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Accompanying Booklet
*Follows the order of the DVD Supports the material on the DVD
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2006 Musicians-Workshop.com P.O. Box 161921 Austin, TX 78716-1921
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Table of Contents
How to read tablature....3
Definitions....4
Single String Studies....5
Two String Studies....6, 7, 8
Chord/Scale Relationships...9 thru 12
Jazz & Fusion Guitar
DVD Menu
Fingergboard Concepts
1. Introduction
2. Single String Playing
3. Two String Playing
4. Position Playing
Improvisation Concepts
5. Chord/Scale Relationships
6. Playing throught the Changes
7. Ear Training & Other Practice Tips
Jazz guitarist Clay Moore is a rare find on today's jazz
scene a unique voice that strengthens and expands
the jazz idiom with sensitivity, clarity, and uncompro-
mising integrity. Clay's warm, expressive tones and
impeccable phrasing have been delighting U.S. and
international audiences for over 20 years.
Clay Moores Web Site:
www.ClayMoore.com
At Clay Moores web site you can:
Check his performance schedule
Buy his CD albums
Read his biography
Chat with music people
Contact Clay directly
Playing tips
And much Moore
3
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Pull-off
play this
string open
Chord Diagram
*In many cases the
chord diagram is the
chord form used in the
tablature.
Fingering Indicator
(thumb)
Bend this note
1/4 step
How to read Tablature
Tablature is completely different from standard music notation. It is a very logical method too, because it is simply a graph
of your stringed musical instrument. The lines represent your strings and the numbers on the lines indicate which fret to play.
In other words: 3 on the 2nd string indicates to play the 2nd string at the third fret. There are other details involved, but thats
its essence. Tablature simply plots the location of the notes of the song.
Believe it or not, tablature historically pre-dates standard music notation. Thats right, it is a much older system.
Tablature is ideal for stringed instruments. In many ways it is superior to standard music notation as a method of notating
music for stringed instruments, because it allows its creator to designate locations and positions on the instrument that would
be difficult to indicate using standard music notation. Tablature is much easier to learn to read than standard notation
because it is basically a picture of the location on your guitar where the note is to be played.
Generally speaking, tablature has become the established standard for informal styles of music and particularly for stringed
instruments, while standard music notation remains the standard for orchestras and marching bands. One noteworthy
exception would be Classical Guitar music which tends to be written in both tab and standard notation.
But some of todays tab does borrow timing notation from standard music notation, as well as other symbols. So you could
say that some of todays tab is somewhat of a hybrid of tab and standard notation.
E
,
,
, ,
,
, ,
E
, ,

3 3
t
0
i
P P
t
2 1 0 P P
t
2 1 0
t t
3 4 0
2
2
1
0
0
1/4
Triplet
(3 1/8 notes equal one 1/4 note)
G7
,
,
, , ,
,
,
,
3fr
G7
,
,
,
, ,
,
,
,
,
t
3
i
t
H
t
3
3 4
m t
5
3
3
i
t
3
6
t i
H
t
3
3
i t
5
4
6
3
Hammer-On
Chord Diagram
*This G7 is an E7 bar
chord at the 3rd fret
which corresponds to
the tablature below it.
Fingering Indicator
Index
thumb
Fingering Indicator
Index finger
Double-Stop
two notes played
simultaneously
Slur
4
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Definitions
Slur--the word slur refers to any treatment of a note that causes it to have a soft beginning. In other words, a slurred
note is a note that has not been picked. There are several ways to create a slur: hammer-on, pull-off, slide, or bend.
*Note: there are no bends in this book, only hammer-ons, pull-offs, and slides. Slurs are usually indicated with curved
line connecting two notes.
Hammer-on--(indicated with an h). before you can hammer-on you pick a string, then you fret that string (with your
fingering hand) without picking again. The picked note will sound crisp and the hammer that follows will sound soft.
After you gain experience you will discover that you can play faster by taking advantage of this technique because you
dont have to pick every not that you can sound. To make a good, strong, loud hammer-on, your finger should hit the
string quickly and firmly similar to a hammer hitting a nail. It is normal to be unsuccessful on your first few attempts, so be
patient. When you touch a string lightly that has just been picked, you will mute the string. (this silences the ringing
string). But, if you hammer it hard, you will create a new note without picking.
Pull-off--(indicated with a p). Pulling off is the opposite of hammering on. But you dont simply lift you finger up
because lifting can mute the string. So with your fiinger down fretting the note, you should actually grab the note and
pluck it similar to the plucking technique that you use to play a string with your other hand. In other words: dont think
of pulling off as lifting up. Think of pulling off as picking with your fingering hand.
Slide--to create a slide you move your finger up or down the neck after you have picked it. The slide is indicated in the
tablature with an s. Sliding is difficult at first. It can create sore fingers before you develop tough fingers. When your
fingers start to hurt, it is best to end your practice session for the rest of the day. If your fingers are sore the next day
you should take it easy or wait another day untill the sorness subsides.
Bend--to bend a string is to stretch it out of tune on purpose. Bends are indicated in tablature with an arrow curving up
and a degree notated such as 1/4, 1/2 or more. 1/2 means to stretch the string so far that it sounds one fret higher in
pitch. 1/4 is to stretch a string to a pitch less than a fret (half step). *A string can be stretched 2 frets (whole step) and
farther if desired.
Double Stop--playing two strings at the same time. When you see a double-stop in tablature it will be a note above
another note. Yes there is such a thing as a triple-stop. In fact, when you strum a chord, you are playing a sextuple-
stop because your guitar has 6 strings.
5
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Single String Position Changing Key of C

1
Single string chromatic scale Ascending. *position changes indicated with fingering notation.
Shifting with 1st finger
1
2
2
3
3
4
4
1
5
2
6
3
7
4
8
1
9
2
10
3
11
4
12
4
13

4
Single string chromatic scale Descending. *position changes indicated with fingering notation.
Shifting with 4th finger.
13
3
12
2
11
1
10
4
9
3
8
2
7
1
6
4
5
3
4
2
3
1
2
1
1

1
1
C Major scale Ascending then descending. *position changes indicated with fingering notation.
*This teaches you proper position changing logic on the guitar.
3
3
1
5
2
6
4
8
1
10
3
12
4
13
4
13
3
12
1
10
4
8
2
6
1
5
3
3
1
1

1
1
C Major arpeggio Ascending then descending. *position changes indicated with fingering notation.
4
5
1
8
4
13
4
13
1
8
4
5
1
1

1
13
3
15
1
C Major articulation descending. *Position changes indicated with fingering notation.
13
1
12
2
13
1
12
1
10
3
12
1
10
1
8
3
10
1
8
1
6
3
8
1
6
1
5
2
6
1
5
1
3
3
5
1
3
1
1

1
1
4
4
C Major articulation ascending. *position changes indicated with fingering notation.
1
3
4
6
1
4
4
8
1
6
1
9
1
8
1
11
1
9
3
11
1
8
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_
Two String Position Changing

2
Two string arpeggio (three octave) Ascending. *Position changes indicated with fingering notation.
3
1
2
4
5
2
5
1
4
4
7
2
8
1
7
4
10

1
1. G scale with position created by using
the 1st finger for the 1st two notes.
3
1
5
3
7
4
8
1
5
3
7
4
9
1
5
1
2. Same G scale but changing position at the 3rd
tone with the 3rd finger.
3
3
5
3
7
4
8
1
5
3
7
4
9
1
5

1
3. Same G scale but changing position at the 4th
tone with the 4th finger.
3
3
5
4
7
4
8
1
5
3
7
4
9
1
5
4. Same G scale but this time we make our position
change on the A string sliding the 1st finger.
1
3
3
5
4
7
1
3
1
5
3
7
4
9
1
5

1
5. Same G scale but this time we make our position
change on the A string sliding the 3rd finger.
3
3
5
4
7
1
3
3
5
3
7
4
9
1
5
1
6. Same G scale but this time we make our position
change on the A string sliding the 3rd finger.
3
3
5
4
7
1
3
3
5
4
7
4
9
1
5

1
Three octave G scale. Use any combination of the six position changing choices above.
3
1
5
3
7
4
8
1
5
3
7
4
9
1
5
1
7
3
9
4
10
1
7

3
9
4
11
1
8
1
10
3
12
4
13
1
10
3
12
4
14
4
15
.

1
2
Three octave G Major 7th arpeggio using the above position changing system. (ascending & descending)
2
3
1
2
4
5
1
4
2
5
1
4
4
7
1
7
2
8
1
7
4
10
1
7
2
8
1
7
4
7
1
4
2
5
1
4
4
5
1
2
2
3
1
2

7
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1
Chromatic scale (key of A), shifting position with the 1st finger. *After you learn it shifting with the 1st finger,
learn to shift from the 2nd, then 3rd, & finally the 4th finger. (also practice this descending)
5
1
6
2
7
3
8
4
9
1
5
1
6
2
7
3
8
4
9
1
5
1
6
2
7
3
8
4
9
1
5

1
6
2
7
3
8
4
9
1
6
2
7
3
8
4
9
1
5
1
6
2
7
3
8
4
9

The above chromatic scale demonstrates that all 12 keys are available in any 5-fret area
without the need for position changing. Below are 3 major scales within that same area: A, B, C.
A major scale
5 7 9
5 7 9
6 7
B major scale
7 9
6 7 9
6 8 9
C major scale
8
5 7 8
5 7 9
5

"Dixie" Key of A
"Dixie" in this same position in 3 Keys, further demonstrates that all music can be available
within one 5-fret position. *The more you explore this phenomenon, the more you master the fingerboard.
.

7
9 5 5 5 7 9
5 7 7 7
9
9 9 9

7

9

7

9
6 7 9
6

7
7
7

7
9
7

7 9 5


"Dixie" Key of D
.

7
9 5 5 5 7 9
5 7 7 7
9
9 9 9

7

9

7

9
6 7 9
7

7
7
7

7
9
7

7 9 5


"Dixie" Key of G
.

7
9 5 5 5 7 9
5 7 7 7
9
9 9 9

7

2
8

9

7

9
7 8 10
7

8
7
8

7
9
7

7 9 5

"Dixie" in just one key (F) but in 3 positions, this is the opposite concept, illustrating that every key can be played
in any position on the neck. *There are 12 positions. 9 more & you will gain a greater mastery of the entire neck.
first position
.

1 2 3
1
2
3
3
3
3 4 2 3 1
3 5
2 3
1
1
1
1
1
2
2
3
3
3
3
3
3

1
1

3
3

1 3
1

4 1 3 4
3 5
1 3 5

1 1 1
1
1
1

4 2 1
5 2
1

4 2 3
5
2
3

4
2nd position
.

4 1 2
5 2
3
2
3
2
4 1 2 4
3 5
2 3 5
4
5
4
5
1
2
2
3
2
3
2
3

4
5

2
3

4 2
5

3 4 2 4
3 5 6
3 5

4 3 4
6
5
6

4 1 4
5 2 5

4 1 2
5
2
3


3rd position
.

3 4 1
5
7 3
1
3
1 3 4 1 3
3 5 7
3 5
3
5
3
5
4
7
1
3
1
3
1
3

3
5

1
3

3 4
5

3 4 1 3
7
5 6
3 5

4 3 4
6
5
6

3 4 3
5
7
5

3 4 1
5 7 3


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_
Chord/Scale Relationships

G
Most commonly used scales over chords with Major in the name.
G Major
3
A
5
B
2
C
3
D
5
E
2
F#
4
G
5
G
G Lydian
3
A
5
B
2
C#
4
D
5
E
Background chords
for this exercise
2
F#
4
G
5
G
G Major Pentatonic
3
A
5
B
2
D
10fr
Gmaj7
5
E
2
G
Gmaj7
5
.

D
D Major Pentatonic
5
E
2
F#
4
A
2
B
4
D
3
.
A
5
B
A Major Pentatonic
2
C#
4
E
2
F#
4
A
2
.

G
Most commonly used scales over chords with minor in the name.
G Dorian
3
A
5
Bb
6
C
3
D
5
E
2
F
3
G
5
G
G Aeolian (natural minor)
3
A
5
Background chords
for this exercise
Bb
6
C
3
Gm7
D
5
Eb
6
F
3
G
5
10fr
Gm7

G
G melodic minor
3
A
5
Bb
6
C
3
D
5
E
2
F#
4
G
5
G
G harmonic minor
3
A
5
Bb
6
C
3
D
5
Eb
6
F#
4
G
5

G
G Phrygian
3
Ab
4
Bb
6
C
3
D
5
Eb
6
F
3
G
5
G
G minor Pentatonic
3
Bb
6
C
3
D
5
F
3
G
5
.
D
D minor Pentatonic
5
F
3
G
5
A
2
C
1
D
3
.

A minor Pentatonic
3
A
5
C
3
D
5
E
2
G
5
A
2

- - - - -

G
Most commonly used scales over dominant 7th chords.
G Mixolydian
3
A
5
B
2
C
3
D
5
E
2
F
3
G
5
G
G Mixolydian #4
3
A
5
B
Background chords
for this exercise
2
C#
4
D
5
E
2
F
G7
3
G
10fr
G7
5

G
C harmonic minor from G
0
Ab
4
B
2
C
3
D
5
Eb
6
F
3
G
5
G
G Whole tone scale
3
A
5
B
4
C#
6
D#
3
F
5
.
G
G Diminished
3
Ab
4
Bb
6
C#
2
D
4
E
5
F
3
G
5

G
G Altered dominant
3
Ab
4
Bb
6
B
2
C#
4
D#
6
F
3
G
5
G
G Major pentatonic
3
A
5
B
2
D
5
E
2
G
5
.
Db
Db Major pentatonic
4
Eb
6
F
3
Ab
6
Bb
3
Db
6
.
10
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G
Most commonly used scales over minor 7 flat 5 chords.
G locrian
3
Ab
4
Bb
6
C
3
Db
4
Eb
6
F
3
G
5
G
G locrian #2
3
A
5
Bb
6
C
3
Db
4
Eb
6
F
3
G
Background chords
for this exercise
5
G
3
G locrian #6
Ab
4
Bb
6
C
3
Gm7b5
Db
4
E
2
F
3
G
5
10fr
Gm7b5

Root
Chord - Scale Relationships
8fr
Cm7
3 3
8fr
Fm7
3 3
5fr
Dhalf dim7
5
G7
3
8fr
Cm7
3 3

6fr
Ebm7
6
4fr
Ab7
4
4fr
Dbmaj7
4 4
5fr
Dhalf dim7
5
G7
3
8fr
Cm7
3
5fr
Dhalf dim7
5
G7
3

Root & Third


8fr
Cm7
3 6 3 6
8fr
Fm7
3 6 3 6
5fr
Dhalf dim7
5
3
G7
3 7
8fr
Cm7
3 6
3 6
6fr
Ebm7
6
4
4fr
Ab7
4
3
4fr
Dbmaj7
4
3
4
3

5fr
Dhalf dim7
5
3
G7
3 7
8fr
Cm7
3 6
5fr
Dhalf dim7
5
3
G7
3 7
11
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Arpeggio 1,3,5,7
8fr
Cm7
3 6
5
3
3 6
5
3

8fr
Fm7
3 6
5
4
3 6
5
4
5fr
Dhalf dim7
5
3 6
5
G7
3 7
5
3
8fr
Cm7
3 6
5
3
3 6
5
3

6fr
Ebm7
6
4
3 6
4fr
Ab7
4
3 6
4
4fr
Dbmaj7
4
3 6
5
4
3 6
5

5fr
Dhalf dim7
5
3 6
5
G7
3 7
5
3
8fr
Cm7
3 6
5
3
5fr
Dhalf dim7 G7
5
3 6
5
3 7
5
3

8fr
Cm7
Scale Ascending
3 5 6
3 5 7
3 5
3 5 6
3
8fr
Fm7
5 7
3 5
3 5 6
3 5 6
4 6
3 5 6
3 5 6
4 6

5fr
Dhalf dim7
5 6
3 5
G7
6
3 5
3
3 4 7
3
8fr
Cm7
5 6
3 5
3 5 6
3
8fr
Cm7
5 7
3 5
3 5 6
3 5 7
3 5

6fr
Ebm7
6
3 4 6
4fr
Ab7
3 5 6
3
4 6
3 4
4fr
Dbmaj7
6
3 4 6
4 6
3 4 6
3 5 6
4 6
3 4 6
3 5 6

5fr
Dhalf dim7
5 6
3 5
G7
6
3 5
3
3 4 7
3
8fr
Cm7
5 6
3 5
3 5 6
3
5fr
Dhalf dim7
5 7
3 5
G7
5
3 6
5
3 7
5
3
3
12
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8fr
Cm7
Scale Descending
5 3
7 5 3
6 5 3
5 3
7 5
8fr
Fm7
3
6 5 3
6 4
6 5 3
6 5 3
6 4
6 5 3
6 5 3

5fr
Dhalf dim7
3
5 3
6
G7
5 3
6 5
5 3
6 5
8fr
Cm7
3
7 4 3
5 3
7 5 3
6 5 3
5 3
7 5 3
6 5 3

6fr
Ebm7
3
6 5 3
4fr
Ab7
6 4 3
6
6 4 3
6
4fr
Dbmaj7
4 3
6 4
6 5 3
6 4 3
6 4
6 5 3
6 4 3
6 4

Scales to use over chords in the above exercise:


1. Minor 7 chords - used Dorian Mode.
2. D half dim7 - used a D Locrian Scale.
5fr
Dhalf dim7
3
5 3
6
G7
5 3
6 5
5 3
6 5
8fr
Cm7
3
7 4 3

3. G7 - used C Harmonic Scale starting from G.
4. Ab7 - used Ab Mixolydian Scale.
5. DbMaj7 - used a Db Major Scale.
5 3
7 5
5fr
Dhalf dim7
3
6 5 3
G7
5
6 3
5
3
5
7 3
3
Jazz guitarist Clay Moore is a rare find on today's jazz
scene a unique voice that strengthens and expands
the jazz idiom with sensitivity, clarity, and uncompro-
mising integrity. Clay's warm, expressive tones and
impeccable phrasing have been delighting U.S. and
international audiences for over 20 years.
Clay Moores Web Site:
www.ClayMoore.com
At Clay Moores web site you can:
Check his performance schedule
Buy his CD albums
Read his biography
Chat with music people
Contact Clay directly
Playing tips
And much Moore
13
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P.O. Box 161921 Austin, Texas 78716-1921
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Other Instruction from
MUSICIANS WORKSHOP
Cassettes CDs Books Videos DVDs.... Since 1973
Singing Harmony
How to Sing Bluegrass Harmony I
How to Sing Bluegrass Harmony II
How to Sing Bluegrass Harmony II
How to Sing Gospel Harmony
How to Sing Country Harmony
How to Sing Pop Harmony
Guitar
Your First Guitar Lesson (DVD)
Easy Guitar Solos
Bluegrass Guitar Vol I
Bluegrass Guitar Vol II
Bluegrass Guitar Vol III
Bluegrass Guitar Vol IV
Perfecting Bluegrass Guitar Solos (DVD)
Bluegrass Guitar (DVD)
Twin Guitar Workshop
Improvising Bluegrass Guitar
Tony Rice Style Guitar Solos
Designing Guitar Solos for Bluegrass Songs
Creating Guitar Solos for Bluegrass Songs (DVD)
Creating Guitar Solos for Banjo Instrumentals (DVD))
Beginning Rock Guitar the Fun Approach (DVD)
Classic Rock Guitar Leads & Solos
Learn to play Rippin Lead Guitar (DVD)
66 Hot Rock Licks
Honky Tonkin Country Guitar Solos
Smoking Country Guitar (DVD)
Masterpiece Solos of Brent Mason & Dan Huff
Country Guitar Solos (DVD)
Jazz & Fusion Guitar (DVD)
A Musical Journey with John Carlini (DVD)
Easy Gospel Guitar Solos (DVD)
The Art of Bluegrass Rhythm Guitar (DVD)
Chris Jones Bluegrass Guitar Solos (DVD)
Beginning Blues Guitar (DVD)
Beginning Fingerpicking Guitar (DVD)
Rock Rhythm Guitar (DVD)
Advanced Country Guitar (DVD)
Chord Solo Guitar #1 John Carlini (DVD)
Chord Solo Guitar #2 John Carlini (DVD)
Banjo
Beginning Bluegrass Banjo Vol 1 (DVD)
Beginning Bluegrass Banjo Vol 2 (DVD)
Blazing Bluegrass Banjo Vol 1 (DVD)
Blazing Bluegrass Banjo II (DVD)
Twin Banjo Workshop
J.D. Crowe Style Banjo Solos I
J.D. Crowe Style Banjo Solos II
New Acoustic Banjo Solos
Dobro
Beginning Dobro
Bluegrass & Country Dobro (DVD)
Easy Dobro Solos
Easy Dobro Solos Vol II
Backup & Fills for Dobro
Dobro Workshop
Dobro Workshop II
Jam Session Standards for Dobro
Josh Graves Best Solos Vol I
Josh Graves Best Solos Vol II
Josh Graves Best Solos Vol III
Individual Cassette Dobro Lessons (over 200 to choose from)
Why is this Man Smiling (dobro album tablature)
Dobros Greatest Hits Just for Fun LP Dan Huckabee
Mandolin
Country & Bluegrass Mandolin (DVD)
Bluegrass Mandolin Vol I
Bluegrass Mandolin Vol II
Twin Mandolin Workshop
Improvising Bluegrass Mandolin
Designing Mandolin Solos for Bluegrass Songs
Irish Fiddle Tunes for Mandolin
Orange Blossom Special Mandolin Lesson
Miscellaneous
Beginning Rhythm Piano Vol 1 (DVD)
Beginning Rhythm Piano Vol 2 (DVD)
Country Piano
Blues Harmonica - the Basics & Beyond
Irish Fiddle Tunes for Tinwhistle
Beginning Autoharp
The Bluegrass Wordbook (with Audio CDs)
The Traditional Bluegrass Songbook (with Audio CDs)
How to Figure Out Music From Recordings (DVD)
Understanding the Formula of Music (DVD)
Beginning Drums with Paul Murski (DVD)
Still on the Hill (concert video VHS)
www.musicians-workshop.com
P.O. Box 161921
Austin, Tx 78716-1921
Orders: 800-543-6125
Service: 512-452-8348
Fax: 512-327-6603
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