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How To Develop Virtuoso Single Line Technique For Jazz Guitar
based on "The Virtuoso Pianist" of CF Hanon

by Adam Rafferty

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Adam Rafferty

Boost Your Fretboard Knowledge!
Hello Jazz Guitarists! Thanks for downloading this lesson. Something that I’ve noticed about many of my guitar students is that theis scale knowledge is limited to a bottom note - up concept. Can you answer the question, “What is a key?” Really, before looking ahead in this lesson for an answer, try to articulate it and you will find that it is not so easy. If you want to say “notes in the scale”, you are missing it. D Dorian has the same notes as C major, so what’s the difference? It’s the same notes, but a different key! Anyhow, I will let your curiosity stew a little. The answer is in the following pages. I’d like you to be able to play in any key anywhere on the neck, be able to weave in and out of keys effortlessly (you’ll need to make some effort to learn how though!) Jazz tunes often change key several times, so being able to shift key centers is essential. “Giant Steps” by Coltrane changes keys every 2 beats in some spots! On the following pages is an excerpt from the “How To Develop Virtuoso Technique For Jazz Guitar” book. As I was looking through the book, I realized that there were some very potent “mini” lessons contained in it - so here’s something to keep you busy. I hope that you enjoy this lesson. It deals with some basic major scale knowledge that you cannot be without. The complete “Virtuoso” book also gives complete fingerings similar to what you are getting here for harmonic minor and melodic minor as well. Warmest Regards,

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Adam Rafferty

Copyright 2001 Adam Rafferty, All Rights Reserved http://www.adamrafferty.com

9

Chapter 1: The 7 Positions of the Scales
Every key can be broken into 7 Positions of scales on the guitar neck if it is played 3 notes per string. By examining these 7 Positions, you will uncover every possible location that a key can live on the guitar fingerboard. Most guitar players only learn the first position, which would mean that they play the scale with the lowest note as the root. For example, playing a G major scale starting on a low G at the 3rd fret on the 6th string. Sort of a “barre chord” approach to playing scales. That’s fine, but it is just the beginning. Why 3 notes a string? I see it as physics. It’s there to be learned, and it fits comfortably under the hand. Plus, you’ll uncover all of the possibilities of playing a key anywhere on the neck and see how one position of a key relates to the other. In real music making, I never stick to or even think of 7 Positions, but for practice sake, I impose them on myself, and now onto you, the student. Question: Aren’t the 7 Positions Just the modes? Answer: Good Question. No. The Positions are not modes, even though they seem to be, and could be. Here’s why. Please burn this next piece of information into your mind: The best definition for a key or tonality is a central tone around which the others revolve. Many people simply think of a key as “the notes of the scale”, but there’s more to it. If we are playing in the key of C, all the notes will behave a certain way, in relation to C as the center. You’ll need to forget about the guitar for a minute to understand this. Play or sing a C major scale up to and stopping on B. Notice how the B is pulling up to the next C. Once the center is established, all the notes serve the center and behave / revolve around it in a certain way. Think of the central tone as you would think of the sun, and the other notes are the planets revolving around it, and being ruled by its gravitational force. Most students think of scales as “staircases” of notes that can only start on the root. That does describe what a scale looks like, but does not really address the phenomena of a “key” that a piece of music is in. Just remember, a key or tonality is a central tone around which the others revolve. In D Dorian (the same notes as C major) the central tone is D, not C even though the notes are the same. The sound and behavior of the notes is completely different. “So What” by Miles Davis and “Impressions” buy John Coltrane are not in the key of C! They are in D minor . D Dorian has the same notes as C major but the behavior of the notes is completely different.

10 Now imagine that our central tone is C and that the other tones are revolving around C. The music does not care what fret the guitarist is at. A higher law of musical physics has taken over. The tones are experiencing a behavior. It is for this reason that I want you to be fluent in any key, anywhere on the neck. The 7 Positions will teach you how. Once you have tackled each position, there’s nothing left. You’ve uncovered every possibility of where to play a scale and key on the guitar fingerboard. So, it is with that in mind that I hear Positions 1 - 7 as belonging to one key or tonal center. Not only that, but what would we start calling the modes of the minor scales? Question: I still don’t get why Position 2 would be different from Dorian, Position 3 from Aeolian, etc. Answer: To the eye, it is the same. In fact you are learning the fingerings to the modes as you do this. However, to the ear, each of the 7 modes is completely different. So, if you do Position 1 and establish the sound of F major in your ears, then Position 2,3,4,5,6 and 7 will simply sound like a continuation of the sound of F major. If you can only play a key starting with the bottom note of the scale being the root, you are at a tremendous disadvantage. By studying the 7 Positions and doing all your exercises in each position, you will be able to tap into the “behavior” of a key more spontaneously, and never be lost anywhere on the neck. Not only that, but switching keys when you are soloing will become easier too. Question: Since C major (ionian) and D dorian are the same notes, couldn’t I solo on a C major tune using D dorian and couldn’t I solo in a D dorian situation using a C major scale? Answer: Yes. That technique is called polymodality - the use of many modes in a musical situation. I personally use this technique, but all too often people use it as a crutch. For example, some players get very good at soloing in the Dorian mode. Instead of learning how to solo in Major they might just think “To solo in C major, I just play in A minor” which would mean that to solo in C major they would have play A minor, not C major. That’s an excuse for not wanting to do the homework of learning how to solo and play in C major. Yes, the notes will be the same and not sound wrong neccesarily and you can play valid music doing that, but sooner or later the crutch will give out. My gospel is to know how to play in the key that the music is actually in. Once you can do that, then you can experiment with polymodality. About the fingerings on the Positions: They are a starting point. Please understand that when I refer to a fingering I mean the actual left hand finger that is shown above the note. By location I mean where the note is played, on which

11 string and at what fret, regardless of the finger. I discovered that the exercises “revealed themselves” when I stuck to playing the notes in the locations that the Positions yeilded. 9 times out of 10, the best fingering would be the basic ones shown on the 7 Position pages. Please don’t let this confuse you. Follow this example. When you are attempt Hanon Exercise 1 Position 1 for the first time 1. Review Position 1 of F major on the 7 Positions page. 2. Look at how it lays on the fingerboard, where the 3 notes are laying on each string. 3. The Hanon exercise will scramble those notes up, and you will play them in the same locations that you just played, just not in the same order, and will use the fingers specified above the notes. Many of the fingerings will correspond to the 7 Positions section. Some won’t - but that’s the best place to start for comfortable fingerings. Left Hand fingers are: 1 2 3 4 index middle ring pinky

I have left out string numbers in the exercises intentionally. They would simply confuse rather than clarify. Keep referring back to the 7 Positions section as much as you need to. Some fingerings will seem very strange at first. As you do the exercises it will become clear why I chose the fingerings. If, after checking them out, you find fingerings that feel better to you, by all means use yours. Nothing would make me happier than you developing your own concept! Take the ball and run with it! I hope you now understand why I have put all of the exercises in the book in 7 Positions for Major, Harmonic Minor, and Melodic Minor.

12

7 Positions of the Major Scale
6th String
1

5th String 4 1 2 4

4th String 1 2 4

3rd String 1 2 4

2nd String 1 3 2 4

1st String 1 3 4

1

2

Pos 1

1

1

3

4

1

2

4

1

2

4

1

2

4

1

2

4

1

2

4

Pos2

1

1

2

4

1

3

4

1

3

4

1

2

4

1

2

4

1

2

4

Pos 3 1 1 2 4

1

1

2

4

1

2

4

1

2

4

1

3

4

3

4

Pos4 1 2 4 1 3 4

1

1

2

4

1

2

4

1

2

4

1

2

4

Pos 5 1 4 1 2 4 1 2 4

1

1

3

4

1

3

4

1

2

4

2

Pos 6 1 2 4 1 2 4

1

1

2

4

1

2

4

1

3

4

1

3

4

Pos7

For Hanon Exercise 1 stick to these fingerings (almost) religiously. These fingerings will work Stick to these fingerings religiously throughout all are always exceptions. perfectly for many diatonic patterns as well. As with any “rules” thereof Exercise 1 Use these fingerings as a starting point when figuring out new patterns. Stick to the locations religiously. By breaking all your scales up into 7 positions of 3 notes per string, you will master all keys in all parts of the neck.

13

7 Positions of the Harmonic Minor Scale
6th String
1

5th String 1 3 4

4th String 1 2 4

3rd String 1 2 4

2nd String 1 3 4

1st String 1 2 3 4

1

3 4

Pos 1

1

1

2

4

1

2

4

1

3

4

1

3

4

1

2

4

1

2

4

Pos2

1

1

2 4

1

3

4

1

2

4

1

2

4

1

3

4

1

3

4

Pos 3 1 2 4

1

1

3 4

1

2

4

1

2

4

1

3

4

1

2

4

Pos4 1 2 4 1 3 4

1

1

2 4

1

3

4

1

3

4

1

2

4

Pos 5 4 1 3 4 1 2 4

1

1 3

4

1

2

4

1

2

4

1

3

Pos 6 1 2 4 1 3 4

1

1

2

4

1

2

4

1

3

4

1

2

4

Pos7

Here is the same concept for Harmonic minor.

14

7 Positions of the Melodic Minor Scale
6th String
1

5th String 3 4 1 2 4

4th String 1 2 4

3rd String 1 2 4

2nd String 1 3 4

1st String 1 2 3 4

1

Pos 1

1

1

2

4

1

2

4

1

3

4

1

2

4

1

2

4

1

3

4

Pos2

1

1

2 4

1

3 4

1

2

4

1 2

4

1

3

4

1

2

4

Pos 3 2 3 1 2 4

1

1

2

4

1

2

4

1

2

4

1

3

4

1

4

Pos4 1 2 4 1 3 4

1

1

2

4

1

3

4

1

2 3

4

1

2

4

Pos 5 4 1 2 4 1 2 4

1

1

3 4

1

2

4

1

2

4

1 3

Pos 6 1 2 4 1 3 4

1

1

2 4

1

2

4

1

3

4

1

2

4

Pos7

Here is the same concept for Melodic minor.

Virtuoso Guitar Technique In 30 Days Or Your Money Back!!! Guaranteed!!!
Discover This Amazing Guitar Technique That Obeys Your Musical Commands In Record Breaking Time!
Have you been wanting to improve your guitar technique but just didn’t know how to go about it? Do you find yourself “digging in” too hard and getting stuck in the middle of fast passages? Do you ever feel unsure of the proper fingerings that enable you to execute a musical idea? Well, jazz guitarist Adam Rafferty has completely solved these problems for you along with many others encountered by most guitarists playing today. His amazing new manual called How to Develop Virtuoso Single Line Technique forJazz Guitar with exercises and diagrams including complete fingerings will provide you with a daily 15 minute routine enabling you to develop a “touch” that will have you gliding through lightning fast solo passages easier than you could ever imagine! And what’s more this easy to follow, step by step approach is so simple that even a child could do it! Upon completion of the course you will experience: 1. An increase in your playing speed up to 1000%! 2. A mastery of alternate picking that feels completely natural. 3. An effortless ability to play solos outlining chord changes at the fastest of tempos. 4. Posession of a 15 minute warm-up routine that will guarantee that you play your best in any gig or jam session setting. 5. An unparalleled increase in self confidence that virtually eliminates nervousness from any playing situation. 6. The ability to see and hear the most interesting melodic lines before you even play them 7. The accmplishment of your true potential of speed and fluidity. Read What Other Guitarists Are Saying About This Course "After practicing these exercises for just a few minutes every day it actually felt like the guitar got easier to play!" - Matthew Finck “I do the exercises in the book everyday to help make uptempo playing a breeze.” - Adam Rafferty "I don't have a lot of time to practice because of my hectic work schedule. Since getting this course, I can get some really good practicing done in a short amount of time." - David Henry "Any guitarist who faithfully applies what is taught in Rafferty's book will benefit tremendously, especially in terms of technique."- Steve Bloom Not Just ATechnical Study Not only will you be able to walk away from this course with blazing guitar technique, but you will also experience improvement in: Your Major, Harmonic Minor and Melodic Minor Scales in all Positions Your Key Signatures Your Diatonic Triads and 7th chords in all Keys A new and productive pracctice routine A huge improvement in your ability to identify Intervals, Scales, and Chords by ear. Stop Being Intimidated By Other Musicians Now! You’ll be amazed when other musicians start making comments on how your technique has “gone through the roof” What once was a source of intimidation and fear will now be transformed into admiration and respect as if by magic. Dont Delay! The sooner you start this work, the sooner a new professional life can open up for you. - You get 62 easy to learn exercises for you to build your technique - You get complete fingerings for all exercises included - to save you time and effort in learning the exercises - You get easy to understand diagrams and examples at the beginning of each chapter - You get a complete "How To" chapter which explains exactly how to practice the exercises so that you get maximum results as quickly as possible - You get complete fingerings for all 7 Positions of Major, Harmonic Minor, and Melodic Minor Scales - this is worth the price of the course itself - You get 2 Potent exercises by C.F Hanon, adapted and fingered for guitar - You get "The Moody Scale" exercises adapted and fingered for guitar in Major, Harmonic Minor, and Melodic Minor - master your scales all over the neck! - You get "Diatonic Triad Arpeggios" in Major, Harmonic Minor, and Melodic Minor in 7 Positions with complete fingerings - a required sound for anyone who plays jazz - You get "Diatonic 7th chord Arpeggios" in Major, Harmonic Minor, and Melodic Minor in 7 Positions with complete fingerings - you’ll see how easy it is to outline chord changes as melodies while improving technique FREE BONUS ITEM We’d like to offer you an information and music-packed CD-ROM, complete with full length cuts from both of Adam Rafferty’s critically acclaimed CD’s Blood, Sweat, and Bebop and First Impressions PLUS a FREE bonus lesson which includes a note for note transcription of Adam’ssolo on the well known jazz standard “I’ll Remember April”. By ordering the printed version of How To Develop Virtusoso Single Line Technique ForJazz Guitar within 30 days you can receive this fabulous information packed CD-ROM as a FREE gift! That’s right, Absolutely FREE! 100% Money Back Guarantee Yes, we guarantee that you will start to develop "Virtusoso" Technique within 30 days - or you receive a full refund! The FREE CD of is yours to keep, even if you return the course for the full refund. (Limited Time Only) If you choose to keep the course (and we bet you will), you'll enjoy more than 60 Virtuoso Technique building exercises with complete fingerings, and a foolproof system of how to practice them! - All for less than half the price of a private music lesson! You've got nothing to lose, and everything to gain! WANT TO SAVE OVER $18? Buy the download .PDF version of the book for just $14.97 online and you can recieve it in less than 24 hrs!! The online store address is given below. ORDER NOW- RISK FREE!! It's easy to order "How To Develop Virtuoso Single Line Technique For Jazz Guitar" All you have to do is go and pick up the phone now and dial 1-800-232-6796 (Visa and Mastercard accepted) or send a check or money order made out for $29.97 plus $3.00 s&h to: ATouch of Jazz 528 West 111th Street Suite 64 New York City, NY10025 USA (for international orders from outside the US please add $15 s&h) New York residents add 8.25% tax ($1.98) P.S. Remember - you must order the printed version within the next 30 days to receive the FREE Jazz Guitar CD-ROM which has tracks from Adam’s CD’s and a bonus lesson - transcription of “I’ll Remember April”. Keep the gift CD even if you return the course for a full refund!! You can easily order online at either web address below: http://www.touchofjazz.com/raffpages/e_store/ http://jazzbeat.safeshopper.com/35/cat35.htm?884

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