BARRY GALBRAITH Jazz Guitar Study Series BOOK TWO DAILY EXERCISES in the Melodic & Harmonic Minor Modes by Seng Vathactt Weybridge Productions, Inc.INTRODUCTORY NOTES Many of my students, both amateur and professional. have come to me with an inadequate knowledge of the Melodic and Harmonic Minor Modes. The exercises in this book will prove helpful in mastering this very important material. + Along with its primary function, the melodie minor ss a valuable substitute scale in improvisation. and the harmonic minor Is much used in the minor seventh-flat five to dominant seventh-flat nine progression, 4 Wherever possible 1 have kept the modes in their pure form to eliminate doubt as to the exact notes in each seale. + Alshough the lowered seventh of the harmonic minor fs ‘often used in improvising [usually as the sharp nine of the dominant seventh chord) I have avoided using if help the player get used to the minor third interval between the sixth and seventh steps, a characteristic of this scale which often poses awkward fingering problems on the gultar # In the melodic minor, the sixth and seventh in. the descending scale have been disregarded as this rule is, not observed in jazz improvising * You will find the scale in each exercise harmonized in seventh chords either by Itself or with connecting scale cones, Because of their importance, these scales are to be memorized and plaved as separate exercises using as many altecnate fingerings as possible To minimize distraction from the notes. fingerings have been kept 9a minimum, Where they are given, stay in position fone finger to each consecutive fret) unt! another fingering moves you to @ new position. except \where extended fingering is indicated Picking is alternate down-up in all except % ond 9/8 rhythms which may be picked alternate down-up ot down-up-down for each three note series No rests or held notes are employed in these exercises, eliminating time for shifting. [tis most important, when consecutive notes appear on the same frat but on different strings, to coll the finger. Donat hit off! ‘The mest comman single note and harmonized scales are found on pages four through seven. They are to be rensposed inio all keys. Excepting the keys of E minor (G) and Amino: (C) flat keys have been used, When saansposing fiom flat to sharp keys (four flats to three sharps. etc.) play @ written sharp as a double sharp. a natural as a sharp, and a flat as-a naturel.j q | a7 ann OH) \ 4 @j/)\19 | ~ tl il Oat ° 4 lee er Pa it ° io @ © = Oe Qo or 6 Olir @ yt = l= i we i @ < " | le. < ©] ol|i4- H Yh ® e IP Pr Hie e 1 @ of be 9 @canny oktMELODIC MINORpmb? is bikt ® Em7 maj 7#5 Bm7%5 C75 SE = at: = oe ® ® 3 ig: fg: gt 83 2 2 oe or 3) or a 2 ® 2 te; gy =O SSS es Ee m1 3s To. fez T ® ® = oye} os — 9} — gt Fa oa ——— »_2 PRES 8 8 8 ee st ot = oe 2? fos ter oe > ex ® @ so. 1 : ' ee ep gt ptt boo} tae! toa! 3? foo feo oF = = _“E” HARMONIC MINOR“A” HARMONIC MINOR“D” HARMONIC MINOR © te emus [SSE oe eae es gee vw eS teers tn pm u Ba Paps Gem? == = 7 =e pe oe = oe- : —— Se ee a fis a ee oo ats = =“C” HARMONIC MINOR Ps ae aa Peet Pe as — _, SES pe Fa Pere2 ptrsit+ se oo eee Coe tee, —-s Bera dea ie eta poet te Qomcbio ste cett gens sith Pte eee set19 a es fetter Poo thee, eeette fee, ,. a oo SSS Se ae 2S SS eee Fe _ seetttictt ft, ott Ger ee eet ESAS eager ete pert afresitry ter SEP: a Griese ea no Se eee etre eee eee cxsrssttl, eae Sere Sass Ton TET = — ie ee -s srt sefteee [: SB Be SSS“Bb” HARMONIC MINOR Sie a a2 “E” MELODIC MINOR“A” MELODIC MINOR“G” MELODIC MINORe ote we tege? el tae le—_—_______ 3 “C” MELODIC MINOR“F’ MELODIC MINOR % Q Abt Gn Diba Petes nin pie oy, ee pers tet ete Pear: ea eae ots — Gm Ao ® B Pre pe = — SS ag ae we“Bb” MELODIC MINORPe ee eS =e. ee