _ . r- . .:(~ - - ! L , . . r-I.f . . I .1 -J - J - . . . .- J

F ~ ,n'7 " . . ," " ,. "n ~ n,..;; ~ . . " ;I'i ~ 'u ~,I , , '

~i.;

il'"r:lC:k~C"I

b1 ' \ , I _", t = f '- It r , _ _ " . . I , I. r:" h 1 "'I. I -~ 19:' ItV - ~ . S ,J -. : . . .,s~ A P "I h " " - e

" ~ . . . ..t . . I . '":lr......~ J . . . . , _ ~ . =~ ....-,. .. . G7 b

~ ' r = ~ : ( ! : f- " , _ . . . b . .-n.., ." ''-1_ 11 I" . . .,~ .- v, j_ .0 9 a 8 7 I..""" . . , . , I. . e- I- \ - 0 I

Ir 1\ I 8 ~ ~ t , ; . {" - ~ . . ~ , r- _ . _ ~ r - = = = l jI':I' ~'Tnck tJ ~ I,(C"

. . . , _. . . . . .~ G---1~ ~2 ~" a ,~ " ., ;2 1~-c 'U ,~

Chapter 4-Lesson ]B: teaming, licks #3 69


70/95

l e S I o n 4 A . ~ ( h o r d ( o n n e 1 i o R J # 4Once the examples In Lesson 3A get easier, ehallenge yourself With these, They arear,ranged In one-measure i i-V7-1 patterns. Take your time learning each example and themtranspose them. [

:l.lO .... II I ) " 1< ~l j II: .: m " J ') I I1" 211 I~"II!! m . I I VI . V B IVI[A . B . 118t t a m ; 9 G9 eMai7 CII) urnlos G9 G~il C62 , '7 I I z L = z [ 12 7 2 7 Z~

[

'1 1 ' I ) " ' I J 1 1 .' '" 1~i'". ~~ 1'1I(l( m i' 2~ll.z 12.! 1 ~II f i xI! VII m VIl m l X I . X lI VII ' .. D. Ik 4 m:, G9 CMaj7 C6 Dmin9 G9 Crkj7 C6/ Z = I ii = z Z z I i7 I 7 2 7ZL I[

'Ir i,.I[jIFIrl~ 11[:jIrL

,,2113. .i)2~~: "'l2~" " 2,) a ~ " .)JI1~ .1." d )1 " x1';ll. "11I. "1 - 1 1 1 1 m m i l l I I n : ' m v I I v m V I - m v !II 1 ' . I. IA . 13 .119~Dm; ' G9 CMaj7 C6 Dmin9 G9 C ,Ma j 7 CI67 . -, I I I = 7 Z =

"7 7 7 7 Z 7 7

"I]1~( I P C i 1 3 1 ~ x "ll I4 'x "l'Z I 3.. "l~']" x '11 i :J r x "221),,\1111 I I V U I m i X m~ . X I I . X I XII XII IC. 0'. IM r; G9 CMaj7 C'6, Dmin9 G9 CMaj7 C6Z = 7 1 : 1 / z 7 7 I I2 I I~

IC oIF~~[[:

70 Chapter 4--lesson 4A:Chord Ccnneetions #4


71/95

2 2 I I ,0102 ' , . , 1 ) ",.77'-1 ' ! . . ! . ! l . 1 . JW I l l i W f' I ' : T J g i l II J\' , !~.A. . 1 1 . I] :i- I B..~"' G9 C IViaj7 C6 Dmin9/ 7' 7 I I z3 0 / I 7 7

r...12 I. "" I II ~'" IV

G9 eMai7/' 2tIV

C6

,"IJ ~ 2 I J '".71 II-~VIIVII ~ ' n l ~ \ , I '.I O t mlng G9 CMai7/- I;C 7

~,III" " ., I ) ) 1 .. ., I 1 I ~X M x.

Dmin91 G9 CMaj7 C6I I 7 )I I )I7 A ]z 27

POl Matheny

r - - - - - - - - - - - - - - - - - = = = - - - - - - - ~ ~ ~ - - - - - - - - - - - - - - - - , _2ouu.i" "z. . ."-.. _. . .t;)

Chapter 4--,teS50rl 4A: Chord Connecticns # . 1 1 71


72/95

There are many ways toim prov.ise O"''


73/95

iI I ~- ... J J r-- -" . . -q"~,]#-f'-f=( ;tJ ~ - -_ ".. _ .J: . ." - " _-.

I . . . . ~

Amin7~5fI, I - I1 3 6 J:@ . .'


74/95

( H A p n R ~L e I I o n f A : T h e B l u e f P r o g r e J J l o n

The blues is a seyle < o f music Y!'1(Q !CS~rf. Itis aLso a very im portant part l O r the jazz vocabu-lary. You m ay have he .. rd abcue th e vartous styles of b lues, like O l;!lra Blues. Chicago Blues.C oul'ltry Blues. U rban Blues. ,Englisn Blues and Rock Blues am ong other'S . Eachbh,le'i stylecan be th().ug!uof 3.1 :l dir(erem dialel;[ of the S'1!!me b~si( 1;l.l1gi,J3ge. 'If yov are inrereseed intea.ming about the m any differen t kfndsof b lues styles check OUt Beginning. ri'1'Ir:rmedigte and'Mastering Brues GUi!or, aV3i1ab le at a,ny m.us,ie store.For our purposesvthe b lues w ill bethought of as a (arm,; i~ is a tw elve m easu re chord,progression tha~ is based around a [-I V~"7 pFOgl'esliion. A s you w ill see, [he b lues preg res-ston (tin be' very simple cr v,err complex. In fiCt. if you comp~r,e the f irst few progn~s.5ionsin this lesson with the later ones, ) '01.1 might be 'hard pressed to find allY similarity at a ll. jaz zblues progressions tend '[0 use: quite O J few s :ll bs ti tu ti ol 'ls i ll Tl d .passing chcrds, There arem any e xam ple s of this w ich d ecai'le de xp.lanations in M aste ring ja.z . 'l Gui!a' ChardlMefody. Youshould cry ro I'e 'arn 3S m any blues prog i'"ession~ < !ispos,sible.:E.xam le I 3 C)'is a basic. blues, and eke exarnples t'hat foillow show how [azz players m ig htetabo


75/95

; f ! J f J -~~;I::~:_

I l' 2 i

r lG~l i l l." I1 I11


76/95

rI141~

1 I l 1 l I 1411 I1 0 0 1 f ~ l I yD9 A

Z 7 7 7 7 7 b/ z 77 Z 7 Z 2 Z Z 7TEmin7/11:J'L z #' 7Z Z,.2I J ) l x x II ) 2 . " , 1)4UI I 1 I I ~ ~ III H~ 2 ~ U J 1 xr u m V r m r t v t . . . . . . . 1 V ' f f f t ] v u M I X ,'u I X, , _ _ ], II

~.

09 Dldim7 f J . . Bm! n 7 C'min7 F~7>'9/' / 7 7 17 . r7 ~ ./ 7 7 7 7 7 r Z7 2 7 7 2 7 Z 2 7 Z Z I

t.rf-.~_;

72 I b ([t ' ' ' 'I.,

~~~~~~~~~:ll ~[)< 1 I I11 II l~, I II J 1 j 1~ I '"IlJ ] " x I] ~1I; m v ltLfl V ~ m v lIIv.' 'I V:--;-_~-. _'f"'i- 1 ., I.-;I r

~

E9 09 A A7 D Dmin?-// / 1 ./ / ;r z [ -/ / 2i 2,r ' 7 Z A E71:g2 Z 2.E 27

E~9IZ---=L

B~/6I ' 7,:JI7'77Z '77 zz ZI 7II'2 ,7

[. IF E)IIl~1

1,,1333~t I = I = F i VIII I'"X 1)(

F'9 D7 07./ 7 t: 7 I ~ l 7 i Z7 / l' I 2 7 2 F77 z 2?-7 7 z 7

76 ChllDte( S-Lesson IA: The Blues Progr1ess,ion

[ - _ . : : : . ..". .j'

7 : 1 1 [ -I r ~ ((- ,

(


77/95

r7 .4J~

\ '112.)33.~V ,- I '. Ii I. . ~ ~ j '

I ,

F7/6/ - - = f - 7 - - - = : = L /7 Cmin77I /'7

f" ~ . : : ~ ~ J ~ ' i . r . . : .t . . ' " + i - ~, ".I '~. . _ ' ,,:;~

F9c7

III1.l)~.1 , - t ~ ~IIA~min7

I 7 r 77 ? 7L L 727

1 1 " "7 7 z

C927

Arnin7 .09z T / I

1 I ) ~ I:; IlU11 ~ , . . . . ; . : . vf' '1 1 ~ - - - 1E~93 i3 Sb'3I zL 7 .r7 777

,E'9

Il ..,..!VI E.- .... ~I

- - - "1 '

....... f~ ~/I

F7/6iEd /7

/' ,.r 7I 1I :I. '~II- m ' ) " " ~1 - - . elf'!k : T IG7

z 7

7 7 j

Amin7

C9/ 7 I'T

2 x J o I I i ) ( . l_iII!J:4~:!C~ ~ E l__.w~~-i1Cmiln7/11 Frs

1 1 1 1

/ -- - - -- - - -: t= . . "7 7II'7 Z7

L 7 / /Jlli'lD71~9

I r 7 7lol}]" F l..l IJ ~ !1I'1 A j.t lI: 2.)3)" l"]


78/95

1~---1~- - ' - l - - l - J..):.-3--~-----_---- -"'iR.J - - ---- 1 . - -I- j' ~ I-- - . : - . . - -- --

. 1'1\' -_ re . __ L_ --_ ' . , ' . 1 _ _ . . , _

L I!l , .I6[C I[(

([([ : ; f((

I[ ([[ " :

r[[[lG : (,L . -L. .I.rr!'-

8 l e s J o n 1 8 : . f % i n g O v e r B l U f f P r o g r e J J i O R SYou have probably had some cxperlence hnprovislngever bask bl:ues progresslons. This.lesson begins with a review of the minor pentatonlc sale, blues scale and Mixolydianmode fingerings. They appear here in the key of C. but you should pracrice 'transposingthem. JUM move to :In)' crhereooc of you.r choice and work through the same lingeri,ngs.

:~i~~:;_ I---i---i--- -'-~~ j . . ,_ . _ J _ : ~ _ _ . .

- - - ' A . , t - ~ _ . .VII

.i,I- _ . !. . Iv

II I v

rI

B .B . K in g


79/95

JV vII

-I

'A t-l. : i . _~.,- . - ! e,- 3.J!l\. ~ .- - ' . ~"l-I , ! . " .II x1 , . 3 . _ . - ! . _ ~ .-s-'1 ~1- r!e- - ? 4 .- - 3 . 4 .

3';;' 4 RIe ,- 4"'". _ . ! . _ _ .x XII x v

1 -r'_IIe 21.-I-_...L2:! I I:VII

J '. ---~ ----r:,--- - i--1--- -.--- Ic!- - - 1---+---1-':;' '!r--- - -_I--L_-L"._____ _ ! _ _xvV II

,-...,.~---.-,,3 ....._ --+':l.4 e-+_-+~4 I D -'+----f-'e,IA>-...l.-._...L.:' ex XII

I-~.--- f--I- . --1 - ' - . -i'1-J . --m--- -- ~

' V I I


80/95

There is a big difference between learning lmprcvisatlonal tools. such 3~ sc-ale's,and actu-aHy lPuCICinghem to use. At firu"we tend to organize them into' patterns in different areasof the fing,erboard. In actual practice. we usually combine the various tool,s and utilize theentire nngerboard . This is because ch,e ideas we hear in our heads don't always conform toorganlzed fingering patrerna, In the sample blues solos that follow, you will find that thescal:es being used jump around co various parts of (he 'fingerboard. Study these solos andmemorize the pans th.n you efljoy so YO'ucan use them in your own solos.

) BLUES SOLO # IG Dmin7fl19 G, . , I'.. 0 ,. . . -~ .-- r- ,:(~I r . . . . . . o : I..;:00 ~..J ~ ~ I

G Minor penlatonie Ihroughollit.. . , . . . . . . _, .; _, . . . . ., , - _ . ., . . '" ~... .a. . . " -., _L C\~ - v . . -'r

C9 Gfi, r - . . . . ~, ,....." -~ :"'!- I_ I f , ~. . . . I I" Ii.. 1-",. ,.J I.-J :1

I~ ~

- _~ .,.. , , . . , ". . ." . . . '., . . e: .. < " " " -'" '"- ,~ ~


81/95

B LUES SO LO #2A Emin7/11 A7'~5~99 A" . . ~ - r--. . . ~ ~ . . . ?

IU '~-:rI . _L _. ~~'-.-r-~--- . ,I - . . --t.._..-tJ ~. . . . . _ ; ~ I ~ . . . . . . .fA Blues scale - --- - - - - ~ - - - ~ - - - - - - - - - - - - - ~ - - - ~ - - - - - - - - - - - - - - - ~r- e- .~

.0; _J! . . ," .c-,-7-5-1-5 ... '" -5 " " .n .,... "T " ... ,,~~--5 ~

A Bmin?I " ' " - Bmin1 Chin; ~ Varpeggio __ , arpeggio __ I- ~ - - - - ~ = - - - - - - - - - - - - - ~ - - - ~r "

" . . r

E9 A E79f'I .~ . L H J . . l . _ . _ ., - - - I J j. ' . I , - ,I C IItJ E Major .r -~ - , . . . . . . . .arpeggio __ , A Blues scale - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - _ _ _ _ _ _ 1. . . . r .s:r r o " , " 10:. . . . . . n 'T J:: - ~-,. . . ~ ""cl'-,

Chapter ~Lesson IB. Soloing Over Blues Progressions S I


82/95

B LUES SO LO #3Grl1in7 F9

~

F7/6 F7f6_n . 1 _~Ja U 1 : t t r T I - -r. _ ~ - f " -r([i)~ . . . . . _ ,~ -L,..o/, - -Mixolydian _____ , B~ Mxolydian ______ ,J F M l x ol y dl a n _ _ ________________ I~I- --6 "" . . "'-1~ ~,. ~ ..6--8 8 1-6 1--5-r-7-8-1-:;- ~ ~ - 8-7- a_ . . .. , ~ n: : " . . . . : ~ ~ . ._J,

87 Sdim7 F7/6II fL fL ~-~' . . ~ t. t'- I -c : : - Y r: _ I - !J _ _ --.;,f-(r"t"~

e~Mixolydian _______ ~ , 8dim chord tones F M ifO lyd ia n - - - - - ~_ - - - - - - _ - - ~ _ - - _ I" '" - ( } - - - { 1 " " . . " " c. . . .+ '" -r " e.. . . r . . 'u. - . .' , _ , . ,I ')Gmin7 C 9 Gmin7 cvtsmin7"S

G Dorian _ _ _ _ _ _ _ _ -'Chord tones with Ileighbor tones J

C Mxotydian J

J= Nei,ghbor caneso = Ta rg e c. c no r- d to,ne:s

82 Chapter ,~Lesson I B:Soloing Over Blues Progressions

ru'[:J_-

: 0p: LL ,,

BpLr


83/95

( H A P H R 6l e s s o n f A : R h y t h m ( h o n g e s

Just as the blues form is p:ur of our "stock and trade," (hyrflm changes are a very nmpon:af\cpart of lour vocabulary. This chord progr!!Ssion was originally round In the song F ' ' V I ! ' GotRhy thm by G.eorge Gershwin. It has been the basis for literalfy doz ns or !iongs. and hasbeen a fav,ori~e progression of lrnprevlsers for decades. Oleo, by Sonny Rollins, Anrllr(jpol-og y by Charlie Parker and The F1 in lSones would be examples ,ofsongs, based on these changes.There are actually marly variarions oM this progresston, but the example below representsits most basic form.

V II

Fmiln7

RHYTHMl.llJli l ~ ~ V I I i1 1 j 1 1 .

~1 I J ] )

G7 Cmrn7 F9~~~?-

B~Mai7] z z + gCmin7 F97~-77G7:/Ed1-, l ~h ~~ ~ 'l..lll2.J I j , 4 i , I 1 ~VI ! III . ~\~III: . 1 : . vu - : _ i ..v .!~; _.I: :.:..:( E~min7 1. ~E'I.Aaj1 B Maj7 07 Cmin7 1F97

~,I : : t ; \.,I.J 11. . , ~l: : ! i~.x: : t+~:iG9I 7 I'7 B

LMa j 7 Flne D9/ 7 / / I t 7I 7 7 I 7 7 I] 2" I77 zI z7

7

l~411.[W7"! ~IIC9 r - I / 252' I

I ) 111 -._!' L ~ \111

F9 D.C. al I"ill~zj]F 9_ + f ? 7Z ID.. III [Fine = = Return to che beginning and play until d'le Fine.

Chapter 6--Lc~~oll1iIA: Rhythm Ch!li.rnge~ 83


84/95

B l e J I o n f 8 ' f o / a i n g O v e r R h y t h m ' ( n o n g e sThis solo uriliz es Kales tn;n you learned in both [hl~ book and Beginning Jazz Gui(,ar. Asyou progress. you'lI find ehat rhyrhrn chilnges: areusu


85/95

1--1------7--1-8 -7-8-10

C9 F9 .1

Fmin7 IE~fV la j7

~Chaprer 6-les:>ol'l IB:Soloillg Over Rhythm Ch3ng~s 85


86/95

u( H A P U R l

l e S I o n I A : T u r n O l O U n d JA (l,UI1CIn;lUllQ' is ' i \ j tWO- or four- measure sec.~iQnata 'first ending. or .3C [he end of a tune. Atumarcund creates a smooch harmonic transition back to [he firs, measure. You will findturnarounds in most jazz tunes. Generally, me guitllr'ist can choose [.0 play anyone of themany kinds of turnarounds possible and ic's up iCO the ocher pl,ayers [0 react. Forvariety'ssake. it pa,ys to know a lor of differenc turnarounds. Using a v;!riery of turnarounds willcreate unexpected ewisrs and [Urns in an arrangemel1l'c. They also make good ineres andendings.

[L

1.11~. .I.l~ I.l~. ~ 1 : Il' 1.2]d", ? I) 'x 'm m v I l l H t v t ' p t L I I l I~~...l 1 - 1 - 1 I... _I~III 'V IIIf i f 1 1- . -- = H - i i = t 1 _ . - - . I..J . . 1 IA7,'5 Dmin7 G7 B . Emlin7 A 715 Omin7 'G7

,- "7 "'7 I ZL:7' = 7 I I I 7 '7 7 " " " . l : / ~ / I I7 7 7 7 I I 7 Z Z 7 7 I

r~Lf ' " I.::~

These are examples of two~mea.sure turnarounds going to C, When pl:lying four-measuret lJfI1OlroUIlG\S, the duration 0' the chords would simlPly be doubled, Memod~e and trans ..pose these and keep your ears open [0 those other IPlayerrsuse,

,

dH~F r T f f : 1 1 - ; IIII , 1III. iDmln7

.I~~~Vjl

D_ Emiri7

i!..ll.ll.!- ; : ~ ~ t l . u: 1 : 1 ~ : . Ji

VIIl !"IW i "'IE~mjn77 D7 G7 H. Emin7' Dmin7

7 7 7 7z 7 2 7 I I7 7 7 77 2 z86 Chapu:~r 7-Le:ssol1 IIA:Turll


87/95

l e J I o n 1 8 : J o l o i n g O v e r T u r n o r o u n d sObviously. Ir turnarounds are common. you will need 1Q know how ro improvise ycur waythrough them. Create licks that you know will work over various turnarounds. ThIs willhelp yeu make melodically 'smoother transitions back [0 the beginning:> of your tuna.Study rhe follow ing tu rnareunds gDinE to C . M em oriz .,e and! rranspcse the : ones yOU l ike.

A.CMaJ7 A7~5b

1 4 6 O - - - r ! f', .. -:.-,r -.- 1 '# r"-J-lB .

Omin?

G7

i " " o o . .G7

' _~ .e-,

"", - t>5 7 5 4 5 ,~ - ~ ,~ - - -~-- __ "1t '" " . . '" "~c..eMajl Omin7 G13b

O .Emif17 E"9 Omin7 0"91\ _ . .1f- ~ ~t!_ ~ - . : : . = = : I : __t~ . . J i I I ' " " 1 i 1.'" . . , \-'v. ~, -, ~ . .'-"tr , L ~ ~ Ie J - - - ' - V "'-1. . . . 3 1 8 - - - - - - 6 .s:--v Ii 'Y' 1 1 " ~ ~---5 I~ 5 8 5 5 r A 6 II --"'-_"'" .e so_ ~ _Ii :, -8 ft 8;,-.; ~. . .E . e b 1 1 3 O~13 F . tMaj77J9 07 CIVla j7 E'Maj7 G7~5, . ,

~ - i " " " " " 1 " " " I . b , . _ r : F 1 - b - .J f- _ . _ - - l.JfI: _.. . . .-_._i--.i~- , ~ . . . . . .r r-: I ~i} " " - . . . . . J ' ~ ~ I " . . . oo l'" o-r-'~ " ' 1 "_"", -1\j, ~ - ~ s: . . . .s: ,. -",,-,- , .e. -"'- -llt ~ 8 5 8 - ~ ~ ., -- "~

G. H. , Dmin7 0"97 A7 07 G7 Emin:? Pmm7II. , . . . . . , r-, . . . . . . .~ . , .; , . v . . -J-:'l::c7,~ ~ : ' H : _ _ 'jj~----E'" f ~!;l~-I:j .. ," '_,h .r-J ~. .- . . '~ ~ -...: ~- ' . ' . . . . . . . .

. . n~ - ~ t: _ . . ~- ' - -- - G - '" rJ. ' - '" ~ 4 '3 . ... . . . . 1. _ . , _. -i

Chapcer 7-lesson IB:Solein,; Over Tumereunds 117


88/95

( J I A P U R 8l e / f o n I l l , ( h o r d f o l D

Here is a chord solo loosely based on the changes of the song Misty. This arrangementIncorporates man)! or the concepts that have been covered in the",A"llesson:5 of this book.Use tc to reinforce your understanding of whac youl have learned, Have fun. and see you inMLls!erillg jazz Cuiwr Chota/Melody!

FOGGYTr~~i(.!

E~9A ! ,, _ , , _ . . ~ ' . " 1 -; ~ - I" . o C .rr: f.. IItJ E /~ I ~ :;i' : ; t . J . .., '" " . - '" ' c: -"'- . . ,. '":; ; O~9----'1.Q--1~ ,.;I ' " ,-" : 0 - ~ "- " " .;I 3-i' : x : - : : . - v ~_ . . . _ c~ "

IFmin9min7 Fmin71 '1 I . . ,.- ~ (t I i I' J I ._~~f~ ~ .- t-'u)E:~~. r. .._ It~+--:S < II. . .- ~ .!.'tJ r ~ . . 4- r 9 ~ . . . . r

Ie ! I i f B6 9 ~ J . ~ 12 8 9L " r 7D o . ;, _ < > " . ; : :~ .~."nw

a"min711_ I _L J l II~'I A ~ . '"T -v ~I r: . . . . -~ - . -J . . ill -1 - ; :; g i lll

" . . .," 6c---- 8 9 5 5 , . , . o-. '" - ' l I " " " ,~ :1' ii. n -. . " s ;r ;:1 " .;_j-. .;;0: ~ . ." 1:. v)< '" -'"'- " " .,88 Chapter 8-le5.son IA:Chord Solo

y :r I_I: c[[(L _ ((l(B ((F ({'[ fF tI, ";[; {tn (.. (. ' (E {EC (,r (, - ([![ "


89/95

aJ mm mOI l mm -rr In 6 A min6 E'Maj71 '1 I , I I I I10 1 I r:fJ. -h"--- - . - , _ , t-4..\lL I I, . t : . ! I - ~ , . ~ ,. " " tI -l _ .. ._ . I Etr~. . {--4--3 ! ! ! ! i f 4 IS ~ ~~ ;:;~ 6 , 8 6

I - (! f'- ~ ('- t-l-~ ~ , ." I , . . ,. _ , ._ . - - - - i -"'_ I . . ,_J I' " , I ,ItJ - z : ~ ~ - - . ..n " , ~11 "'-'I- o. . . ~ 1 _ " A " "~ : o - ,,! ;;;;. - , . ;;; ;; .G c I). . . . ~ - , w~ : _ . _ - _. . . " - 't"

N'Maj7

Gmin7 C7~9 C7r5~'9 Fmin91~1- _ 3 , _ ' ~ - . - : ~ ' +=t=4=t::; : t :1r

,E Ladd9 epMaj7 B~'min9 l 3~min!I I ~ ~ ~ S , r f ! - _ I!:: . _I _hIi h _~ .;;. _ _ -,.J r u ", e

Lmin7 E'9!' - l!

AI'Map,~~,. ,/j.'minfh b : ( ' - . .. . .V I

:Chapter g.....Lesson IA :. Chord Solo 89


90/95

. l e f I o n 1 8 : f i n g l e ~ N o t e f o l oHere ls a s.ill,gle' note ~al,o also loosely based on lhe~h0rd changes, o r MiS lY . This soloincorporates many of' 'the concepts that have been covered in che "9 ...lessons of this book.Use,icro solidify wha~you hJve learned. Enjoy this and s~,e YOil in M ostering Jozz GuitorJmproViStHion!

SI.N G LE NO TES IN THE M ISTO~'g,o~, . . . . . . , - 1* " - ~ j " ' "-r- r: -;.' - - ~'fI. - r -1 .- 1 ~I I: u ~ I ""'I .l - ' . . . . . .

. . . .r- ~-r-ti a - - - - s - - - . a ala.) " a.--G ~ ~ " . . , .~. . . . .- , , . ',.' ,_~''v

COl in? Fmil17 Gmin7 Fmin7

. . . .. , -. .- .. . 0 .. '> .. , ".0 \ e "..~ - ~ - ~, ~ ~.. . . . . .-:)

B~min7 AkMaj7 A~mil171 " 1 f .:~~.,_~~ ~* .,1 ~ .. f': . . ~ , . . 6 .l' , ,Ke r I I' " ' ! ! ! o o . - "'- - ~tJ - . . . . . .J ".,.... ~ . , .

I) 8 6 lOOv " . . , " 4-~- S - , ,; - ~4-l-" '" ": . , -" ea ".r1

emlnl Fmin1, . . , I .~ II I 1 : . _ - - I": r . . 'it_ . . ;- . .'_ _h_ -- - I. . . ..,- I ,r- Ill' I"tJ ~ . . . . . . . . . . . . , .~ --r,

.. . a ~ a r: .; . .~ ." , .'" " .,. ~_'0_l

'9 0 ChapterBe+Lesson l IB : Sing le Noee Solo

L ,!I Il "_ ![C I(,[~ (

r c,~~~:~., . ([(t{[,t

t - 1 ,'1 . .-" '-'[ (t(.n ~. < {~ ([e" {6 ~:.. (,L f(

C l(~f " :

r

[~;. .I (,I .. _. .


91/95

E~Maj7 , Ekg ALIVlaj7min7f\ , II~-! ' . . , .t- f- I f' ('). } ~ .' J , _,J_ _I__ > , : , 7 . . .t. l '-r-

A~min7 D~9b. f-,. .,._~' _r-"--G----6-i!-? s: .., 3 6 ;2 S 6 4~

"' s: L - r+ "I

Cmln7 Fmin7 8'9t'I , .!- : : . , _ ,~I lu 1 1 1 . , ._ , ;;:;'l _b . _ ; ; : _ It:n. '" ~I~ W "... . . . . . ~ . .

" '" D e . . . .I ,\ . _ ., _ _ . . '" !-4--5 ~ ~ r- ~ r II . . I_tiJ

Chapter 8-lessol1 IB : S ing l e N o t , 1 ; ! 5Q lo 91


92/95

( O D A A M ed'/ey of SUgge 's t ions andMUS~CClI ConceptsWherher you play an elecrrie or acoustic guirar. Ie is very important to always pl:ay withgood tone. Being comfortable with yOUi'" tone may be the single most importam: factor ingiving a s;)tisFyillg performance,The environment you are plilying in at any given rime is' one of the central issues of yourrene. Are yOUi playing outdoors! In a small club with "dead" acoustics? In 3 large gymna~slum with lors of ambience! A recording studlo? A cathedral? Each of these environmentswW affect YOU,i '" overall sound differently. Chances are the "perfect" amp and g'uitar set-tings lor pra(:tlcing a~ home will nordo at 0111er a n " ' e performance. Expect this


93/95

This list is not in order of irnporrance. Wh


94/95

When yOlu lmprevlse. '[.he ideal is to first hear an idea in your h'ead,ancl then execute it.Manyplll)'E!fS don'tre-a11Iy do ~hi'l. Ther jus;t play" :Ii,c:kand then s.ayro I:hemseh(e~:Hmmm.d1"'l; worl


95/95

" . . ~ " I o ' : . . t-

Vol.2 - Intermediate

Documents

Transcript of Vol.2 - Intermediate