2

Legend of Musical Symbols

p

i

"

i

r

v

v

T_

_Q_

A

DownstrokeslUpstrokes

Left hand fingering

Right hand fingering p = thumb i = index

m = middle a = ring

Hand vibrato

1

" ~ - (~
-
tJ
B B B B B R U.B.
T_ _i """ '«\ {<\ " 1<\ {;:; '0 .:
._,
A

II Quick bend

Bend

Pre-bend

Gradual bend

Release bend

Unison bend

"
,.,
@) ~
P.M.- - - - - - - - --I
tr
'I' <
.!!.
A p 7"7VW.
:: ,.",..
~ Hammeron

Pulloff

Palm mute

Tremolo

Trill

Pick Slide

1\ ~ ---- ,,:
@! [_....j
"., -- /
-,
A "

... Picked slide

Short slide up and down

Legato slide

Muffled strings

3

4

(8 )

~ ~ va ~ r-~
" .. .. .. I- ,"
t.I I
N.H. - - - - - - - - i A.H.--------i P.H.- - - - - - - --I
~ T
..... 'V" s-, (~,
'V
A & A A A
'V 'V XI'
D Artificial harmonic

Pinch harmonic

Right hand tap

Natural harmonic

Ghost note (partially implied)

6

Here's a study on two strings (0 and B) that helps facilitate playing across the fingerboard, thereby forcing you to think in terms of melodic development rather than position playing. This whole piece is in the key of C, with the implied harmony listed in parentheses.

Freely (e)

(A7)

(Dm)

" • • • fll- I b. fll-1.) ~--..._.
~ - - - -- -
1
T c: <L c. UC> --

A

-: (F)

(G7)

(Em)

" b. • , 7f- • ,. J!~ ~)~ . ~ _q~ JI. _-- f-_Il ~ f-~ ~fII- f'- ~
~
4
T_ _ o_ -" _
--
A

.u (G#O)

(BmnS)

(Am)

(C)

" "',_ ~M~ ,_ r'fl- ~ ~ ~ ~ ,_ r f- ~~#r ~ ~ tr~~l
~
7
",- ,.-..,
,£ ,~
A

.u 7

8

A good way to learn to play horizontally is to run simple diatonic arpeggios up and down two strings. Try playing this study on other groups of strings as well. Again, we are in the key of C. Remember that any part of this exercise can be used as a lick over any chord in the key of C. Experiment-let your ears be the judge.

Freely C (e)

(B')

(G)

, (Am)

(e)

(Dm)

(Em)

(F)

" 3 3_ - _..-.r- •
~ • .. ~ -~ -3 ..
3
I 3 3
r.-,
.....
A -- ~ ~-- -- -- --
~
II -rr- -rr-z -r-r- (Em)

(Dm)

(e)

(B')

(Am)

(G)

(F)

(e)

" ._ - - _3 3
;
-
~ 3- 3- 3- ..... • •
3-
T
!\ -- -- -- -- -- .- -- --
'" .r- ,~ ~ J , ~
_.,_ Here is a variation on the previous study. Notice that John changes the pattern and rhythm in bars 2-5. This makes the exercise more interesting and, as a result, more musical.

Freely C (e)

(Dm)

(Em)

(F)

(G)

W)

(ermj7)

(Am)

1\ 3 3_ - - • r."I
~ ... • "--t-J -3 -3 -
I
r-.
_T

A
" ,~ .
., (e)

(H")

(Am)

(G)

(F)

(Em)

IDm)

Ie)

1\ • .... ,.....-, - ........, 3_ 3
~ - j-" ~~' .. .~-G-
3
T

A ----
. .~
~ 9

10

The first four bars of the A section of "Loud Jazz" are a study in contrary motion, where two voices in a musical composition move in opposite directions. In this case, the Eb triad goes down a minor third to C, while the bass note goes up a major second (from A to B).

m/A

C/B

IJ. J j J I ~I~I I J
II
~ ~. ~ ~. .,-

'T' 0 < < 0

A
u ~
D < -~ F/E~

FIE

Dm7

G/B

Csus2

II J. ~, J. J J ~J.
~ r .,-. ),-",9- .
5
'T' ~
< ~ <
A

D v ~ "Loud Jazz" (J.Scofield) Scoway MusicIBMI in the USA, GrammavisionIBMI outside the USA

B+7

G#+7 G7#11

J j J:J~I ~
1\ ~
~ 1'" I-" == #~ ~~:::~.
9 t!
,;---
'" 0

A .~

.u
'v, F#m7 Eadd9/G#

A6

madd9/D

D13

Gadd9/B

C6

F13

jJ

~ I I J )l ~ ---
1\ 1-
~ #~ #~. ~. r' 1-"' ~ ~ -
13
'I'
< ~ 0;;
A

D 11

12

Here is the B section of "Loud Jazz" which is, as John says, "a set-up for Dennis [Chambers] to solo over." Make sure to play the rhythmic figures cleanly and in time-at this tempo, it'll take some work.

F~m7 Eadd9/G~

Fadd9/A

B~6

G~m7

Gm7

" ~ r"'I ~ r"'I
~ ~~ ~i ~i ~. [,'11 "~~
1
..... -"-

A
.~ ~
...
- Fhdd9/A~ B6

Gadd9/B

A~add9/C B~m7 Am7

G~m7 Fhdd9/A~

Am7

" II ~ ~ ~, l~~ ~ r"'I II .
~ ~~ 11 ~. 11 ,--,11 ~ [,11~~ rt ~~ ~~.
5
..... _c _o -" ~

A -:
-.~ .~ v
... c.
v "Loud Jazz" (lScofield) ScowayMusiclBMI in the USA, GrammavisionIBMI outside the USA

F#m7

G#m7 F#add9/A# Gadd9/B

Am7

madd9/G

" I ') ') 'I II ~ Ib), rc:.
t.J #~ i i rt #i #4 1I ___ 1I 4
9
T .,_ -"- <

A

... A~add9/C

Bm7 Aadd9/C# D6

E7 sus4

B~m7

(m13)

"I ~ ... ~ II ~ ~ II .. ~. ~ ~'--"(7
t.J .. ' ~11 q"1l ;~ '--'
13 _... --
let ring
_T -r: ,"- r.o.. _c.

A

... 13

14

Here's the bassline to "Wabash." Play it with a lot of attitude.

" II
tJ :J ~ qt ~t :JI p-.' =ta~ ~ ~~ *-2-.' :J •
1
'"

A
,-...,
., ---
J ~ J . " II
tJ *. ~ ~j~ • * • * • • '.;;:_* . *p-.' :J ~
3
T

A-

D ,-..., "Wabash" (J.SeofieJd) Scoway MusieIBMI in the USA, GrammavisionIBMI outside the USA

Notice the wide intervallic leaps in the melody of "Wabash." Though it is primarily based on the G blues scale, the angular nature of the piece gives it a different slant.

" Ii '(f- a I!!!!!o... '(f- a
tJ ~ ---- ~ _ .......
I
T
--- ,_
A ,_
- -
D 1'1 II ,{'- • == ~
tJ ~ ~ V" ... ..
3
P.M.
"-
'"
L
A :: -

., "Wabash" (I. Scofield) Scoway MusiclBMI in the USA, GrammavisionIBMI outside the USA

15

16

In this study, John uses the major sixth interval as a springboard for other variations on the melody to "Wabash."

(G7)

~

" II ~,_, • ?,_, •
@! ~ - ~ ~ -~
1
T
& -- "'--c 0 -.., -- -- 0 -----.,_
A

D " II ~'_, • ~~ • ~,_ • ~ .~
@! -- -- ._.... -
3
...--
T
--0 -- ..." --0 --"
A

D 1\ II 'I'- • )1'- ; •
~ .._...... -~ - ~ =---
T °
-- -- -- -- .--
A
,0,
...._ 1\ II 'I'- . • A:o. . -- ~I'- • ~ •
~ ~ - =:=L - - ~
7
T :;-' 0_ £' -,,_ .s:
-- - -- --
A °

...._ 17

18

" 1I'1:'. (b~ ~fL. • ,,~ ........ -
tJ ..... 'I -...;;;; ~ ---
9 - - -
..... ~ .
T
" "'" :-., -i"'L , "'" -.,
A-

D 19

20

A key element of John's style is string-skipping. By playing lines on non-adjacent strings, he gets an open intervallic sound, rather than a linear one. Here's a great study that demonstrates this concept.

Freely

1\ ~ ~-. ~ ."""'~ trF ~ ~~ F.~ ~ .~ ~ '" rF ~~~ F
~
I
-- --
T
,~ " "?"
A

D ~ ~ ~~ • -l-, r:'I ,...___ ."""'~'F ~ ~ • F~ .~. ~
1\ l- f: ~ •
~ ~ - -
3
-- r-. --
_'I'_ u, ri i" " "
-- r.c. ill -;:,,_
A. -- ..-
u
.. II _~.1: f-' 1"':\ f- 1:t qF: f- .-. ,_rF:,1I f- F:t ~,._""
~ -
5
1"':\ --- --- ---
_T
---
A-

u II ">» . ,,._ _1'"J-., - 1"':\ ~ - I .j.. .".,-."
~ - ... I ",-., ._," - -
7 - *
1"':\
...,- c:
- ---
A - ..
- u ,;;
u *Push string offfretboard.

21

22

1\ "" .. _-r--. ~ ~~lf ~ L ____ I t. 1':\ ~ _+- ~~~....__ ~ A:;-
t.! - -
9
1':\
",'"""'
,-;:: . 0 {, ,::-'0 0 ---- ---
A
H7
D 1\ I ~rr ~t
t.!
10
--- ..-
'1'

A

D 23

24

Here's a variation on the previous exercise. When improvising in one position, John will bar his first finger across adjacent strings to facilitate a legato sound.

Freely

" ~ -~ "'- .,-.~ • .,-.~ -.. ",-I ~~~~ C~r.'\
~ - -
..- ..- r.'\
T ..- ----;- fi
..- ";:"0 _O_~fi
A -

D £ a+' f~ _l - - r-. ~
1\ L .....,
~ - - L.. I .. .. ~# ------"!' <, #./"
3 -
r-.
'" --
..-
A ..- ..- .~
-
JU -- *Push string offfretboard.

II - I " ,. ~ f:~ t)" J. ..L ~
~ - -- - - -
5 -
-
T on
- ~ ro. .~ "Q n-"
1\--- - .--. -
H <V
_!!_ H II -~
t.J ..I
7 -
T
--
1\
-
_!!_ 25

26

When playing fast lines, John will rarely bar a note which falls on the same fret on an adjacent string. Instead, he will use another finger. Pay close attention to the fingering in this study-though it is quite unorthodox, it is precisely how John achieves his unique phrasing.

Freely 4 ~~ _-----,._ 3~~ If:- --+--r- 3~~~f- .~ If:-41:'ir II '""'
" I 1";\
~
I
~ 0 .- ~o 1";\
'I' .- -
-
A
~ 4 'f:---- 4~~?" _'"" n~~_ """' If:- <:1' 3 ~f1f:- ~ I~ 3 lit. 4lf:'
" I~II _-+-- - 1~?II.'i--.
~ - =----
3
- - ~~ -- -
'I'
- ~ - - - -
A

~ 28

Here is the melody to "Make Me," John says, "When you write your licks out and they become the head [of your tune], then you can't play them in your solos as much anymore, So a good way to get rid of your licks is to make a head out of them,"

(D/F#)

(E7/G#)

(E7)

1\ II ~ ~ ~ "f'-j,- b .. ~ b .. .../
,
tJ
1
-- --- J
T --- ---

A

D (E7)

(D/F#)

1\ II ~ ~ ~ f'-li'.. ..
tJ I ~
4
.... ,n ---0

A

D "Make Me" (J.Scofield) Scoway MusicIBMI in the USA, GrammavisionlBMI outside the USA

II II II

(A7)

~

7

-

-:J_

let ring -- - -- - - - -- - - - - -- - ~

A

...

29

30

The melody to "Make Me" was inspired by a classic blues move using sixths. Here's a study to help you move around the neck in this manner.

Freely

(E7) ,_ t ~~ he 1 ~'~ n_ _'- /~_ ~ /~ I ~~_
II II I! • ,--
@! ~ ---
I
'T' ,~ ,- ,_
~ ,e
A

D 1\ II II ,,_ -- ,_ -- £-~:---.. r--, - 1'7\
tJ 3 - ~ L.....J ~ .. .. --,; .....
3 -3
let ring - - -I
1'7\
"
'T'
.rr ----
A ~ .~ ,
-
D Diatonic tenths are an important element in John's chord style. This exercise is in the key of C.

(C)

" ~ II- !: ~ !:
-
~ ..
'" = '-"'-

A

., 31

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