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Adam Rafferty PDF

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How To Develop Virtuoso Single Line Technique For Jazz Guitar

based on “The Virtuoso Pianist” Exercises of C.F. Hanon by Adam Rafferty

How To Develop Virtuoso Single Line Technique For Jazz Guitar
based on “The Virtuoso Pianist” Exercises of C.F. Hanon by Adam Rafferty

c 2000 Adam Rafferty All Rights Reserved. http://www.adamrafferty.com Any attempt to reproduce this document in part or in full without permission is a violation of law and will be prosecuted.

Table of Contents Intro: Congratulations! Getting the Most Out of this Book Chapter 1: 7 Positions of the Scales Chapter 2: Hanon Exercise 1 Chapter 3: Tremolo Picking and Speed Chapter 4: Hanon Exercise 2 Chapter 5: The Moody Scales Chapter 6: Diatonic Triads Arpeggios in 7 Positions Chapter 7: Diatonic 7th Chord Arpeggios in 7 Positions Where To Go Next 5 7 9 13 23 25 33 47 61 77 .

5 Congratulations On Your Decision To Supercharge Your Guitar Playing! You Can Do It! It brings me a great amount of satisfaction to help guitar players discover new ways of thinking and improving their skills. or perfects 3. you will have much more fun in real life playing situations. . etc who are virtuosos . there are so many pianists. Is your practicing haphazard? Mine used to be. it is discipline that you need in your practice routine. There must have been an approach that they took. violinists. I once heard another definition of discipline as the putting off of immediate pleasure for the pursuit of a greater good or goal. I can remember thinking to myself in college that there must be a clear-cut method for improving technique on an instrument. If I was lucky. Not only that. pianist Mike Longo. or that they were taught in order to get to where they are. The definition of "discipline" according to Webster 's is as follows: 1. I asked my main teacher. I want to teach you how to have a highly organized. the following day I would not be able to figure out how I got to a high level on the previous day. Rather than inventing a new approach every day. I felt the need for a system so that I could put my full energy into actually practicing instead of figuring out what to practice. So. If I played well one day. Training that molds. The irony is that if you have a little discipline. each day was a moving target. After all. A field of study 2. (Mike is a world class jazz pianist who played with Dizzy Gillespie's group from 1964 -1971) He told me that when he studied with the great pianist Oscar Peterson. which means it has to be "quick and easy" to play an instrument. Since I had no daily routine though. corrects. Control gained by obedience or training. saxophonists.they can't all be geniuses. I'd take the guitar out and have no idea what I would be practicing in the moments to follow. no matter what the instrument. Oscar had him practicing Hanon and Czerny exercises until "each note sparkled". Guitar is different from "legit " classical instruments in the following way: So many of us are attracted by blues and rock and such an emphasis is put on "emotion" or "feel" in guitar playing. but teachers in music schools have to keep people coming back year after year. The guitar has little tradition as a serious (classical & jazz) instrument that requires "discipline". how he got his chops together. my chops would be soaring. Also many accomplished blues and rock players shudder at when they have to face a weakness in their own playing and react that they just "play by feel". but so that you have structure and are not wasting energy searching for something that many others have already figured out. productive practice routine. Not to take the fun out by any means.

When I went to my next gig. and your knowledge of the fingerboard and all-around musicianship will go up. your touch will feel balanced and even. I knew I wanted something that would help me develop my jazz soloing in terms of facility with single line playing so that I could play fast. clean. I worked on Excersise #1 from the Hanon book in the "7 Positions" on the neck of the guitar over the course of about a week. What I really like is that they don’t feel boring and repetetive even though they are very technical in nature. etc. Much of my practice routine is based on improvising and writing tunes. and then practiced my other material . Hanon wrote a famous book of exercises called “The Virtuoso Pianist” and the book you are holding in your hands shows you how to put his concept of gaining virtuoso technique on guitar. your playing will improve by leaps and bounds. . I put in about 30 minutes on this every day at the beginning of my practice routine. interesting solos on tunes like "Giant Steps" or "Rhythm Changes". If you commit to a practing routine that is focused. and do not focus on single line fluidity. You should be able to learn the exercises in all 7 Positions rather quickly because many ideas and fingerings repeat themselves. one of my friends in the audience and my bass player both asked me on the first set break.I just did it by ear and stuck to my fingering system. I did not write these exercises out in order to learn them . As I said. new harmonic material. Classical guitar is a highly developed art in itself. What are you waiting for?! The exercises in this book are designed to reveal and correct technical weaknesses that you may have. That's fine. It took me a few weeks to actually be able to play all the exercises in this book by ear.6 C.mainly melody with bass and chord accompaniment.tunes. Most of the classical guitar methods are geared towards solo guitar playing . Your fingers will start to “know” where to go as you learn the exercises in the 7 Positions. you should still continue to do them as your practice routine warmup. You might even find that it's easier to do the exercises by ear rather than sightreading.F. but I always warm up with Hanon Exercise 1 in 7 Positions. I picked up a book of Hanon Exercises at the music store and tried to get that concept of practicing onto the guitar. I do Hanon 1 & 2 in 7 Positions and all the Moody Scales plus more every day as my "technical portion" when I first take the guitar out of the case. but it is completely different from jazz guitar. "What the hell have you been practicing? Man your chops went way up!" Since then I have always included this type of practicing in my routine. After you have mastered the exercises. Your tone will improve. and all the Moody Scales every day for technique. Once you know the exercises by heart this entire book can be played in an hour. Hanon Exercise 2 in 7 Positions.

non-achieving manner will add up quickly over the upcoming weeks. Find the balance between playing too hard and playing too soft. Know that by doing this routine regularly that you are learning how to go with the instrument. breath deep and relax. Then there should . (They are written in this book as eighth notes. Your body is smarter than you think . Don't be overwhelmed. Let that be your guide. I never practice with a metronome.if you are feeling pain or tension. If you go slowly and accurately. but I play these as sixteenth notes around quarter = 80 mm. and with a focused mind. That is how people end up with Carpal Tunnel Syndrome .it's mental. If you try and do these exercises too fast you will hurt yourself. so listen to 80 on a metronome. It's not about doing every exercise right away. Give your full concentration. You can't watch TV or talk to someone while you do this stuff. and play exercises with that type of "big" tone. It's about putting in the time everyday with the right mental attitude. and meander through the book. speed will come as a by-product. You could put your playing out of commission for months due to injuring yourself! I assume no responsibility if this happens to you! Look at this as the start of a new routine for the rest of your life. Stay loose. then you will surely develop speed. listen to it! If you try to achieve too much (mind over body) your body will say "No way Buddy!" and you will pay. Stay loose and relaxed.ignoring pain or tension. Do the exercises the first way . play it four times consecutively. 3. Dizzy Gillespie once said "Everything I play is easy. You are not beating the instrument down. This is not just physical . 4. The most important thing is to get your touch on your axe happening every day. If it feels stiff I discard it". Then you will benefit. don't even think about playing fast until you are warmed up.so that both hands "play" the note at the same time. 5. You will benefit as much from the first exercise as from the last. not committing yourself to mastering even one exercise. Also play the exercises a little staccatto. I give you this tempo information so you don’t play too fast. There is no end to the patterns & scales that you or I could think up. 2. months and years. 30-60 minutes a day in a relaxed. Go easy on yourself. Even if you have only learned the first exercise in the book. so there is a tiny space between each note. I never ever practice with a metronome. and I don’t recommend it. musical and spiritual. Imagine the fatness of tone in a walking bassline on a blues. and play 4 eighth notes for each tick) Like an athlete. You will not get anywhere if you start and stop. It's a small price to pay for gaining great technique on your guitar. Have you ever picked a string and pushed down with a left hand finger at the exact same time? It's different from holding the note down first and then plucking.7 Important Steps To Getting the Most Out of this Book 1.

Naturally. c. While it may seem that there are lots of complicated fingerings here. Restrict yourself to alternate picking. always using a new finger for the next note. so please stick to it for the exercise. It is my sincere hope that the material in this book helps you play the music that you want to play. 6. and requires that you play down strokes on what seem to be upbeats . Why all the fingerings in the book? To focus your energy. This way you are actually practicing going into and out of the note with each note that you play. we don't want to be aiming at something different every day so it is good to have a system that you work within. Practice these with your amp! By practicing without an amp. Overplaying (digging in too hard) is the main cause of sluggishness in many people’s playing. (Refer back to the definition of discipline!) 7. but for the exercises do this. You would be amazed at how tricky it is at first! I do everything here in this book every day with strict alternate picking. Adam Rafferty . Ultimately. on adjacent strings.that will make you do what I'm talking about. Bebop guitar playing kicks alternate picking in the butt. you'll probably play too hard. Think of a pianist. You don't have to think about it in such detail as you are doing it. they are actually based on a few very. Alternate picking is a tool you need as a guitar player and with these exercises you'll have to deal with all sorts of string crossing combinations. Why? Because the first note will ring while you are playing the second one. It's great training. just put a little silence after each note . For the Hanon exercises you may use the notes in the locations on the fingerboard specified on the 7 Positions page (3 notes per string) Review the positions before learning the exercises so you don’t learn them wrong. Pick however you want when you are playing music. though.embrace it! 9. you will learn from a limitation and eventually break out of it and learn something else. in the same fret. Always remember that when you are playing in a real life situation. Never use the same left hand finger for two consecutive notes. The main purpose of the exercises is to develop your "touch" and your "tone". just as you would do as if the notes were in different frets!! This will help you immensely and will make all your fingerings more consistent! 8. But for now don't resist the limitation . starting each exercise with a down stroke. the restriction of strict altenate picking will force you to iron out a weakness. Use different fingers. Never use the same finger for 2 notes in a row b.so that the accents sound right.Hanon Exercises and Moody scales. ( Refer to Dizzy Gillespie's Song "He Beeped When He Should Have Bopped") this subject could have a book on it's own. Each has a very simple fingering concept that I want you to stick to. your practicing must “go out the window”. Again. Stick to alternate picking (down up down up) There are 2 basic sections to the book . very simple concepts: a.8 be a little release of the left hand pressure. Don't "smush" with the same finger when you have to play two notes in the same fret.

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

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

9 times out of 10. I discovered that the exercises “revealed themselves” when I stuck to playing the notes in the locations that the Positions yeilded. by all means use yours. Follow this example. If. The Hanon exercise will scramble those notes up. Please don’t let this confuse you. They would simply confuse rather than clarify. . just not in the same order. Many of the fingerings will correspond to the 7 Positions section.11 string and at what fret. Left Hand fingers are: 1 2 3 4 index middle ring pinky I have left out string numbers in the exercises intentionally. and Melodic Minor. Some won’t . As you do the exercises it will become clear why I chose the fingerings. and will use the fingers specified above the notes. 2. When you are attempt Hanon Exercise 1 Position 1 for the first time 1. Harmonic Minor. after checking them out. regardless of the finger. Keep referring back to the 7 Positions section as much as you need to. and you will play them in the same locations that you just played. where the 3 notes are laying on each string. Some fingerings will seem very strange at first. the best fingering would be the basic ones shown on the 7 Position pages. Review Position 1 of F major on the 7 Positions page. 3.but that’s the best place to start for comfortable fingerings. Look at how it lays on the fingerboard. you find fingerings that feel better to you. 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.

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

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. .

15 Chapter 2: Hanon Exercise 1 For the first Hanon Exercise. For example. as if by magic. Anytime those notes come up in the exercise. Learn them in the given key. Bb. F major. if you do these exercises every day. start learning the other positions. spend a good amount of time on Position 1 of the exercise (on the following page). you could start on the low F on the first fret. Remember to start on the lowest note possible. if you were doing the exercises in Ab. All others (Hanon. and C all fall on the 3rd string. the fingerings start to repeat themselves and you’ll be able to learn all the positions pretty quickly. review Position 1 of the F major scale: 1 2 1 2 4 1 3 4 1 1 2 4 1 2 4 1 2 4 4 Pos 1 Make sure that every string you are playing in the exercises to follow gets 3 different notes even though the notes get scrambled up in the exercises. I chose F major for the book since the lowest fretted note on the guitar is F. You’ll see that as you tackle new Positions of Exercise 1. start do them in other major keys. Your technique will improve. Once you feel comfortable with that. Which string do I start the exercises on? The descending Moody Scale exercises start on the 4th string. That would be position 6 of Ab major. Once you are comfortable doing the 7 Positions in in F major. For example. Good Luck. Before attacking the exercise on the next page. and Diatonic Triad and 7th chord arpeggios) start on the 6th string. Ascending Moody Scales. play them in those locations. . note how the notes A.

slowly but precisely . I3rd string. finerings and page no matter with a particular attention to the switches at the 2nd and do these through. 1 1 4 1 2 4 2 1 4 2 1 2 4 1 4 2 1 4 2 4 1 2 1 4 2 1 4 1 2 4 2 1 4 5 2 1 2 4 1 4 2 1 1 2 1 4 2 4 2 4 1 4 1 2 1 4 4 2 2 1 2 4 1 4 2 1 9 4 24 1 3 1 4 2 1 4 1 3 4 3 1 4 1 4 3 1 2 1 3 4 4 3 4 1 3 1 4 3 13 1 4 1 3 4 4 1 4 3 1 3 4 1 3 4 3 1 3 1 3 4 16 1 3 1 4 2 4 1 3 4 1 4 2 1 2 4 1 3 4 2 1 4 1 2 4 19 1 2 1 4 2 4 1 2 4 1 4 2 1 2 4 1 2 4 2 2 4 1 4 1 1 2 1 4 2 4 1 2 23 4 1 4 2 1 2 4 1 2 4 2 1 4 1 2 4 1 2 1 4 2 4 1 2 4 1 4 2 1 Once this exercise is mastered.major scale they Start on hand fingerings . 1st finger. Notice how the scale fingering in the previous section solves a problem. go right into the on toone without stopping. Remember. stopping. Paydownstroke and alternate pick all the way Stick to the L.ifRefer to the familiar with of the7Major Scale" if neccesary. go right next the next one without Once this excersise ins mastered.16 Hanon Exercise Position Hanon Exercise 11 Position 11 I have included left the 6th string.don’t try and do these fast.H. Start thison that all exerciseswhat. .you are page "7 Positions the Positions of the F will make sense to you.

Be easy on yourself.17 Hanon Exercise 1 Position 2 Hanon Exercise 1 Position 2 From practicing these every day. see if you can play Positions 1 & 2 back to back without mistakes. the left hand fingers will all be equally accurate and agile. Once this excersise is mastered. 1 1 4 1 2 4 2 1 4 3 1 2 4 1 4 2 1 4 2 4 1 2 1 4 2 1 2 1 4 4 1 2 4 5 2 1 2 4 1 4 2 1 4 2 4 1 2 1 4 2 1 4 1 2 4 2 1 4 2 1 2 4 1 4 2 1 9 4 2 4 1 2 1 4 2 1 4 1 2 4 2 1 4 2 1 2 4 1 4 2 1 3 2 4 1 2 1 4 2 13 1 4 1 2 4 4 1 4 2 1 2 4 1 2 4 2 1 3 1 2 4 16 1 2 1 4 2 4 1 2 4 1 4 2 1 2 4 1 2 4 2 1 4 1 2 4 19 1 2 1 4 2 4 1 2 4 1 4 2 1 2 4 1 4 2 4 2 1 4 1 2 1 2 1 4 2 4 1 2 23 4 1 4 2 1 2 4 1 2 4 2 1 4 1 2 4 1 3 1 4 3 4 1 2 4 1 4 31 Once you have mastered this exercise. see if you can play positions 1 and 2 back to back. . it will take time.

so that there is a tiny space between the notes. 1 1 4 1 3 4 3 1 4 2 1 3 4 1 4 3 1 4 3 4 1 3 1 4 3 1 3 1 4 4 1 3 4 5 3 1 3 4 1 4 3 1 1 4 3 4 3 1 4 3 1 4 1 2 4 2 1 4 3 1 2 4 1 4 2 1 9 4 2 4 1 3 1 4 2 1 4 1 2 4 2 1 4 2 1 2 4 1 4 2 1 4 2 4 1 2 1 4 2 13 1 4 1 2 4 4 1 4 2 1 2 4 1 2 4 2 1 4 1 2 4 16 1 3 1 4 2 4 1 2 4 1 4 2 1 2 4 1 3 4 2 1 4 1 2 4 19 1 3 1 4 3 4 1 2 4 1 4 3 1 3 4 1 3 4 3 1 4 1 3 4 1 3 1 4 3 4 1 3 23 4 1 4 3 1 3 4 1 3 4 3 1 4 1 3 4 1 3 1 4 2 4 1 3 4 1 4 2 1 .18 Hanon Exercise 11Position 33 Hanon Exercise Position Remember to play the notes slightly staccatto.

19 Hanon Exercise 1 Position 4 Hanon Exercise Position To continually progress. and also attack new exercises. go back and see if you can play Positions 1-4 without stopping. and iron them out. . Take note of trouble spots. 1 1 4 1 2 4 2 1 4 2 1 2 4 1 4 2 1 4 2 4 1 2 1 4 2 1 4 1 2 4 2 1 4 5 2 1 2 4 1 4 2 1 4 2 4 1 3 1 4 2 1 4 1 3 4 2 1 4 2 1 3 4 1 4 3 1 9 4 1 3 1 4 3 4 3 1 4 1 3 4 3 1 4 2 1 2 4 1 4 3 1 2 3 4 1 3 1 4 3 13 1 4 1 2 4 4 1 4 3 1 3 4 1 3 4 3 1 3 1 3 4 1 16 3 1 3 2 4 1 3 4 1 4 3 1 3 4 1 3 4 3 1 4 1 3 4 19 1 3 1 4 2 4 1 3 4 1 4 2 1 2 4 1 3 4 2 1 4 1 2 4 1 2 1 4 2 4 1 2 23 4 1 4 2 1 2 4 1 2 4 2 1 4 1 2 4 1 2 1 4 2 4 1 2 4 1 4 2 1 Once this exercise is mastered. if any. you will need to do the excersises that you have mastered every day.

your tone and touch will become even across the instrument.20 Hanon Exercise 11 Position 55 Hanon Exercise Position By practicing these exercises daily. 1 1 4 1 2 4 2 1 4 2 1 2 4 1 4 2 1 4 2 4 1 2 1 4 2 1 4 1 2 4 2 1 4 5 2 1 2 4 1 4 2 1 4 2 4 1 2 1 4 2 1 4 1 2 4 2 1 4 2 1 2 4 1 4 2 1 9 4 1 2 1 4 2 4 2 1 4 1 2 4 2 1 4 2 1 2 4 1 4 2 1 3 2 4 1 3 1 4 2 13 1 4 1 3 4 4 1 4 2 1 2 4 1 3 4 2 1 3 1 2 4 1 16 2 1 4 2 4 1 2 4 1 4 2 1 2 4 1 2 4 2 1 4 1 2 4 19 1 2 1 4 2 4 1 2 4 1 4 2 1 2 4 1 2 4 2 1 4 1 2 4 1 2 1 4 2 4 1 2 23 4 1 4 2 1 2 4 1 2 4 2 1 4 1 2 4 1 2 1 4 2 4 1 2 4 1 4 2 1 .

or round and bell like? 1 1 4 1 3 4 3 1 4 3 1 3 4 1 4 3 1 4 3 4 1 3 1 4 3 1 4 1 2 4 2 1 4 5 3 1 2 4 1 4 2 1 4 2 4 1 2 1 4 2 1 4 1 2 4 2 1 4 2 1 2 4 1 4 2 1 9 4 1 3 1 4 2 4 2 2 4 2 1 4 2 1 1 4 1 2 4 1 4 2 1 4 2 4 1 2 1 4 2 1 13 4 1 2 4 4 1 4 2 1 2 4 1 2 4 2 1 4 1 2 4 1 16 2 1 4 2 4 1 2 4 1 4 2 1 2 4 1 3 4 2 1 4 1 2 4 19 1 2 1 4 2 4 1 2 4 1 4 2 1 2 4 1 4 2 4 2 1 4 1 2 1 3 1 4 3 4 1 2 23 4 1 4 3 1 3 4 1 3 4 3 1 4 1 3 4 1 3 1 4 3 4 1 3 4 1 4 3 1 . Is it thin and brittle.21 Hanon Exercise 1 Position 6 Hanon Exercise 1 Position 6 Listen to your tone on the very high notes.

You will only get the benefits of this exercise if you can do these without stopping. you should be able to do all 7 Positions of Exercise 1 consecutively without stopping.22 Hanon Exercise Position Hanon Exercise 1 1Position 7 7 1 1 4 1 2 4 2 1 4 2 1 2 4 1 4 2 1 4 2 4 1 3 1 4 2 3 4 3 1 4 1 4 1 5 2 1 3 4 1 4 3 1 4 3 4 1 3 1 4 3 1 4 1 3 4 3 1 4 3 1 3 4 1 4 3 1 9 4 1 3 1 4 3 1 4 1 2 4 2 1 3 2 1 4 3 2 4 1 4 2 1 3 2 4 1 2 1 4 2 1 13 4 1 2 4 4 1 4 2 1 2 4 1 2 4 2 1 3 1 2 4 1 16 3 1 3 2 3 1 2 4 1 4 3 1 3 4 1 3 4 3 1 4 1 3 4 19 1 3 1 4 3 4 1 3 4 1 4 3 1 3 4 1 3 4 3 4 1 4 1 3 1 3 1 4 2 4 1 3 23 4 1 4 2 1 2 4 1 3 4 2 1 4 1 2 4 1 2 1 4 2 2 4 1 4 1 4 2 1 Congratulations on getting this far. A certain amount of mastery that comes from mindful repetition. . Before going on to Hanon Exercise 2.

Of course. A "tremolo" is actually a very fast repetition of the same note. The exercises in the book will then train your hands to coordinate and work together so that you can actually hook up jazz lines with the speed you have from tremolo picking.digging in too hard.keep the looseness of the strumming that you have in your wrist from the strummin you’ve been doing and let that be your guide. So if you want to get something up to a really fast tempo you need to always do it in a controlled way for a little. and you will see first hand that when you play really fast you need to lighten up your touch. but you’d better check it out . I can pick up the guitar and play a relaxed tremolo without tiring out at anytime. If you can’t do that’s ok. playing fast is way more than just "right hand technique". getting "stuck" on upstrokes. When I say rhythm I mean more than a "1 2 3 4" metronome style counting approach (which I never advocate) . jam with a good funk CD. Locking into this when you play helps your technique actually relax and helps your chops because your notes are played with the utmost of precision .up. locking in with the high hat. (Even though I’m a jazz player mainly I discovered a lot about technique from playing with a funk band) Pick up you guitar now and get into that kind of groove for the next few minutes. Good! Now that you have done that.a precision that your conscious. but I’d like that to be one of your goals if you can’t do it. maybe a little 2 or 3 note pattern or riff.23 Chapter 3: Tremolo Picking and Speed Tremolo Picking A very important part of developing speed is tremolo picking. then try it at top speed for a while. You’ll find out what your potential for speed on the guitar is as you develop this aspect of technique. The most important thing is not to tense up because you are only playing one string . relaxed alternate picking tremolo that causes you no discomfort and does not tire you out. Your goal should be to have a very fast. You’ll get more speed from working on your "controlled" speed. giving the illusion of one long sustained note. Raw Speed and Controlled Speed Basically.it’s a very important part of playing guitar. then at a controlled tempo again. This is pretty hard for me to explain in a book to you. etc. Play with a good drummer if you can!! If there are no musicians around. because working in a controlled way makes things easier to play. on the 16th notes. . the tremolo will be you "raw" speed. Many guitar players have figured out how to do a pretty good tremolo but are not willing to take the time to learn how to hook up their left hand fingerings to their tremolo.I mean a real groove. that’s after years of training.up down . Despite popular belief. etc. Play with a loose wrist. counting mind can’t figure out. I can only describe it. play the same type of groove on a single string. It will cure a whole host of potential problems . where you have a real sense of "bottom" in the time. Mandolin players use this technique to play lyrical melodies. Always play with a groove and with “your” tone even when you are doing scales and exercises. Locking It In Playing anything in rhythm is the best way to get good at any technique. Imagine playing an F-7 (or any other) chord to a funk groove where you are strumming down .

As a jazz player I love a dark. forearm is straight up and down. but so the hand shakes from side to side. just imagine that instead of the 2 or 3 note pattern you are actually improvising a melody. Lock your wrist 2. My first succesful jazz / funk solos were built like this. but since then I’ve worked on fattening my tone. elbow down. your tone will sound fuller and your sound will get darker.24 Once you can do that. but it’s much better sounding!! I get more depth in the tone from the string heaviness and from a more resonant guitar. It’s a motion that I could do a lot without tiring. you’ll always sound like YOU! . Move from the elbow 3. I used to play a Gibson ES 175 with D’Addario 12 flatwounds and medium fender picks. Curl in your r. Currently I use D’Addario 13 Flatwounds Sometimes with a 14 on the high E and an 18 on the B string with my own medium size teardrop Extra Heavy pick. Hopefully now you can feel what my picking motion feels like. Move your forearm parallel to the top of the guitar RIGHT WAY (according to me. a little more brightness than the usual is needed so that the sound cuts through. Lock in to the groove with a few notes & stay loose! Play it a lot . fingers a little bit Touch the pad of you thumb to the side of your index finger where the last joint is bent. hand flops forward. This setup makes it a little harder to play fast. strong sound with just the right amount of sparkle.h. Fingers point to the ceiling.variations will occur naturally It will grow into more interesting stuff Many Guitar books describe picking technique in a way that seems wrong to me: WRONG WAY (for me): 1. Obviously lighter strings and thinner picks make it easier to play fast. but judge for yourself) THIS IS NOT DOGMA IT’S JUST A DESCRIPTION TRY THIS: Hold your right hand at about your head level. Many other great players use a different technique. Let your wrist go limp. This is you holding the pick. Also in loud situations. Picks and Strings: The heavier the strings and the heavier the pick. Now I’m playing a Dale Unger 7 String Archtop. The funny thing is that no matter how you change your setup. so check out what you think will work best for you. but the problem is that it feels harder to play. I was able to burn all over the axe. Rotate your forearm so that it stays straight. You’ll need to find what sounds and feels right for you in the spectrum of light to dark.

6 string-----------1 1 4 3 2 1 2 1 4 One method of practice that might help you when you are learning a difficult exercise such as this next one is to play each measure 4 times before going on to the next one. which is a difficult melodic leap on guitar. You’ll see that by doing this what seems almost impossible can become completely natural! .25 Chapter 4: Hanon Exercise 2 This Hanon Exercise presents a really interesting guitar problem.5 string-------. 6 string-----------. Each 8 note figure has the leap of a 4th between the 2nd and 3rd note. This exercise confronts this difficulty by using different fingers in the same fret as opposed to "smushing" one finger across 2 strings simultaneously . you'll have some new ideas about fingerings after playing this exercise every day. This exercise does not lend itself to sticking to the exact fingerings laid out on the 7 positions page although the locations of the notes are exact. Hopefully when you need to play a tricky line in a solo or a bebop head. in order to burn the new fingerings into your mind.

try playing each measure slowly 4 times before preceeding to the next one. 1 1 4 3 2 1 2 1 4 3 1 2 4 2 4 2 1 4 2 3 1 4 1 4 2 4 1 4 3 2 1 2 1 4 3 2 1 4 2 4 2 1 4 2 3 1 4 1 4 2 7 1 4 3 2 1 2 1 4 2 1 2 4 2 4 2 1 4 2 4 2 4 2 4 2 10 1 3 4 3 1 3 1 3 1 2 1 4 3 4 3 1 2 3 4 1 4 1 4 3 13 1 4 3 2 1 3 1 4 3 4 1 3 4 3 4 1 4 3 2 1 3 1 3 4 16 1 2 1 3 1 3 1 3 4 3 1 2 4 2 4 1 4 2 4 1 2 1 2 4 19 2 1 2 4 1 4 1 2 3 4 1 2 4 2 4 1 3 2 4 1 2 1 2 4 22 1 2 3 4 1 4 1 2 3 4 1 2 4 2 4 1 3 2 4 1 2 1 2 4 25 2 1 2 4 1 4 1 2 3 4 1 2 4 . the others will come more easily.26 Hanon Exercise 2 Position 1 Hanon Exercise Position 1 If these seem tricky. Once you get the feel for this first one.

without stopping. see if you can play Positions 1 & 2 back to back. .but also you ear! You will find that by doing the exercises daily.27 Hanon Exercise 22Position 2 Hanon Exercise Position 2 Not only are you improving your technique . 1 1 3 4 2 1 3 1 4 3 2 1 4 2 4 2 1 4 2 3 1 4 1 4 2 4 1 4 3 2 1 3 1 4 3 2 1 4 2 4 2 1 4 2 3 1 4 1 4 2 7 1 4 3 2 1 2 1 4 2 1 2 4 2 4 2 1 4 2 3 2 4 2 4 2 10 1 3 4 2 1 2 1 3 1 2 1 4 2 4 2 1 3 2 3 1 4 1 4 2 13 1 4 3 2 1 2 1 3 4 4 1 2 4 2 4 1 3 2 3 1 2 1 2 4 16 1 2 1 3 1 3 1 2 4 3 1 2 4 2 4 1 3 2 4 1 2 1 2 4 19 2 1 2 4 1 4 1 2 3 4 1 2 4 2 4 1 3 2 4 1 2 1 2 4 22 1 2 3 4 1 4 1 2 3 4 1 2 4 2 4 1 3 2 3 1 2 1 2 4 25 1 2 3 4 1 4 1 2 4 3 1 3 4 Once you have a firm handle on these 2 positions. in different keys. that you can identify notes and intervals more easily.

.28 Hanon Exercise 2 Position 33 Hanon Exercise 2 Position 1 1 4 3 2 1 3 1 4 3 2 1 4 3 4 3 1 4 2 3 1 4 1 4 3 4 1 4 3 2 1 3 1 4 3 2 1 4 3 4 3 1 4 2 3 1 4 1 4 3 7 1 3 4 2 1 3 1 4 3 1 2 4 2 4 2 1 4 2 3 1 4 1 4 2 10 1 3 4 2 1 3 1 4 2 3 1 4 2 4 2 1 3 2 3 1 4 1 4 2 13 1 4 3 2 1 2 1 3 4 4 1 2 4 2 4 1 3 2 3 1 2 1 2 4 16 1 2 3 4 1 4 1 2 4 3 1 2 4 2 4 1 3 2 3 1 2 1 2 4 19 2 1 3 4 1 4 1 2 4 3 1 3 4 3 4 1 4 3 4 1 3 1 3 4 22 1 2 3 4 1 4 1 2 3 4 1 3 4 3 4 1 4 3 4 1 3 1 3 4 25 1 2 3 4 1 4 1 2 3 4 1 2 4 Make sure your touch is not too heavy .keep it a little light and you’ll see that playing becomes easier.

.29 Hanon Exercise 22Position 4 Hanon Exercise Position 1 1 4 3 2 1 2 1 4 3 2 1 4 2 4 2 1 4 2 3 1 4 1 4 2 4 1 4 3 2 1 2 1 4 3 2 1 4 3 4 2 1 4 2 3 1 4 1 4 2 7 1 4 3 2 1 3 1 4 2 1 2 4 3 4 3 1 4 2 3 1 4 1 4 3 10 1 3 4 3 1 3 1 4 3 2 1 4 3 4 3 1 2 3 4 1 4 1 4 3 13 1 3 4 2 1 3 1 3 4 3 1 3 4 3 4 1 4 3 2 1 3 1 3 4 16 1 2 3 4 1 4 1 2 4 3 1 2 4 2 4 1 4 3 4 1 3 1 3 4 19 2 1 2 4 2 1 4 1 3 4 1 2 4 2 4 1 3 2 4 1 2 1 2 4 22 1 2 3 4 1 4 1 2 3 4 1 2 4 2 4 1 3 2 4 1 2 1 2 4 25 1 2 3 4 1 4 1 2 3 4 1 2 4 Once Position 4 is mastered. go back and play Positions 1-4 without stopping.

30 Hanon Exercise 2 Position 5 Hanon Exercise 2 Position 5 1 1 4 3 2 1 2 1 4 3 2 1 4 2 4 2 1 4 2 3 1 4 1 4 2 4 1 4 3 2 1 2 1 4 3 1 2 4 2 4 2 1 4 2 3 1 4 1 4 2 7 1 4 3 2 1 2 1 4 2 1 2 4 2 4 2 1 4 2 3 2 4 2 4 2 10 1 3 4 2 1 2 1 3 1 2 1 4 2 4 2 1 3 2 3 1 4 1 4 2 13 1 3 4 2 1 3 1 4 3 4 1 2 4 2 4 1 3 2 3 1 2 1 2 4 1 16 2 1 3 1 4 1 2 4 3 1 2 4 2 4 1 3 2 4 1 2 1 2 4 19 2 1 2 4 1 4 1 2 3 4 1 2 4 2 4 1 3 2 4 1 2 1 2 4 22 2 1 2 4 1 4 1 2 3 4 1 2 4 2 4 1 3 2 4 1 2 1 2 4 25 1 2 3 4 1 4 1 2 3 4 1 2 4 .

31 Hanon Exercise Position Hanon Exercise 22Position 6 1 1 4 3 2 1 3 1 4 3 2 1 4 3 4 3 1 4 2 3 1 4 1 4 3 4 1 3 4 2 1 3 1 4 3 2 1 4 2 4 2 1 4 2 3 1 4 1 4 2 7 1 4 3 2 1 2 1 4 3 1 2 4 2 4 2 1 4 2 3 1 4 1 4 2 10 1 3 4 2 1 3 1 4 2 1 2 4 2 4 2 1 3 2 3 1 4 1 4 2 13 1 3 4 2 1 2 1 4 3 4 1 2 4 2 4 1 3 2 3 1 2 1 2 4 2 16 1 2 4 1 4 1 2 4 3 1 2 4 2 4 1 3 2 4 1 2 1 2 4 19 2 1 2 4 1 4 1 2 3 4 1 2 4 2 4 1 3 2 3 1 2 1 2 4 22 1 2 3 4 1 4 1 2 4 3 1 3 4 3 4 1 4 3 4 1 3 1 3 4 25 1 2 3 4 1 4 1 2 3 4 1 3 4 .

.32 Hanon Exercise 2 Position 7 7 Hanon Exercise 2 1 1 4 3 2 1 2 1 4 3 2 1 4 2 4 2 1 4 2 3 1 4 1 4 2 4 1 4 3 2 1 3 1 4 3 2 1 4 3 4 3 1 4 2 3 1 4 1 4 3 7 1 4 3 2 1 3 1 4 3 1 2 4 3 4 3 1 4 2 3 1 3 1 4 3 10 1 2 4 2 1 3 1 4 3 2 1 4 2 4 3 2 1 3 2 1 4 1 4 2 1 13 3 4 2 1 2 1 4 3 4 1 2 4 2 4 1 4 3 2 1 2 1 2 4 1 16 2 3 4 1 4 1 2 4 3 1 3 4 3 4 1 4 3 3 1 3 1 3 4 2 19 1 3 4 1 2 4 1 3 4 1 3 4 3 4 1 4 3 4 1 3 1 3 4 22 1 2 3 4 1 4 1 2 3 4 1 2 4 2 4 1 3 2 4 1 2 1 2 4 25 1 2 3 4 1 4 1 2 3 4 1 2 4 Congratulations! Before preceeding to the next section you should be able to play all of Hanon 1 and Hanon 2 in all 7 Positions without stopping.

it fits well under the left hand.33 Chapter 5: The “Moody” Scales As it turns out. Which fret you are on is not so important. hear.for example notes belonging to C major are all the white keys. Every 8 note scale figure will span 3 strings . Once you know the fingerings well enough. Change the B natural to Bb and you are looking at the notes belonging to the key of F! I got inspired to figure out how to get this vision happening on guitar. You will need to play 8 notes in each measure. When you are learning the Moody scales. play the exercises as written. When I started learning some piano I could see a key all over the keyboard . Basically it’s the same thing in reverse. The goal of the Moody Scales exercises is to see. you might want to try playing each measure four times to help “burn” the fingerings into your mind. 3 1 2 . but I learned about them via the great saxophonist James Moody. and if you start running out of room on the neck. but you will be able to feel at home in any key. I have not included positions since you will be jumping all over the neck. Here's how the fingerings work. start the scale figures on the next string up. Just keep climbing up (or down) the neck. the second figure is back down to a low G . Play the first 2 notes on whichever string seems right. Then the last 3 notes will be up on the next string after that. and experience a key all over the neck. 4th string --------------1 5th string--4 2 1 6th string-4 2 1 2 1 This will take practice. The first figure will be an F major scale starting on a low F up to F an octave up. anywhere on he neck. all in the key of F. come down to the next string and play 3. after digesting this exercise. these exercises can be found in Hanon’s Book 2. not just in one "position" at a time. but everything is fingered so you should have some ease in finding your way for each 8 note figure. play the notes of the F major scale up to G. It forces you out of “position” thinking. In this exercise you are playing 8 note scale figures. The next 3 notes are up on the next string. and so on. 6th string---------------1 5th string--0 2 4 4th string-----0 3 4 2 4 For the descending scales play 2 notes. then come down to the next string and play 3.

. on the 4th string. 3.. For any group of 8 notes (ascending or descending) first 2 notesthe first 2 notes on one string. Shift 2. the next 3 notes on thenextstring. 3. and D. that. to new sets of figure will span across 3 strings. Bb. F. E. or downEach scale strings when you run out of room on the neck. A..34 Moody Scales Major Ascending Moody Scales -..... the next 3 notes on the next string up....Major Ascending 1 2 4 0 2 4 0 3 4 2 4 1 2 4 1 2 4 3 3 4 1 2 4 1 2 4 2 4 1 3 4 1 3 4 2 4 1 2 4 1 2 4 6 2 4 1 2 4 1 2 4 3 4 1 3 4 1 2 4 2 4 1 2 4 1 3 4 9 2 4 1 2 4 1 2 4 3 4 1 2 4 1 2 4 2 4 1 3 4 1 3 4 Start each measure on 3rd string 12 2 4 1 1 3 1 2 4 2 4 1 2 4 1 2 4 2 3 1 3 4 1 2 4 15 1 3 1 2 4 1 3 4 2 -----------------------------------4 4 2 3 1 2 4 1 1 2 4 1 2 2 4 . C on the 5th string. For any group of 8 notes (ascending or descending Moody scales) play the Here's the fingering concept: Each scale figure is 8 notes long. . think up 3. next up last next string. think 2.... up after Always Always 3.. The first measure would be F&G on the 6th string... then thethen3theon the three on the next string play on one string..-| 18 1 3 1 2 4 1 3 4 2 3 1 3 4 1 2 4 Each measure has 8 notes.

Example: The first note of the ascending scale has just moved up to a new string because you began running out of room on the neck. go on to the next exercise. (F would not allow the fingering) Master the Moody scales in F.35 4 1 2 4 1 3 1 2 4 1 2 4 Start each measure on 4th string 1 3 3 4 2 4 1 4 21 2 4 1 2 24 2 3 1 2 4 1 2 4 2 4 1 2 4 1 2 4 2 4 1 2 4 1 3 4 27 3 4 1 3 4 1 2 4 2 4 1 2 4 1 2 4 2 4 1 2 4 1 2 4 30 2 4 1 3 4 1 3 4 3 4 1 2 4 1 2 4 2 4 1 2 4 1 2 4 33 2 4 0 1 2 0 3 4 When you start to feel comfortable with this one. if you were playing the execrcise in Db major. but some will have obvious options and exceptions. if you play measure 12 of this exercise starting on the 4th string the first 2 notes would be played with fingers 2 and 4 of the left hand. You'll notice that most of the fingerings for each 8 note group will work on all sets of strings. This means that you might not be starting on the root.3 fingering. you would start the exercise on a low Gb. but I do a different key every day. For example. I do my Hanon and Moody scales every day only in one key. . For example.3 .don't forget to start in the lowest register possible no matter what the key. to do a 2 . The most important thing is that the fingerings for the 8-note ascending groups remain consistent when you play this in other keys. Shift to new groups of strings wherever you want. Try to understand why I've fingered all the exercises the way I have as opposed to just learning what I've laid out for you. Also . You don't always need to switch in the same places. then do them in other keys.

Play the first 2 notes on the 4th string. and then the next 3 on the 6th string Continue that type of fingering even as you shift to new sets of strings 1 2 1 4 2 1 4 2 1 3 1 4 2 1 4 3 1 3 3 1 4 3 1 4 2 1 2 1 4 2 1 4 2 1 3 1 4 2 1 4 2 1 6 3 1 4 3 1 4 3 1 3 1 4 2 1 4 2 1 2 1 4 2 1 4 2 1 9 3 1 4 2 1 4 3 1 3 1 4 3 1 4 2 1 2 1 4 2 1 4 2 1 3 12 1 4 3 2 1 4 2 1 1 4 3 3 1 4 3 1 1 4 2 1 4 2 1 2 15 1 4 2 1 4 2 1 3 -----------------------------------------------3 1 4 2 3 1 4 1 3 1 4 2 1 4 1 18 ------------------------3 1 4 2 1 4 3 2 1 1 4 2 1 4 3 2 1 1 4 2 1 4 2 1 3 21 1 4 3 1 3 4 3 1 1 4 2 1 4 2 1 2 1 4 2 1 4 2 1 .Major Descending Stick to the 2 -3 . this time descending.36 Moody Scales .3 fingerings for each measure.Major Descending Moody Scales . the next 3 on the 5th string.

37 3 1 2 24 3 1 4 3 1 4 2 1 4 2 1 4 3 1 1 4 2 1 4 2 1 27 3 1 4 2 1 4 2 1 3 1 4 3 1 4 3 1 3 1 4 2 1 4 2 1 30 2 1 4 2 1 4 2 1 3 1 4 3 1 4 2 1 3 1 4 2 1 4 3 1 33 2 1 4 2 1 4 2 1 Once you have mastered the Moody Scales Ascending & Descending in Major. . You will learn much by playing them in all keys. play them in other keys.

...------------------------4 1 2 4 1 3 3 2 3 1 1 2 4 1 3 1 3 4 2 4 1 2 4 18 2 4 1 2 4 1 3 4 2 3 1 2 4 1 2 4 1 4 1 3 4 1 3 4 In order to follow the 2 .. .......38 Moody Scales .Harmonic Minor Ascending Moody Scales ....3 -3 note fingering system...Harmonic Minor Ascending Start each measure on 6th string 1 3 4 1 3 4 1 2 4 2 4 1 2 4 1 3 4 3 2 4 1 3 4 1 2 4 2 3 1 2 4 1 2 4 2 4 1 3 4 1 3 4 6 3 4 1 2 4 1 2 4 2 4 1 3 4 1 3 4 3 4 1 3 4 1 2 4 9 2 4 1 2 4 1 3 4 2 4 1 3 4 1 2 4 Start each measure on 3rd string 4 1 2 2 1 2 4 1 12 1 4 1 3 4 1 3 4 2 3 1 2 4 1 2 4 2 4 1 2 4 1 3 4 15 2 .. you must start on the second note of the F minor scale... Remember .....we are still in the key of F minor even though we are starting on G.............

39 Start each measure on 4th string 2 1 2 4 1 3 4 21 1 2 1 2 4 1 2 4 4 2 4 1 2 4 1 3 4 24 3 4 1 3 4 1 2 4 2 4 1 2 4 1 3 4 3 4 1 2 4 1 2 4 27 2 4 1 3 4 1 3 4 2 3 1 2 4 1 2 4 2 4 1 3 4 1 2 4 30 2 4 1 2 4 1 3 4 3 4 1 3 4 1 2 4 2 .

....4 2 3 1 4 2 18 2 1 1 4 3 1 4 4 3 1 1 4 2 1 4 2 1 2 21 1 4 2 1 4 3 3 1 1 4 3 1 4 3 2 1 1 4 2 1 4 3 1 .....1........Harmonic Minor Descending I have left out the shifts to tell you which string groups to start on... Shift where you like and explore the guitar.... 1 2 1 4 3 1 4 3 1 3 1 4 2 1 4 2 1 3 2 1 4 3 1 4 2 1 3 1 4 2 3 1 4 3 1 1 4 3 1 4 2 1 6 2 1 4 2 1 4 3 1 4 1 4 2 1 4 2 1 2 1 4 3 1 4 3 1 9 3 1 4 1 2 4 2 1 2 1 4 3 3 1 4 2 1 1 4 2 1 4 3 1 3 12 1 4 2 3 1 4 2 1 1 4 4 2 1 4 3 1 1 4 2 1 4 2 1 2 15 1 4 3 1 4 3 1 3 1 ----------------------------------------------2 1 1 4 2 1 4 3 1 4 2 1 4 2 .3 fingerings.. but stick to the 2 -3 ..Harmonic Minor Descending MoodyScales ....40 Moody Scales ......

41 24 2 1 4 3 1 4 2 1 3 1 4 2 1 4 2 1 2 1 4 3 1 4 3 1 27 4 1 4 2 1 4 2 1 2 1 4 2 1 4 3 1 3 1 4 3 1 4 2 1 30 3 1 4 2 1 4 3 1 2 1 4 3 1 4 2 1 3 1 4 2 1 4 2 1 33 2 1 4 3 1 4 3 1 .

..Melodic Minor Ascending Moody Scales ..... .42 Moody Scales .we are still in the key of F minor even though we are starting on G.......... Remember ... you must start on the second note of the F minor scale.Melodic Minor Ascending 1 3 4 1 2 4 1 2 4 2 4 1 2 4 1 3 4 3 2 4 1 3 4 1 2 4 2 4 1 2 4 1 2 4 2 4 1 3 4 1 2 4 6 3 4 1 2 4 1 2 4 2 4 1 2 4 1 3 4 2 3 1 2 4 1 2 4 9 2 4 1 2 4 1 3 4 2 4 1 3 4 1 2 4 Start each measure on 3rd string 4 1 2 3 1 2 4 1 12 2 4 1 3 4 1 2 4 2 3 1 2 4 1 2 4 2 4 1 2 4 1 3 4 15 2 .............3 -3 note fingering system...------------------------4 1 2 4 1 3 3 2 3 1 1 2 4 1 3 1 2 4 2 4 1 2 4 18 2 4 1 2 4 1 3 4 2 3 1 2 4 1 2 4 2 4 1 3 4 1 2 4 In order to follow the 2 ....

43 4 1 2 4 2 4 1 3 4 1 2 4 2 4 1 3 4 21 1 3 1 2 1 2 4 24 2 3 1 2 4 1 2 4 2 4 1 2 4 1 3 4 3 4 1 2 4 1 2 4 27 2 4 1 3 4 1 2 4 2 4 1 2 4 1 2 4 2 4 1 3 4 1 2 4 30 2 4 1 2 4 1 3 4 3 4 1 2 4 1 2 4 2 .

Melodic Minor Descending 1 2 1 4 2 1 4 3 1 3 1 4 2 1 4 2 1 3 2 1 4 3 1 4 2 1 3 1 4 2 1 4 2 1 3 1 4 3 1 4 2 1 6 3 1 4 2 1 4 3 1 3 1 4 2 1 4 2 1 2 1 4 2 1 4 3 1 9 3 1 4 2 1 4 2 1 2 1 4 3 1 4 2 1 3 1 4 2 1 4 2 1 3 12 1 4 3 3 1 4 2 1 1 4 3 2 1 4 3 1 1 4 2 1 4 2 1 2 15 1 4 2 1 4 3 1 3 ----------------------------------------------2 1 2 1 2 1 4 3 1 4 1 4 2 1 4 ---------------------------------18 3 1 2 1 4 2 1 4 2 1 4 2 1 3 4 3 1 1 4 2 1 4 2 1 3 21 1 4 2 1 4 3 3 1 1 4 3 1 4 3 2 1 1 4 2 1 4 2 1 .44 MoodyScales Melodic Minor Descending Moody Scales -.

and Melodic Minor. . but I do a different key every day. you have worked hard. Harmonic Minor. Bravo.45 24 2 1 4 3 1 4 2 1 3 1 4 2 1 4 2 1 2 1 4 2 1 4 3 1 27 3 1 4 2 1 4 2 1 3 1 4 2 1 4 3 1 3 1 4 3 1 4 2 1 30 3 1 4 2 1 4 2 1 2 1 4 3 1 4 2 1 3 1 4 2 1 4 2 1 33 2 1 4 2 1 4 3 1 Congratulations! If you can play the Moody Scales Ascending and Descending in Major. Make sure that you play these exercises in all keys. Now go on to the next section. I play all the Moody Scales in one key every day. just to stay on my toes.

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Refer back to the 7 Positions section if you need to. and the minor keys are especially interesting.any (traditional 7 note ) scale can be played in 7 Positions. I have given you what I have found to be the most comfortable. Melodic Minor.but feel free to try your own fingerings . write it down and use it! . (For a complete explanation of music theory for jazz musicians and Diatonic triads and 7th chords I recommend Mike Longo’s “Theory and Musicianship for the Creative Jazz Improviser”) You will use the 7 Positions that you used for the Hanon exercises. and Harmonic Minor. then one down. It is a great ear training study. Remember . Once you find what works for you.key of C major As you do these in different keys you might find different fingerings that feel good. logical fingerings. Basically they are triads built on each degree of the scale. I wanted to get that sound into my playing. It is beyond the scope of this book to explain in full detail what the Diatonic triads actually are. Harmonic Minor and Melodic Minor in one key.one up. Theoretically these exercises are very potent.47 Chapter 6: Diatonic Triads in 7 Positions I love this exercise. In the exercise you will arpeggiate one up. and I do different keys on different days. Please use my fingerings as a starting point . You are not required to stick to the fingerings exactly. It’s a very pretty sound. I have heard many great jazz solos which have phrases that hint at arpeggiations of diatonic triads. and so on. so I decided to break it down into an exercise that I could do every day. so you are responsible for learning them in Major. using only notes from the scale. Each scale will yield different triads. in all 7 Positions. Any time that I practice these I always do Major. one down 1 C 1 D- E- F G A- Bdim C Triads . It’s the same practice plan as for the Moody Scales in the preceding section. as well as a technical study. Due to the frets getting smaller you’ll find that (for example ) Position 7 in F and Position 7 In Ab are very different.always go for ease of playing and accuracy. Arpeggios .

48 Major Scale Diatonic Triads .Position 1 2 4 1 4 2 1 2 4 1 2 1 4 1 2 4 1 4 2 4 1 2 1 1 4 2 5 1 3 4 1 4 2 4 1 3 4 2 1 3 4 1 4 1 3 4 1 3 3 1 4 1 3 4 2 1 4 10 3 4 1 4 2 1 4 1 2 1 4 2 1 2 4 2 1 4 2 4 1 4 2 1 4 1 2 1 Major Scale Diatonic Triads .Position 2 3 2 1 2 4 2 1 4 1 2 4 1 4 2 4 1 2 1 1 4 2 4 1 2 1 5 1 2 4 1 4 2 4 1 2 1 2 3 1 4 2 4 1 2 2 4 1 2 1 4 1 2 4 2 1 4 10 2 4 1 4 2 1 4 1 2 1 4 2 1 2 4 2 1 4 2 4 1 4 3 1 4 1 2 1 .

Position 3 2 4 1 3 1 1 4 3 4 1 2 4 3 1 3 4 1 3 1 4 1 3 4 1 4 5 1 3 4 1 4 2 4 1 3 4 2 1 2 4 1 4 1 2 2 4 1 2 1 4 1 3 4 2 1 4 10 2 4 1 4 2 1 4 1 2 1 4 3 1 3 4 3 1 4 3 4 1 4 3 1 4 1 2 1 Major Scale Diatonic Triads .49 Major Scale Diatonic Triads .Position 4 1 1 4 2 4 1 2 4 2 1 2 4 1 2 1 4 1 2 4 1 4 3 4 1 2 5 1 3 4 1 4 2 4 1 3 4 2 1 2 4 1 4 1 2 4 1 2 3 1 4 1 3 4 2 1 4 10 3 4 1 4 2 1 4 1 2 1 4 3 1 2 4 2 1 4 2 4 1 4 2 1 4 1 2 1 .

Position 6 3 4 1 3 4 3 1 3 4 1 3 4 1 2 1 4 2 1 1 4 4 1 3 1 4 5 3 4 1 2 1 4 1 2 1 4 2 3 1 4 2 4 1 2 4 1 2 1 4 2 1 2 4 2 1 4 2 10 4 1 4 2 1 4 1 2 1 4 2 1 3 4 3 1 4 2 4 1 1 4 3 4 1 3 1 .50 Major Scale Diatonic Triads .Position 5 1 4 2 4 1 2 4 2 1 2 4 1 1 4 1 2 4 1 4 2 4 1 2 1 2 5 1 3 4 1 4 2 4 1 2 4 2 1 1 4 3 4 1 2 4 1 2 3 1 4 1 2 4 2 1 4 10 2 4 1 4 2 1 4 1 2 1 4 2 1 2 4 2 1 4 2 4 1 4 2 1 4 1 2 1 Major Scale Diatonic Triads .

.51 Major Scale Diatonic Triads .Position 7 1 1 4 2 4 1 2 4 2 1 3 4 1 2 1 4 1 3 4 1 4 3 4 1 3 5 1 4 2 3 4 1 4 1 2 2 1 3 1 4 2 4 1 2 4 1 2 2 1 4 1 3 4 2 1 4 3 10 4 1 4 2 1 4 1 3 1 4 3 1 3 4 2 1 4 3 4 1 4 2 1 4 1 2 1 Bravo! Now do Positions 1-7 in a few different Major keys before attacking the next section.

Position 2 3 4 2 1 1 4 1 3 4 4 3 4 1 1 1 4 2 4 1 2 4 1 2 1 3 5 4 2 1 2 4 1 4 1 4 3 2 1 1 4 2 4 1 2 2 4 1 2 1 4 1 4 3 2 1 4 10 2 4 1 4 2 1 4 1 3 1 4 3 1 3 4 2 1 4 3 4 1 4 2 1 4 1 2 1 .Position 1 1 1 4 3 4 1 3 4 2 1 2 4 1 3 1 4 1 3 4 1 4 2 4 1 2 5 1 3 4 1 4 2 2 4 1 4 1 3 4 3 2 1 1 4 4 1 2 3 1 4 1 3 4 2 1 4 10 3 4 1 4 2 1 4 1 2 1 4 2 1 3 4 3 1 4 3 4 1 4 2 1 3 1 3 1 Harmonic Minor Scale Diatonic Triads .52 Harmonic Minor Scale Diatonic Triads .

Position 3 3 4 1 2 3 1 2 4 1 4 1 2 4 3 1 1 4 2 4 1 2 1 1 4 4 5 1 3 4 1 4 2 4 1 3 4 2 1 3 4 1 1 4 3 4 1 3 3 1 4 1 3 4 2 1 4 10 3 4 1 4 2 1 2 4 1 2 1 4 1 2 4 3 1 4 2 4 1 4 3 1 4 1 2 1 Harmonic Minor Scale Diatonic Triads .53 Harmonic Minor Scale Diatonic Triads .Position 4 1 1 4 2 4 1 2 1 2 4 3 2 1 2 1 4 1 2 4 1 4 3 4 1 2 5 1 2 4 1 4 2 2 4 1 2 4 1 2 3 1 4 2 1 4 1 2 1 4 2 1 2 4 2 1 4 10 2 4 1 4 2 1 4 1 2 1 4 3 1 2 4 2 1 4 2 4 1 1 4 3 4 1 2 1 .

Position 6 1 1 4 2 4 1 3 4 2 1 2 4 1 2 1 4 1 2 4 1 4 2 3 1 2 5 1 3 4 1 4 2 1 3 2 1 4 2 4 2 1 4 1 2 4 1 3 2 1 4 2 3 4 2 1 4 3 10 4 1 4 2 1 4 2 4 1 2 1 1 2 4 2 1 4 2 1 2 4 1 4 4 1 3 1 .54 Harmonic Minor Scale Diatonic Triads .Position 5 3 1 4 2 1 3 4 1 1 4 1 4 2 4 1 1 1 4 2 2 3 2 4 1 2 5 3 2 1 3 4 1 4 3 1 2 1 4 3 4 1 4 1 2 4 1 2 1 4 3 1 3 4 4 21 10 3 4 321 1 4 1 2 1 4 2 1 2 3 2 1 4 3 4 1 4 2 1 4 1 2 1 Harmonic Minor Scale Diatonic Triads .

55 Harmonic Minor Scale Diatonic Triads .Position 7 2 1 1 4 2 4 1 2 4 2 1 3 4 1 2 1 4 1 3 4 1 4 4 1 3 5 1 3 4 1 4 2 4 1 2 2 1 3 1 4 2 3 1 2 4 1 2 2 1 4 1 2 4 2 1 4 2 10 4 1 4 2 1 4 1 2 3 1 4 1 3 4 2 1 4 3 4 1 4 2 1 4 1 2 1 .

56 Melodic Minor Scale Diatonic Triads .Position 1 2 1 2 4 1 1 4 2 4 1 3 4 2 1 4 1 2 4 41 2 1 4 2 4 2 1 3 4 1 1 6 2 1 4 1 3 4 1 4 2 4 1 3 4 1 3 1 4 2 1 3 4 2 1 4 10 3 4 1 4 2 1 4 1 2 1 4 2 1 2 4 3 1 4 2 4 1 4 2 1 4 1 3 1 Melodic Minor Scale Diatonic Triads .Position 2 2 4 1 2 4 2 1 2 4 1 3 1 4 1 2 4 1 4 2 4 1 1 1 4 3 5 4 2 1 2 4 1 4 1 3 4 2 1 1 4 2 4 1 2 2 4 1 2 1 4 1 3 4 2 1 4 10 2 4 1 4 2 1 4 1 4 2 3 1 1 2 4 2 1 4 2 4 1 4 3 1 4 1 2 1 .

Position 3 1 1 4 3 4 1 2 4 3 1 2 4 1 3 1 4 1 2 4 2 1 4 4 1 2 5 1 3 4 1 4 2 4 1 3 4 2 1 1 4 2 4 1 2 4 1 3 3 1 4 1 3 4 2 1 4 10 3 4 1 4 2 1 4 1 2 1 4 3 1 2 4 3 1 4 2 4 1 4 3 1 4 1 2 1 Melodic Minor Scale Diatonic Triads .57 Melodic Minor Scale Diatonic Triads .Position 4 1 1 4 2 4 1 2 4 2 1 2 4 1 2 1 4 1 2 4 1 4 3 4 1 2 5 1 2 4 1 4 2 2 4 1 2 4 1 2 3 1 4 2 1 4 1 2 1 4 3 1 2 4 2 1 4 10 2 4 1 4 2 1 4 1 2 1 4 3 1 2 4 2 1 4 2 4 1 1 4 3 4 1 2 1 .

Position 5 1 1 4 2 3 1 2 4 2 1 3 4 1 3 1 4 1 2 3 2 1 4 4 1 2 5 3 4 1 4 2 1 1 2 3 2 1 4 1 4 3 4 1 2 4 1 2 3 1 4 1 2 4 4 2 1 2 10 4 1 4 2 1 4 1 2 2 1 4 1 2 4 3 1 4 2 4 1 4 2 1 4 1 3 1 Melodic Minor Scale Diatonic Triads .58 Melodic Minor Scale Diatonic Triads .Position 6 1 1 4 2 4 1 3 4 2 1 3 4 1 2 1 4 1 3 4 1 4 2 3 1 2 5 1 3 4 1 4 2 1 2 2 1 4 3 1 4 2 4 1 2 2 4 1 2 1 4 1 2 1 3 2 4 2 10 4 1 4 2 1 4 1 3 1 4 2 1 3 4 2 1 4 2 1 2 4 1 4 4 1 3 1 .

Position 7 1 1 4 2 4 1 2 4 2 1 3 4 1 2 1 4 1 3 4 1 4 2 4 1 3 5 1 3 4 1 4 2 4 1 4 2 1 3 1 4 2 3 1 3 4 1 2 3 1 4 1 3 4 2 1 4 2 10 4 1 4 2 1 4 1 2 3 1 4 1 3 4 2 1 4 3 4 1 4 2 1 4 1 2 1 .59 Melodic Minor Scale Diatonic Triads .

.

and it should lay pretty easily. Harmonic Minor and Melodic Minor in one key. by all means . any time that I practice these I always do Major.you can erase it. I suggest penciling in your ideas so that a) you remember them b) if you change your mind . and I do different keys on different days. one down 1 Cmaj7 D-7 1 E-7 Fmaj7 G7 A-7 Bdim7 Cmaj7 7th Chords . The fingerings might appear to be strange at first. Arpeggios .key of C major .one up. but give them a try.61 Chapter 7: Diatonic Seventh Chords in 7 Positions This is very similar to the last chapter. Just remember it’s okay to be undecided for a while.go ahead. As with the previous section. If you would like to change a fingering. Sometimes it takes days to decide which fingering is best. Much of your sound as a musician will come from developing your own concept for fingerings.

Position 2 1 1 4 3 1 2 4 1 3 4 2 1 4 1 2 4 1 4 2 2 1 4 1 2 4 4 1 4 2 1 2 4 1 2 4 1 2 4 1 4 2 1 4 2 1 2 4 4 1 2 4 2 1 4 2 8 1 2 4 4 1 4 2 1 4 2 1 2 4 1 2 1 4 1 2 2 4 2 1 4 1 2 4 1 4 4 3 1 12 2 4 1 3 1 4 3 1 4 .Position 1 1 1 4 2 1 2 4 1 2 4 2 1 4 1 2 4 1 4 2 2 1 4 1 2 4 4 1 4 2 1 3 4 1 2 4 1 3 4 1 4 2 1 2 1 4 4 3 4 1 3 4 2 1 4 3 8 1 3 4 4 1 4 2 1 2 1 4 1 2 2 1 4 4 2 1 4 3 4 2 1 1 2 4 1 4 4 2 1 12 2 4 1 2 1 4 2 1 2 Major Scale Diatonic 7th Chords .62 Major Scale Diatonic 7th Chords .

Position 3 1 1 4 3 1 3 4 1 2 4 3 1 4 1 3 4 1 3 1 4 2 4 1 3 4 4 1 4 2 1 3 4 1 3 4 1 3 4 1 4 2 1 4 2 1 2 4 4 1 3 4 2 1 4 2 8 1 3 4 4 1 4 2 1 4 2 1 3 4 1 3 1 4 1 3 4 3 3 1 4 1 3 4 1 4 4 3 1 12 3 4 1 2 1 4 3 1 4 Major Scale Diatonic 7th Chord .Position 4 1 1 4 2 1 2 4 1 2 4 2 1 4 1 2 4 1 4 3 2 1 4 1 2 4 4 1 4 2 1 3 4 1 2 4 2 1 4 1 3 4 1 4 2 1 2 4 4 1 3 4 2 1 4 3 8 1 3 4 1 4 2 1 4 1 3 4 1 2 1 4 2 3 4 4 2 1 4 2 1 1 2 4 1 4 4 2 1 12 2 4 1 2 1 4 2 1 4 .63 Major Scale Diatonic 7th Chords .

Position 5 1 1 4 2 1 2 4 1 2 4 2 1 4 1 2 4 1 4 2 2 1 4 1 2 4 4 1 4 2 1 2 4 1 2 4 2 1 4 1 2 4 1 2 1 4 4 3 4 1 2 4 2 1 4 3 8 1 2 4 4 1 4 2 1 2 4 4 2 1 2 1 1 2 4 1 2 4 2 1 4 4 1 2 4 1 4 2 1 12 2 4 1 2 1 4 2 1 4 Major Scale Diatonic 7th Chords .64 Major Scale Diatonic 7th Chords .Position 6 1 1 4 3 1 3 4 1 3 4 2 1 4 1 3 4 1 3 2 1 4 4 1 3 4 4 1 4 2 1 3 4 1 2 4 2 1 4 1 2 4 1 2 1 4 4 2 4 1 2 4 2 1 4 2 1 2 4 8 4 1 4 2 1 4 2 1 3 4 1 2 1 2 4 1 3 4 3 1 4 1 3 4 1 4 4 3 1 2 12 4 1 3 1 4 3 1 4 .

65

Major Scale Diatonic 7th Chords - Position 7
1

1 4 2

1

3

4

1 2

4 2

1 4

1 3 4

1

4 2 1

3

4 1 3 4

4

1 4 2

1

3 4 1 3

4 1 3 4 1 4 2 1

4 4 2 2 1

4

1 2 3

4 2 2 1

8

1 3 4 1 4 2 1 4

3 4 1 3 4 1 3 4 2 1 4 1 3 1 4 2

1 3 4 1 4 4 2 1

12

3

4

1

2

1

4

2

1

2

66

Harmonic Minor Diatonic 7th Chords - Position 1
1

2 1 4 2 1

4 1

2

4 2

1 4 1 3 4

1

4 2 4 1 3 4 3 1

4

1 4 2 1 3 4 1 2 4 2 1 4 1 3 4 1

2 1

4

2 4

4

1 3

4

2

1 4

3

8

1 3

4

1 4 2

1

4

3

4 1 2

1 4

2 1

4

1 3

4 3

1 4 2

11

1 2 4 1 4

2 1 4

2

4 1 2

1 4

2 1

2

Harmonic Minor Diatonic 7th Chords - Position 2
2 1 4 2 1 4 1 2 4 2 1 4 1 2 4 1 4 3 4 1 2 4 2 1

1

4

1 3 4 1 3 1 4 2

4 2

1 4 1 3 4 1

4 2 1

2 4

4

1

3 4 2 1 4

2

8

1 3 4 4 1 4 2 1

4 2 2 4 1 3 1

1

3 4 1 2 4 2 1 4

1 2 4 1 4 4 2 1

12

2

4

1

2

1

4

2

1

4

67

Harmonic Minor Diatonic 7th Chords - Position 3
1

2 4 1 1 4 3 1 2

4 2

1 4

1 2 4

1

3 1 4 2 4 1 2 4

4

1 4 2

1 3 4 1 2 4 2 1 4 1 3 4 1

4 2 1

3 4

4

1

3 4

3 1 4 2

8

1 3

4

1 4 2

1

4

3 4 1 2

1

4

2

1

4

1 2

4

2

1 4

2

11

1

2

4

1 4

3

1

4

2

4

1

2

1 4

3

1

4

Harmonic Minor Diatonic 7th Chords - Position 4
1

2 1 4 3 1

4 1 2

3 2

1 4

1 2 4

1

3 2 1 4

4 1 2 4

4

1 3 4 1 2 1 3 4 1 2 4 2 1 4 1 4

2 1

4

2 4

4 1 3

4 4 2 1

2

8

1 3 4 2 3 4 2 1 4 1 4 1 4 2 4 2 1 4 4 1 3 1 2 1

1 2 4 1 3 2 1 4

12

2

4

1

2

1

4

3

1

4

Position 5 1 1 4 2 1 3 4 1 2 4 2 1 4 1 3 4 1 4 2 3 1 4 1 3 4 4 1 4 2 1 3 4 1 2 2 3 1 4 1 3 4 1 2 1 4 3 4 4 1 3 4 1 4 2 3 1 3 8 4 1 3 2 1 4 3 4 1 2 1 4 2 1 4 1 3 4 3 1 4 2 11 1 2 4 1 4 2 1 4 3 4 1 2 1 4 2 1 4 Harmonic Minor Diatonic 7th Chords .Position 6 1 1 4 2 1 2 4 1 3 4 2 1 4 1 2 4 4 2 1 2 1 3 1 2 4 4 1 4 2 1 3 4 1 2 4 2 1 4 1 3 4 1 2 1 4 2 4 4 1 4 3 2 3 2 1 2 8 3 4 1 4 2 1 4 3 4 1 2 1 4 2 1 4 1 2 4 2 2 1 4 11 1 2 4 1 4 2 1 4 2 4 1 3 1 4 2 1 4 .68 Harmonic Minor Diatonic 7th Chords .

69 Harmonic Minor Diatonic 7th Chords .Position 7 1 1 4 2 1 3 4 1 2 4 2 1 4 1 3 4 1 4 2 2 1 4 1 3 4 4 1 3 4 1 3 1 4 2 4 2 1 4 1 2 4 1 3 4 2 2 1 4 1 2 4 2 1 4 2 8 1 2 4 14 2 1 4 2 4 1 1 3 1 4 2 4 1 3 4 2 1 4 2 1 3 4 1 4 4 2 1 12 3 4 1 2 1 4 2 1 4 .

Position 2 1 2 1 4 3 1 4 1 2 4 1 2 4 3 1 4 1 4 2 4 1 2 4 2 1 4 1 3 4 1 2 4 2 1 4 1 3 4 1 1 4 2 4 2 1 3 4 4 1 3 4 4 2 1 2 8 1 3 4 1 4 2 1 4 2 4 1 2 1 4 2 1 4 1 2 4 2 1 4 3 11 1 2 4 1 4 3 1 4 2 4 1 2 1 4 3 1 4 .70 Melodic Minor Diatonic 7th Chords .Position 1 1 1 4 2 1 2 4 1 3 4 2 1 4 1 2 4 1 42 4 1 2 4 2 1 4 1 4 2 1 3 4 1 2 4 2 4 1 4 1 3 4 4 3 1 2 1 4 1 3 4 2 1 4 3 8 1 3 4 1 4 2 1 4 3 4 1 2 1 4 2 1 4 1 2 4 2 2 1 4 11 1 2 4 1 4 2 1 4 2 4 1 2 1 4 2 1 2 Melodic Minor Diatonic 7th Chords .

Position 3 1 1 4 3 1 2 4 1 2 4 3 1 4 1 2 4 1 3 1 4 2 4 1 2 4 4 2 1 3 4 1 2 4 2 1 4 1 3 4 1 1 4 4 2 1 2 4 4 1 3 4 3 1 4 2 8 1 3 4 1 4 2 1 4 3 4 1 2 1 4 2 1 4 1 2 4 3 1 4 2 11 1 2 4 1 4 3 1 4 2 4 1 2 1 4 3 1 4 Melodic Minor Diatonic 7th Chords .71 Melodic Minor Diatonic 7th Chords .Position 4 1 2 4 1 1 4 2 1 2 4 4 2 1 1 2 4 1 3 2 1 4 4 1 2 4 4 4 1 1 3 4 3 4 1 4 2 1 2 4 2 1 1 2 1 4 2 4 4 1 2 3 2 1 4 3 8 1 3 4 1 4 2 1 4 2 4 1 2 1 4 2 1 4 1 2 4 2 1 4 3 1 11 2 4 1 4 2 1 4 2 4 1 2 1 4 2 1 4 .

Position 6 1 1 4 2 1 3 4 1 3 4 2 1 4 1 3 4 1 4 2 2 1 3 1 3 4 4 1 3 4 1 4 2 1 2 4 2 1 4 1 3 4 1 2 1 4 4 3 4 1 2 2 3 1 4 2 1 8 3 4 1 4 2 1 4 3 4 1 3 1 4 2 1 4 1 3 4 2 2 1 4 11 1 3 4 1 4 2 1 4 3 4 1 3 1 4 2 1 4 .Position 5 1 1 3 4 1 2 1 4 2 4 2 1 4 1 2 4 1 4 2 3 1 4 1 3 4 4 1 4 2 1 3 4 1 2 1 4 1 3 4 1 4 2 2 1 4 3 4 4 1 3 4 4 2 1 3 1 3 8 4 1 4 2 1 4 3 4 1 2 1 4 2 1 4 1 3 4 2 3 1 4 11 1 3 4 1 4 2 1 4 3 4 1 3 1 4 2 1 4 Melodic Minor Diatonic 7th Chords .72 Melodic Minor Diatonic 7th Chords .

Position 7 1 1 4 2 3 4 1 2 4 2 1 4 1 3 4 1 4 2 2 1 4 1 3 4 4 1 4 2 1 4 1 3 3 4 1 1 4 1 3 4 2 2 1 3 4 2 4 1 3 4 2 4 2 1 1 3 8 4 1 4 2 1 4 3 4 1 3 1 4 2 1 4 1 3 4 2 2 1 4 11 1 3 4 1 4 2 1 4 3 4 1 2 1 4 2 1 4 .73 Melodic Minor Diatonic 7th Chords .

.

but I don’t think that you’ll benefit that much from learning them. For example. try intervallic stuff on your own. you could play arpeggios of minor 7 voicings in whole steps.I never learn transcriptions.invent your own exercises & explore different sounds. Each of these exercises will have a “life cycle” . By the way . As you experiment with new ideas. or scales from the Lydian Chromatic System. You’ll really benefit from concentrating on one exercise as opposed to trying to do to many at once. Why All This Diatonic Stuff. According to them. always tackling new things will keep you young and enthusiastic! Be Inventive Have you noticed that the last 2 exercises (Diatoic Triads. the one down. Study hard. to get your ears together. then one up? Both up? Both down. Set goals like “This week I will tackle Diatonic Seventh Chords” and do some every day as opposed to a lot on one day. I’ve transcribed solos off of recordings and studied solos. Take a look at the youthful look in older musicians’ eyes.75 Where to Go Next ? Other Ideas The possibilities of patterns and new things to practice is endless. Since that is a pattern based on intervals and not on a “key” nothing is actually wrong. but never learned them on guitar. What if you did one down. Don’t be daunted by the vastness of it.so for now. Be creative . Many great players practice like this daily. Hopefully now you have a framework in which to work and create. Diatoinic 7th Chords) had one voicing arpeggiated upward. you’ll keep your mind engaged and you’ll keep developing your touch while digesting new harmonic and melodic ideas. . learn the “inside” sounding material presented here. but play your own solos. Listen to John Coltrane’s “A Love Supreme” if you are interested in hearing intervallic and modal playing. What About “Outside Improvisation?” Diatonic harmony. though.you’ll learn it. for example. Here are some books that have been invaluable to me. I know that this might seem sacreligious to some. It will keep you from getting bored. etc. is more difficult to master than intervallic harmony because there is a definite right and wrong. Think of all the interesting melodies that you will dig up. and transcribe solos that you like off of records. You could do all the exercises in this book with exotic scales. and eventually you’ll know it cold. once in a while. Here Are Some Books That I Highly Recommend For Single Line Ideas and Technique It’s great to have stuff that you can just put up on your music stand to stay fresh and be challenged. That’s when it’s time to start searching for new material to keep your routine interesting. then forgetting about it. Follow Through The important thing is to see an idea through to its completion and not just do it for one Position. in general. I reccomend picking them up for yourself. That way. Outside playing is a vast topic and could fill another book .

NO METRONOME. Remember this Hanon and other Scale Stuff is only a portion of practicing. play slowly but accurately. pay attention. and let it happen as though the guitar is practicing itself. More books are on the way from me to teach you more about the secrets of Jazz Guitar! Good luck. Just put in the time. and throw this out the window when the downbeat hits! Warmest Regards.A very similar concept to mine. and you will see some amazing things happen. I sincerely hope that this book has shed some light on practicing for you. but with different exercises Here’s My Warmup: Without Fail: Hanon Exercise 1 in 7 Positions Hanon Exercise 2 in 7 Positions Moody Scales Johnny Smith Arpeggios & Scales Frequently: Diatonic Triads & Seventh Chords Intervallic Patterns (4ths. I practice by playing tunes and being in an unbroken melodic flow.Here are some great books for single line stuff which I mentioned before: Hanon .Sonatas and Partitas for Solo Violin Slonimsky’s Thesaurus of Scales and Patterns (More Intervallic in Nature) Johnny Smith’s Aids to Technique .The Virtuoso Pianist (there are more exercies that you can adapt for guitar) Bach . Adam Rafferty . New Stuff etc.) After warming up. Pentatonics. For many years I was unaware that this type of practicing even existed! Please remember.

Active on the New York Jazz Scene. Buster Williams. Brina. 20th Century Guitar. Rafferty has toured Europe several times with his own trio and can also be heard playing live and on CD with Mike Longo’s New York State of the Art Jazz Ensemble.N. Rafferty has two albums out as a leader. Blood Sweat and Bebop and First Impressions.About the Author Adam Rafferty started playing fingerstyle blues guitar at the age of 6 under the instruction of Woody Mann. After playing rock for several years as a teenager.Y.U. Currently he is living on Manhattan’s Upper West Side with his wife Fulvia and his four cats. and Gualtiero. Eventually he went on to study jazz piano. Other well known musicians and acts he has performed with are The Dizzy Gillespie Big Band. Bob Cranshaw. he went on to study classical guitar and composition at S. Mike Longo. and Harlem’s own Jimmy “Preacher” Robbins. Abe. and composition with the long-appreniced pianist and musical director to Dizzy Gillespie. and Cadence. Lou Donaldson. guitar. Benny Golson. (on the CAP record label) and both CD’s have recieved rave reviews from Just Jazz Guitar. he can be heard at many of the well-known jazz venues around town. Jazz Times. Rafferty teaches from his own studio and is a sought after clinician in the states and in Europe. Purchase. . Balthus. Guitar Player.

Jazz Times $14. Mike Longo .95 Blood. Big easy to read notation . and practice progressions. My Funny Valentine. Giant Steps. Paul West .learn sightreading and have fun playing blues at the same time! By the end of the book. guitarist Adam Rafferty proves his entrenchement in the Tradition. Anthropology.comes complete with fingerings.95 Other Home Study Courses By Adam Rafferty The Blues Book Learn Blues guitar quickly and easily! Perfect for beginners and ideal for anyone who teaches guitar to beginners.Want To Boost Your Chops Even More?? Order any two items and receive “20 of the Hippest ii . I Got It Bad. Savannah Calling.Drums Red Top. . Closson. and Bebop CAP 937 Adam Rafferty . Impressions.adamrafferty. Fulvia. Samba For You. fluid phrasing and lines.Bass. Bob Cranshaw . . $14. Rafferty’s mature ideas. Only available through this special offer. Just Jazz Guitar $14. Birk’s Works.com Pick Up The Phone and Call Now! . Allegro in Bb7. Ray Mosca .Bass.v . A complete Jazz Guitar Lover’s Package! Order NOW! Limited time offer CD’s: First Impressions CAP 905 Adam Rafferty . I’ll Remember April.95 All items come with a 30 day 100% money back guarantee To Order Direct Call 1-800-BEBOP-YO 1-800-232-6796 24hrs or order online at http://www. Chega De Saudade Reinventing ten challenging standards. A dramatic debut recording. easy to read notation. Ray Mosca .i Lines for Guitar” special mini lesson as a FREE BONUS . students can improvise over E blues with all the ideas they’ve learned.Piano.Drums Bubu. Mike Longo .Guitar. His octave playing is outstanding. bassist Paul West. 22 simple blues riffs over 12 bar blues in E. Triste. Rafferty transforms Coltrane’s “Impressions” and “Giant Steps. His chord melody is clean and smooth. Cherokee. Round Midnight.Randall S. Central Park West. There is a broad range of tunes that showcase Adam’s ability to cover a diversity of styles and he is well supported by a great trio. He knows all the licks. Lush Life This guy has monster chops! His single note playing is clean and precise.Nancy Ann Lee.Piano. With pianist Mike Longo.” remolds Gene Ammons’“Red Top” and Monk’s “‘Round Midnight” and seven more classics. Sweat. drumer Ray Mosca. accomplished technique and delicate lyricism belie that he’s still in his 20’s.Guitar.

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