by WILBUR M. SAVIDGE and RANDY LEE VRADENBURG UEAD LINES OVER CHORD PROGRESSIONS AND NEVER PLAY BAD NOTES, HOW TO CREATE AND USE INTERVALS, SCALES, MODES AND ARPEGGIOS IN ANY KEY, REVISED CD EDITION PRAXIS BS70297 PRAXIS MUSIC PUBLICATIONS, INC.ales = CHORDS WILBUR M. SAVIDGE + RANDY LBE VRADENBURG ‘THIRD EDITION © Copyright 1994 by Praxis Muse Publications ne Exclusive Publication Rights ISBN 1-884848-05-2 All rights rysered. No part ofthis bok may be reproduced in any frm or by any levtronic or mechanical eane neuding information storage and Fteeval stems Graphic Devin ~ Cover! Tent bor M Saige Production Supervision Randy Lee Viadenbare Composition ‘TEAM Graphs, Ine cover ouirar: Fender Stratacaster - Serial #28 0f 100 The Story of "The Red Strat” ‘he a Sent ltgrp fi a eof is bck hn oe ier eyo ond are. Sect pln ploang "ang Oe top. Ths ood in tata of oto tre ate the ‘Bare arancampany anh rane cana ma. Beauly lode we rupee wa aed and Had) Lot Vary haw ped oa of us bs are PRAXIS MUSIC PUBLICATIONS, INC. Bedford, Toxas 76021WLR M1 SAVIOGE Ranoy ee RADNER Rance EK JORNSON SAAB NEin ‘bom stor ate snare ‘Sone Scomlonn Nov MCHLN Bc Ne Avo = Baia’ scon icon, Four Lob PRODUCTIONS NS ‘The Audio Companion CD is designed to(1) audibly demonstate the written examples in the baok “Sales ‘over Chords: Host improvise a never play bd note an (2) to pode os with sar own band wilh ‘which you may practice sla mprovieatin-Eusluding ce last four songs all examples ae ecoded with the bandon the left channel and ur lead quite on the rit. Ifyour CD player has a balance eno, st ‘may be used to ehminate out lad guitar aa you may practice improvisational slg, ot et the band and proctc playing rythm. PAN LEFT to et the lead guitar fer sling... PAN RIGHT to ct the ban for yt pra. Sethe balance control inthe center poston to atte songs aren STUDY EXERCISE INDEX NOT: We have pce our opening monaog a aring tak tthe end ofthe Auto Compenion CD Crack nos (S503 ‘Trce nthe a ner, po 1th ke 2 escent 4 Srubr nunc wie abit SD exe “Ape aa 2 ews para 4 STUD HARRIS nck BEAT Sue mca Sscusmoms 2 Stubr ame coun aa STUDY ERC COU HALE 5 Awoweueraraws 4 Sruby anone pacar Spy mesh nano aoc 4 Scala Arve 5 STUDY EXERCISE 6 Bear PEEL a berate ‘uns tear 1 Doxa ars. LH SING = roby moe -Laeunn serapossgasacaessess 43 STUDFIRGHERE- Rocka ols. STEIYEGRCSE- nvm xabuss Gp. SMUDYRAEROSE LVAD 2 STUDY RE APE ‘Stuy eurone cu ear STUDY Hao sic RUD ‘ STubveneacse.Counmar” 8, STUDY ERCSb moc ma STuby usc -a0c8 HMMOMENG MAORSCALE i. STUDY Enc noe a Srubr Ruse cove 1m Chara noaoons 4 Stuy Ets acne ocxsoxt 1 ADatrmes reece ‘ Stubrewacst rN aus soe 2 Gparmee amectos {2 stem ixiaesropnoce suuessoxe 2 pwr PRO 4 Stuy exis avant shazs0N0, 22. RKIVATIVENNODES 4. STUY EXERCISE ROSSANOT ‘TUNINGPERSONAL COMMENTS. Randy Lee Vradenburg. Wilbur M. Savidge {in 1966, while working on the Guitar Phones slbums, my mentor, Chet Akins, sated ‘fl hi wisn that "he war te pier Twa the teacher! Tis has proven tobe a proud for The ound that Fe underatnsFean foah Tha a jd most of my time running a basiness: and with this beak same the Howances fr my dutta as preident ofa publishing cmpany ese therefore Jtrouce fo you a gentleman, a friend of 20 years ands man with demonstra euitarist and teacher Randy Loe Vradenburg began his musical career a fer He is cureently busy playing in and producing jingles, demos and al {standing teacher and has worked diligenty to Smprove tnening tach frming the guitar fon and exciting, I asked Randy to ee-author tls bok or Ufccxperienc, pationce and thoughtflner to be of immenturable essa bftorms the tad guitar work onthe Audio Companion CD. fog hard work snd dition. nas dveloped into a premier perores oa snd band = BILL SAVIDOE, Publisher aoe ossande of ta, and auhored sx guitar educational bucks which ae successful eno tha {now imo tore th peanue, ites a2 ge 10, and re He eat new beTABLE OF CONTENTS: aie Dean Mo ® ee retin 3 es =} ete a : =e or Sete RR 5 eae ; BEES Saee Paying Chretien nD Pepa s ee Ee : Sere RRA see : Se 2 ES ia ° Skewstcaers 8 Rah 8 ee Be : income rs orn Pater - oe erin Made = orm Pater mtnnennnn Seton Five Trai fmprevition 's Cusieeea 3 = agian Eee eaten : Se —— i 5 See 8 fe Ee iscirae 2 Eee oe Se 28 Beceem. & ieee 3 aaa ee e aa 0 Ree Sees 2 kee —a iene usar eee fd ear ¢ Eee 8 ec 8 3 GP trie as ‘ean Ses Dei fram Me Seis HT ‘Se Sort Bi nnn en Tr Pater = 0 See . ES oe ier z ef See kepada tae Phin Mode cn oar Fee Te Patra eA eee — Sue $ Betis Laeiaa Made oS Coutive Tink. - So fea retro i eae a mesa 20 BS EG ie 2 an Nee * Che dipaeINTRODUCTION SCALES OVER CHORDS “Improvisation, isthe spontancous creation of a rhythmic melodic line over a group of chords. Iinvolees applied knowledge and human creativity. It isa way of expressing oneself musically, ‘through the instrument.” —Triadie Improvisation: Wilbur M. Savidge. ‘©All guitarists desire to create musi, to play in 8 band, jam with fiends, participate in «recoding session, of just beable to express themselves in their living oom. Lacking a working knowledge of scales, modes and how they play over chord progressions will ertainly hinder these aspirations. It isthe purpose of this book to teach you how to play a solo with forethought and knowledge tiling a"streat smarts” approach to theory. Boring and traditional methods of teaching theory have been ‘voided, Everything we show you will be presented in easy to follow steps which allow you to build ‘pn the knowledge and tols required in order to begin the journey into improvisation, "The advanced player wil find new insights into how to be more eretive, and how to play new and more complex Toad lines. ‘© You will find in this book new and exciting information. You willbe given examples, then shown bow to se the information your way (We'also encourage you ta wor with the Audio Companion CCD fr it not only offers you the opportunity to hear examples played onthe guitar, the CD presents ‘special feature ~you can play slong with a band!) You ean experiment with all the knowledge you ‘obtain from your studies with this book, you ean try new ideas, practice old tricks all in the environment of having your own band to beck you up. ‘© Been betta, we provided a truly new concept - BANDJAM, a 60-minute vdeo with which you can stand in front of a band and show your stuff Ask your musi dealer fora demonstration ofthis remarkable EntertninmentEdeation Video, (BANDJAM Vidoo sold separately), Mission Statement ‘Toenable you to choose the correct scale (mode) that will play over a given chord progression, so you may always play correct notes. B, To toach you how to look at a chord progression and identify the key in which ‘the song is written, ‘To teach you how to ereate rifle, motifs and load lines that are correct (no bad notes) and fit the rhythm structure ofthe music, so you will play with competence ‘and flair D. To give you playing experience in a variety of musical styles.‘To improvise successfully; one must possess sufficient knowledge of music theory ‘how things work) to establish a working perimeter. Once we can apply few rules ‘of what will work, we ean then use aur intuitive abit to improvise, to crente music on the fy" We are going to teach you how to play scales over chords. Why? Because chords are bl from seale tones! Chords ae the results of harmonizing a scale, placing notes In intervals of thirds, fourths, fits, et on tap of each other. By playing notes of the scale of which the chord is constructed, you will learn to relate scales and chords together: When the proper scale splayed over a given chord progression, we will nat play any bad notes. ‘What are the key cloments you must understand and apply correctly in order to Improvise? 1. You must understand the theory of intervals, scales, modes, chords, and arpeggios. 2 You must know and be able to play sales in five patterns on the fingerboard 8. You must have a “developed” ear; the acquired ability to distinguish tones, inter: vals, and chord harmony 4. You mst understand the prineiple rhythm structure of varius types of Jaz, Blues, Country, Pop ete, 5. You must know how to determine “Key Centers" within a chord progression. 6, You must develop the technique to to create rif, motif, lad lines, and how ta cance them together Improvisation goes beyond sight reading, and while we encourage yo to develop this ability, iis the purpose ofthis book to provide you with the knowledge to think intelligently and play correctly over any given chord progression. Study all exam: ples and make sure you understand the principale explained, so you may play and ‘ronte solos with ease and ski, How to Use This Book “Seales Over Chords," is divided into 7 sections. Hach sec- tion focuses on one element of improvisation. There are no short cuts. If you wish to succeed, study, assimilate and learn to use the information presented in each section. As a complete text, the knowledge in this book provides a com- prehensive study ofthis fascinating subject. RULES OF IMPROVISATIONBASIC IMPROVISATIONAL THEORY BASIC IMPROVISATIONAL THEORY Improvisational playing is playing by ear and using applied knowledge to create music “on the fly". This requires a working knowledge of how musie works. This section teaches the rudiments of music theory, not sight reading, just an explanation of how the elements of music fit together. If this information is unfamiliar, please take the time necessary to learn the concepts presented, — as ae. Cp SeeeBASIC IMPROVISATIONAL THEORY — CREATING MUSIC Creating music is about organizing piteh and developing melodies that aro interesting and pleasant to the eat. Thie book focuses specfclly on singe-note improvisation and how to connect solo ideas into long, smooth, uninterrupted lines. Our objective is to afr ways you ean ereate solo lines aver established ‘chord progression and to know how to use sales that are appropriate to the tse setting. ‘The Tools We Use Are: INTBRVALS, SCALES, CHORDS, AND ARPEGGIOS. DEFINITIONS INTERVALS: ‘An Interval is the diferenco in piteh between any two notes measured in wile and halEstops. The lower tone is considered the Root or Tone, the upper tone isthe INTERVAL. SCALES: All sales are a predetermined pattern of notes arranged in steps and half ‘taps (whole tones and halftones. Athol step is the distance of two frets fn the guitar, Seales are depicted on the staff by notes writen in ascending or descending order. cuorps: {A chor isthe simultancous sounding of three (or more) tones alld a trlad ‘There are four type of chords and many variations ofeach, We have Major, Minor, Augmented, and Diminished chords, plus variations such as ths, ‘hs, Sth, th, and 13ths, Chords may also utilize altered tones such as: bth and #9th, ARPEGGIOS: [An arpetio is some or all notes ofa chord played one note at atime,-— BASIC IMPROVISATIONAL THEORY —— TYPES OF INTERVALS When two tones of diferent pitch are played in succession, i is called s MELODIC INTERVAL, ‘When two tanes are played tether (asin chord), tis ealled an HARMONIC INTERVAL, Intervals are identified by their position in the scale. They are named according to their distance fom the tnie note PRIME or UNISON INTERVAL ‘The first interval is called the PRIME of UNISON interval ~ two notes of the same letter: two tomes ofthe same pith, PERFECT INTERVALS ‘The UNISON, FOURTH, FIFTH, and OCTAVE are called PERFECT intervals because they ‘remain constant from key to key MINOR INTERVALS ‘When notes of 8 Major interval are brought closer together, we Ihave a MINOR interval. This say be accomplished by lowering the upper tone, one hal-tep or raising the lower tone half ‘step. The second, third, sixth and seventh intervie may be played a MINOR INTERVALS, DIMINISHED INTERVALS ‘The DIMINISHED interval is obtained by bringing # PERFECT interval or a MINOR interval one halfstp close. AUGMENTED INTERVALS. ‘When the interval between two tones is EXPANDED, the interval is called AUGMENTED, This applies to both the Major and Perfect intervals, Each of these become augmented by raising the Upper noe ane halestep, or loteing the lower tne ane hale. ‘TRITONE INTERVAL "The interval between the fourth and fifth is called the TRITONE. Because ofthe “enharmonic” spalling, the Tritone interval may be called either an "augmented fourth, or a “diminished” Rit, INTERVALS IN WRITTEN FORM z ——}+ o o o oe oe eo bo o a eft tsh Aptech lt ——————— = o = = = = -— BASIC IMPROVISATIONAL THEORY — TYPES OF SCALES ‘All music is based on the proven scientific fact that the notes we use to create ‘music have fixed rates of vibration which are mathematically related to one ‘nother, Each note has « pitch which we can produce vocally or with a musical Instrument. These noes, when played in fixed patterns, ae called scales. When we have two notes of the same name, but one of different pitch, one writen higher than the ather and viee versa, they are said to be an OCTAVE apart. It is Important to realize that an octave does not consist of 13 tones, but isthe 1Sth ‘ote above the first of series of 12 successive notes. In our study of improvisation we will explore the usage of the fllowing scales: Chromatic Seale, Diatonic Mojor Seale snd i ita derivative sales, called Modes. CHROMATIC SCALE ILLUSTRATION ONE, "The interval sequence of notes upon which all scales are built is called a CHROMATIC SCALE, The chromatic scale is one octave divided into 12 tones, called hal steps. ILLUSTRATION TWO Since we have 12 notes in music (not counting their enharmonic names), we hhave 12 Chromatic Scales, each starting ona different note of the scale, This is the basis of establishing our musical KEYS. If the first note of the scale is the note A, we would have the "A chzomatic Scale". ILLUSTRATION THREE ‘The blac and white piano keyboard presents the chromatic scale in clear, visual way that is not as obvious on the guitar fingerboard. The keys af the piano keyboard reprotent one Chromatic Seale repenting itself in higher and higher actaves with the lowest octave on the left of the keybotrd The dis tance between each key, black or white, isthe distance ofa halstep, ‘The division ofthe chromatic sale into 12 tones (hal step, is aomplished ‘on the guitar neck by the placement ofthe fingerboard frets. The distance between each fret is called a halfstep. An INTERVAL is the distance ‘between two Frets, two notes.CHROMATIC SCALES ILLUSTRATION ONE, THE CHROMATIC SCALE A af BC CH D DF BF FF G Ge aA 12 34 5 6 7 89 Wo HR — 12NOTE CHROMATIC SCALE ——I 13 NOTE CHROMATIC OCTAVE ILLUSTRATION TWO 12 CHROMATIC SCA\ AAUBCCHDDABFFYGGHA AHBCCHD DHEF FAGGHA Ad BOC#D DHEF FHGG#A ANB CC#D DEEP F#GG#A AKBC CHD DEEP !¥GG#AARBCOH DD¥EFP#GG#A A¥BCCHD D#BF F¥GGHA A#BCCHD Di FENGGHAAYBCCHD DHE FFWGGWA AVBCCHD DEF FVGGHA AN BCCHDDIEFFY GGNAANBCCHDDIEFFHG GHA ANBCCWD DIEF FG GH ILLUSTRATION THREE ‘THE PLANO KEYBOARD ~ A CONTINUOUS CHROMATIC SCALE mt ce |BASIC IMPROVISATIONAL THEORY — PLAYING CHROMATIC SCALES Chromatic scale exercises offer an ideal way of developing independont left-hand finger movement. Practicing chromatic scale in ascending and descend order over the entire length ofthe fingerboard develops the Tat coral ability to play single line-one string melodies, ILLUSTRATION ONE. Linear Movement - One String "The following exercises commence on the first fret of the first string ‘Ascending order: Play four notes (one finger for each note), then shit fand play the fifth note with the first finger, Desvending order: Commencing with the fourth finger on the 13th fet, again use one fn gor foreach fet, shift nnd continue the seal. Practice this Bngering ‘excise on each string ILLUSTRATION TWO ‘A Movable Six Strings Position Aan excellent techniawe builder, thie ascending ‘movable’ chromatic scale position, shifts back one fret as you play across each string except the movement across the third string ~ the tuning thing, third interval between the G and B strings, all ether strings are tuned 1 fourth interval apart, Proficiney will require practice as there is 8 tendency to get lost when making the sbits ILLUSTRATION THREE A Movable Position - Six Strings ‘Again, an excelent left-hand development exercise, all notes are placed (in asonding order, forward of the fist Gnger which acte as a bars. Notice thatthe fourth finger plays two notes. Develop the stretch roquired (a five finger reach, s0 a forward movement ofthe left hand is not required RRR SEAL IS ee Chromatic scales provide a arent connecting link between scales and “lick played at difivent positions on the Fngerbord Als, they may be eta connec! aypeioe and lege intro sp,CHROMATIC SCALES (| ILLUSTRATION ‘ONE Linear Movement Paton et sting ILLUSTRATION TWO ILLUSTRATION THREE ble Six PositionBASIC IMPROVISATIONAL THEORY — THE GUITAR FINGERBOARD. ‘The six strings of the guitar make up six chromatic sales, Each seale starts on the note in the chromatic sale upon ‘which the guitar string is tuned and continues up the neck, ‘ascending in piteh until the tone is repeated agin at the 12th fet. Twelve fete plus the open string tone equals one In our study, itis important to fully understand the tonal relationship of chromatic seale notes, for the chromatic scale includes every piteh within an octave. It upon the chromatic scale we build the mote simplistic seales used in fstablshing our musical keys: the Diatonie Major and Minor Senles, Remember: ‘The chromatic scale. simply ropresents, in alphabetical order, our interval system of 1 is important to memorize the fingerboard. It ean be a formidable task. However, if you start by leerning the ‘names of the open strings, the educational process can be really simplified by visualizing a chromate see in your hea. smetmatnncs Foherens tect atncrinteeerene )(7 SIX CHROMATIC SCALES THE COMPLETE GUITAR FINGER BOARD (12 FRETS PLUS THE OPEN STRINGS) pean ttn o ce tie ¢ ote Gk Ce DG BE AD @ DGCFAD DE GE Ce FH AR DE Eb _Ab Db Gs Bb By EADGBE®BASIC IMPROVISATIONAL THEORY —— THE MAJOR DIATONIC SCALE Most modern music is not writen with chromatic scales, but with a more manageable, pleasant sounding, eight note scale called a DIATONIC SCALE. The Diatonie Major Seal with it fil- iar Do-Re-Mi-PaSo-La-Ti-Do sound, listration Three, isthe scale used to create the vast majority of the music guitarists encounter daily: It is from the Diatonie Major Scale that the ‘minor, the pentatonic, and our modal system of scales originate. To understand the art of impro- sation we must therefore fly understand the step paltera (dhe degree name and number of ‘the diatanie scale and be able to play scales in five patterns onthe fingerboard, ILLUSTRATION ONE ‘The Major Diatonie Seale is a predetermined pattern of eight notes arranged in five whole steps (whole tones) and two halfsteps(semi-tones). A halftep isthe distance of one fret on the guitar: » whole step i the distance of two frets In other words, « Major Distonie Seale is succession of tones arranged in a fixed step, halstep pattern. The distance between notes remains constant and the interval between notes is fixed and will not change even if the ‘use is played in another key. In this manner, we recognize a song and can bum the melody, regardless of the key (pitch) in which is performed, thus making it possible to transpose a piece of music to diferent keys ‘A distonie sale may be built commencing on any ofthe twelve notes ofthe chromatic scale ‘Ths, we have twelve major scales called KEYS, each a different piteh. The sound of the Major Diatonic Seale is due tothe placement of the hal:stes between the Srd and 4th notes tnd between the 7th and 8th notes. The resulting two-tone (step, step), interval between the Ist and 3rd notes reste the scales major characteristic. (A lowered thied, step halfstp, ene fates minor sound). ILLUSTRATION TWO (SCALE NOTRS ON THE GUITAR FINGERBOARD Experiment with the step, stop, halfstep, step, step. step, halfstep principle on the guitar. Start at any fet and walk up the fingerboard using the correct step, halestep patter. Your fending note should always be the same letter name as your starting tone In playing the seale pattern, ase four Fingers, Always art the patlen with your frst fnger onthe Best note. ILLUSTRATION THREE, DEGREES OF THE SCALE Each step ofthe Diatoni Seale may bo indicted by Romen numeral, This designation is used ‘commonly in theory books. Each degree also has a proper theoretical name. The terms Tonic, Subdominant, and Dominant are also used 1 deseribe the three primary chord of each Key ILLUSTRATION FOUR, ( MAJOR DIATONIC SCALE - WRITTEN FORM ‘This illustration represents the C Major scale a it appears in written form,-——__ DIATONIC SCALE ——___,, ‘THE MAJOR DIATOM ILLUSTRATION ONE, aia 1 2 cla! lp 7 NOTES FE SV Se ay aw, NN sip Ste sie sip WCSCALE: ‘THE MAJOR DIATONEC OCTAVE: 13 NOTES Key of C 5 6 7| 8 DIATONICSCALE lal ata a |e cimomanic scat % Notes on the Fingerboard C'Seale = Step, Stop, Half Step ILLUSTRATION FOUR a a “pd | Tae : tat tat tatitertetato he CDiatonie Seale in Written Form & o e— BASIC IMPROVISATIONAL THEORY — ‘THE SCALE IN THEORETICAL FORM. ILLUSTRATION ONE ALPHABETICAL NAMES Bach Diatonie Scale wil have a different group of letors (notes) anda different arrangement and number of sharps or fats. In our example, the C Major Sale- CD BF GA BC, we do not have any sharps or flat, ealled accidentals. The C Aiatonie sale sealed the NATURAL SCALE, SCALE DEGREES Each note ofthe sele is called a DEGREE, and may be indicted by ARABIC Numerals: 12845678 Bach degree may also be indicated by ROMAN Numerals. The usage of Roman Numerals is common in chord theory studies. A ‘apitol Roman number (I) indieates major chords. Small letters (1) ropresents ‘minor chords, ‘THE DO RE MI SYSTEM ‘Tho Do Re Mi system af identifying seale degrees was developed as an educa tional aid in teaching vocalists to ‘sing’ notes on pitch, Do, being the frst note of ‘adiatonie scale, the Tonic note. ‘THEORETICAL FORM. ‘The correct theoretical name foreach degree of the sale onic, Super Tonic, Modiant, Subdominant, Dominant, Submodiant, Leading ‘Tone, Tone, is eam: ‘monly used in chord theory studies INTERVALS. ‘An Intrval is the distance between two tones ILLUSTRATION TWO ‘The Diatonic Seale, eight notes, canbe continued on in higher or lower sequence called OCTAVES, It is permissible to continue counting numerically ~9 10 11 12 19 14 15 ~ to determine the next octave. The fist and eighth notes are the ‘same alphabetically. When building “extended” chords, 9th, 11th, 13th, this con ‘inuation ofthe sale is utilized to determine the names these additional notes —eer OTREET CMARTS \ [The Diatonic Seale is the “Mother Seale” of improvisation, You must be able te create diatonic scales: Fa ere tt ee Sena eee ene oy gmetad se aac les aie et hie utaee amc: | |, Mitotic Spe ses ase all eS och \ diaries )THE DIATONIC SCALE THEORETICAL FORM ILLUSTRATION ONE ‘THE C MAJOR DIATONIC SCALE Aumanenest © > E F « a 8 c nan 2 3 4 6 7 8 somes i Wwoovoo ve vi vm som po REM FA SOLA AumeeviaTioNs (PP) Ma2) Mla) PA) (PLS) GMAT) PB ILLUSTRATION TWO ‘THE DIATONIC SCALE EXTENDED TWO OCTAVES 1 718) 9) (nol) 213) hte ts \_____ oye ocraye —__L_____rwoocraves ——1 Ji SoS SS ——— Doe FG A we Dk c Lone oerave: Two octaves ——— isoBASIC IMPROVISATIONAL THEORY —~ READING KEY SIGNATURES A piece of music is written in a particular KEY which defines the PITCH for TONALITY of the sels in which the musi is written, We indicate the key (piteh) by a device called the KEY SIGNATURE. The purpose of the Jey signature is to indieate the sharps or Nats that belong in each indie vidal sele. It eases the eye by avoiding the placing of sharps or flats ‘agninst particular notes everytime they occur in the arrangement, We write the key signature simply by placing the appropriate number of sharps ‘lustration One) or flats (lustration Two) on the music staff ‘after the cle sign and before the time signature. They effec ll desi fd notes appearing in the arrangement ‘The Cirele of Fifths As previously explained, Key signatures are used to establish keys and to indicate what notes must be raised or lowered in order to mintnin the step, hall-sep pattern that establishes the major diatonic scale, ‘The hey of C Major isthe simplest of our seales. Commencing on the note C, the datanie step, halfstep pattern produces a stale without sharps o flats. The method by which the placement of aecidentals ‘occurs follows a very simplistic theme and is called the Circle of Fits ‘The Circle of Fifths is a visual device that shows the relationship. between the Tonic (1), and the Sub-dominant (4), and Dominant (3) notes within a diatonic scale. It presents in logial order the addition of required accidentals as Keys af different pitch are ereated. The Circle of Fifth is based upon two concep Dominant Direction- (ths) Sharps Starting with the key of C, sharp keys are created by counting up an interval of fit (CDERG) The new key is G Major. The note G is the fifth note in the C scale, In onder to maintain the proper sep, halfstep pattern, the seventh note of the new scale (@) has been raised a half step ereating one sharp note inthe G sale F sharp. Sub-dominant Direction-(4ths) Flats Starting with the key of C, fat keys are ereated by counting up sn interval of «fourth (CDEP). The new key is F Major. The nove Fis the ourth note inthe C Seale, In order to maintain the proper step, hal step patter, che sventh note has been lowered a half step, creating fone Mat in the F scale (B83). STRERT SMARTS \ 1 extremely important for you to desl the ably 9 lok fey signatures the placement an rmber of shart o fs on ow what hny in hich you tof play. REMEMBER. The hey ‘Manure ota the ey “he sone Te eae dtarnines the ehards ond gnarl provides al het \ rete im order tay toler and rif =>————— KEY SIGNATURES —————~ ILLUSTRATION ONE ILLUSTRATION TWO SHARP KEYS circle of Sths FLAT KEYS circle of 4ths c c i =| 4——— FBASIC IMPROVISATIONAL THEORY —~ section ome STREET SMARTS REVIEW ———— 8 reer sai Crate eles provides pret conning inks betwen ees ond ck’ pled ot dient | in he garoartPey may als be sd to ont npn on lr itr pe. (Ceovenomnmnnfecon ance atesintunane) —__ srgeer swarrs ‘he Dice Sal the “Mather Sn of mornin, Yo mia ale to create diatonic eles \ from SCRATCH obo ath yee Tad wah he tl patie fhe atone seal eiher na ineararaighttine mosement ory ung a 2ig-taf moveent Geos techy ereling the fpr soy paler of atone ssl tn ohy gies hey ult i pti rl blenny al he rae retyping ct he ies of ayn hy. And as you wil wer, by memorising the eight sep numbers Jou wl Be \ bilo ya te Sate ted in heat of predation } — srReET sMaRTs 1 ql import fr dtl oy ok thy gat te planet ond umber of srr fiat cao hate nek or le ‘Remember: Thefry sanature sets the hey the sale The ele deermines the chords and | sr idee rei ner ay tn aii Page 15SCALE PATTERN DEVELOPMENT —~ SCALE PATTERN DEVELOPMENT Notes do not appear at random on the fingerboard, Every aspect of music, as applied to the guitar, is, systematic and predictable. Notes may be organized into various types, of scales, which provide order, and patterns can be developed. On the following pages, we explore the ‘usage of five scale patterns. Each pattern is movable throughout the range of the fingerboard. Become an expert on seales, because in them lies the real secret of improvisation. FOCUS ON YOUR SPECIAL TALENTS Every strength isa springboard ‘that ean propel you on tothe next plateau, When confused or in ‘doubt, pick one strength to pursue, ‘master it, then move on!SCALE PATTERN DEVELOPMENT —— THE DIATONIC SCALE IN 5 HAND POSITIONS — 5 SCALE PATTERNS, ‘Understanding acale theory is @ mental process and easy to grasp, wherees playing seale i a physical task and takes longer to master. On the guitar, there are countles fingering pattern possibilities for any given scale, soit is desirable vo reduce the options to afew more manageable forms, ‘There are three says we can play scales a LINEAR, lengthwise movement, a ZIG-ZAG move ‘ent and a POSITION, At this time we will omeentrate on playing seals in fixed positions. To begin, we must first fecus on learning to play the Diatonic Seale in five basic hand positions. [A position encompasses all notes ofa given scale placed, normally, within five frets, There are “open positions” scales playod within the first four fete and utiring notes produced by the open strings UE A.D G 3 2), and movable “elsed postions, no open string notes, which produce ‘anew key at cach fot ‘The closed position astends und descends chromatically moving through the entire twelve notes of music and will produce the notes af 12 keys ‘There are several diatonie seal finger patterns in common usage ~ fingering systems developed by individual guitarists to faclitato their unique stsle of playing. We are using fingering pat terns made popular by the late Los Angeles studi pro, Jack Marshal, These five patterns relate tw the five chords forms found in the “open positon" ~the open chords: C, A, G, E and D. This fystem of one scale fingering pattern foreach chord form i used by guitarists ioward Robert, Harney Kessel, and Herb Elis ‘The five patterns divide the fingerboard into smaller more manageable areas of learning, but ‘put them end to end, they cover the entire range af the fingerboard. When we are able to visual: lao the entire fingerboard as e whole, fingering becomes a personel preference. ILLUSTRATION ONE ‘Open Chord Forms Hire we present the fve chords upon which the five seale patterns are constructed. Black tr angles indicted the Tine nots ofeach chor, ILLUSTRATION TWO Closed Chord Forms Here we illustrat the “ope chords played as movable™ chords practice tip — Practioe paying the opn cord. Then pla the ase erm. | Ermetion avin the open ey) STRERT SMARTS —————— _nyplaying the fingering pattern corre, ou have played th seale corrals!FIVE CHORD FORMS ILLUSTRATION ONE OPEN CHORDS Form One Form Two Form Three Form Four Fem Five Cc A G o coo ° ooo o oo oo rig ar et ett ILLUSTRATION TWO CLOSED CHORDS (Moveable) Form One Form Two Form Three Form Four Form Five— SCALE PATTERN DEVELOPMENT —— > C SCALE PATTERN ~ FORM ONE ‘There are five basic barr chord forms in common wage, and since most guitarists have a working knowledge of barr chords and how each ascends and descends chromaticlly, it becomes quite eos to know scales in all 12 keys, Each sete pattern overlays its respective chord form, cll notes of the chord triad are within the scale), therefore chord harmony and arpeggio playing is loeked in ‘withthe seale. We mark the Tonic note of the pattern and chord seth a blac triangle so yoo may know upon which string they receive their name. Remember: Since each scale pattern moves through the entire range ofthe fingerboard, mastering one finger pattern actually provides you ‘withthe skill to playin all twelve Keys lick or solo played in one hey may be played in any Key ‘without changing the fingering that produoed the notes, ‘Example: At the fith fret we ean play an A Major barr chord. The seale form that praduces the A chord willbe an A diatonic scale, Play the same chord form at the eighth fret, we hawe 8 C Major ‘chord, The sale will now bea C diatonie scale Each scale pattrn isa fixed position on the Fingerboard. Develop the “stretch” required to proper ly finger each seale, This requires a one-finger-per-ret approach. The correct fingering is indicated ‘on the TAB charts by amall encircled numbers: In some ofthe patterns you need to reach ave fret shove or below the base position, a five fret reach. We begin each pattern with the lowest note Available within the range'of Uh pattern The nie note is marked with back triangle NOTE: Proper finger articulation is the prerequisite for the fluent exeention of sees, Experiment with all ve seale pattern. [tis our belie that you should strive to master the fingerings inieat- fe foreach pattern, ILLUSTRATION ONE Open pattern "This isthe frst of our five open scale patterns. It encompasses within the open postion, all notes ofthe C Major Seale. It x called the C pattern because it overlays the pen string C chard form, ILLUSTRATION TWO Closed “movable” pattern, ‘This i the first of our five closed seale patterns. Tt encompasses all nots of the scale associated with the movable C chord form. This pattern can be played in higher or lower positions on the Fingerboard. The Tonie note (the name ofthe scale) is loeated on both the fifth and second strings. We ean simply state: The Toni noto slides up and down on the chromatic sale of the String upon which the Tonte act i lated, The Toni note establishes the Kay or name of the scale at each fot. The pattarn correctly produces the proper sharp or fat notes eammon to the ‘hac scale pamscmon mm (cies ’ <5»— C SCALE PATTERN - FORM ONE —~ ILLUSTRATION ONE [FA noc sear reueo we OPEN PATTERN C scat cuorD: cea jEAc@s@ C MAJOR SCALE (Open) ae oe 16 Bij sdes LT tle fies Seed tes i Goer oAncnacr ane $ G@F oa ILLUSTRATION TWO. [61] ocx sear TEMPO 155 ‘CLOSED "MOVEABLE" PATTERN D CHORD: OFFA ‘ae coue, Peas | 6, {118s cre le * o@s = ~ geA SCALE PATTERN - FORM TWO—~ ILLUSTRATION ONE. [6a] noox sear rewro 158 OPEN PATTERN Tha hen fo 7 jgddeeo eda oH [iooemaganroess, —_ @0@ 8 ty, ILLUSTRATION TWO [Cl] s0cx Bear TEMPO 155 ED "MOVEABI IRD: CES ee C MAJORSCALE loveable) € cHioRD: c&@ BEA dad - | ity ene a tH SaaS OH renee | He total7—— G SCALE PATTERN - FORM THREE — OPEN PATTERN Te a Ppt, baa ge te ape ing Sd G cuonw: eo 000 ILLUSTRATION ONE [)) @ MAJOR SCALE (Open) WTS x ROCK BEAT TEMPO 155. ILLUSTRATION TWO [>] CLOSED "MOVEABLE' ERN A MAJOR SCALE (Moveable) ne 1 ‘8 fea ie Se genet creE SCALE PATTERN - FORM FOUR — ILLUSTRATION ONE [02] nook sear reweo 155 E cuorb: care BE mazonscatt Open ee TT T4 t : Fe sday, iifjel |, Compucncang 0@ f | = ult te “4 atria oO-—— D SCALE PATTERN - FORM FIVE ILLUSTRATION ONE. [fi] nook agar reweo 158 OPEN PATTERN D souz D cuono. ot £OOc ae D won scats.open 90 _ Os E MAJOR SCALE (Moveable) eee alt POA RCaDEE DNCH A Gree oRSCALE PATTERN DEVELOPMENT ——~ THE “C A G E D” SEQUENCE OF CHORD/SCALE PATTERNS ILLUSTRATION ONE. ‘This illustration shows how the five individual «hordscale pattern, when linked tether, overs the entire range of the fingerboard _- PRACTICE TIP “Ty improve finger stilton, crete a lead line oot patter) sn the hey of play stn the C ssl i each of the five ay quarter fh noes and seen ota, _————-erneer ewanza (Cena pt a o aneh pte gte th naendegmteents Pt CAGED SEQUENCE ILLUSMATION ONE Uo oO H i oe tL I Cc roo Weert Form c ut e ONE * a é7] Te Ao =a TAT) )| Fm % GE wy oie TT Form © cuose, } | rlo >| 2SCALE PATTERN DEVELOPMENT ——~ We now begin our study of movable seale patterns. It is important to develop the ability to improvise from within each patter, for as you will erme to understand the Individual finger characteristics of each pattern spurs originality. Often, "licks" played comfortable in one pattern bocome awkward when played in another. Also, Femember that each pattern overlaps its respective chord. Tt i always simpler to ‘dentfya chord position than the appropriate seal postion. By developing the abil ty to improvise eletively in all fve patterns, you will never be caught wondering ‘where the next pase or slo should be played, ILLUSTRATION ONE Bach scale pattern and its respective chord ascend and descend chromatially We {indicate the Tonie note ofthe scale and chord with a black triangle so you will ‘know which string determines its alphabetic name. Remember: Since each seale pattern moves through the entire range ofthe fingerboard, the mastery of one Seale pattern actually provides you with the skill to playin all twelve keys. A “ik” or solo" learned in one key may be played inal keys without any change in fingering. In effect, everything you develop through practie and experience may ‘be multiplied by twelve! NOTE PLACEMENT ‘The Note Placement diagram places all notes of ach pat- ‘term onthe fingerboard, The shaded notes mark the otave within individual pat SCALE DEGREES The Scale Degree diagram, marks each seale note by its egroe number. Learn where each seale tone, by degree number, lies within each stale. Example: Whereis the second degree nate, the third, the Aft? ILLUSTRATION TWO STUDY EXERCISE Practice each exercise and develop the finger articulation required s0 you may play each scale pattern with skill and ease. Bae BP ‘Lear the individual sound of each scale patter. Tein youre to sing with the pita “Move around within th sae, skip intervals learnt predic tones foe they ar played Develop a taind er, and Uh sl to ply rectly any nae oa enn sig (Hrmingrga roa pr mmm cuca eyeball wth may adhe aly tached) | Ferner Sey terion nM ant 0 Rear cho =>——— SCALE PATTERN DEVELOPMENT ILLUSTRATION ONE C PATTERN - FORM ONE ‘Note Placement Seale Degrees ae TIT D MAJOR SCALE (Moveable) re QOOr OSS 3 6@603 BOSSANOVA TEMPO 1 ILLUSTRATION TWO [fa STUDY EXERCISE D Em Fim G A BmSCALE PATTERN DEVELOPMENT —~ ILLUSTRATION ONE A PATTERN - FORM TWO [Note Placement Seale Degrees F, C MAJORSCALE Mtoveable) foe aad Gi £ ILLUSTRATION TWO [€a] Rock ¢ Rou TemPo 123 STUDY EXERCISE me msc—— SCALE PATTERN DEVELOPMENT ILLUSTRATION ONE Note Placement G PATTERN - FORM THREE Seale Degrees | A SUAJORSCALE ovate) 4 ra _—— seeges \o. aE “ aS . ILLUSTRATION TWO [6A] Sree. Teneo 70 STUDY EXERCISESCALE PATTERN DEVELOPMENT —~ ILLUSTRATION ONE ‘oe Pavement E PATTERN - FORM FOUR Sale egess HH 6 sasonscAte Ooveabe rot #000 |@ _, 1000 6 eet pe jie tg 4 gelleg, Ps FT gee. ® ‘ ° a 290004, -SSaenh | — ecco: Lt Lt 1) ILLUSTRATION two [a] ear reno 13 STUDY EXERCISE——— SCALE PATTERN DEVELOPMENT ILLUSTRATION ONE ‘Note Placement D PATTERN - FORM FIVE Seale Degrees E MAJOR SCALE (Moveable) Sa EMorA worm +h Arista ILLUSTRATION TWO |i] country remeo 111 STUDY EXERCISE E A ASCALE PATTERN DEVELOPMENT —-~ section two REVIEW m SHA! ( ne ) Great players know how to connect these patterns together with linear and zig-zag movments. Try it! J paw sz r SrRERr sma. S plinth ingerng pater ort ou hae ple haa sot? | PAGE 38. STREBT SMA hail gn lving rn ci note win amar el an hails thar cho) eae ee ee nek rat PAGE 33 ——__ SeCHORD HARMONY STUDY CHORD HARMONY STUDY Improvisational solos follow a few well-defined rules of chord harmony. A trained ear, knowledge of chord triads, and a developed sense of rhythmie structure constitutes the bedrock of ereative music. Just playing chords will not be enough if ‘you want to ereate lead lines. To solo, ‘you must come to understand the infrastructure of chords; triads, tonality, and how progressions resolve, One of the greatest assets ‘you ean acquire in your study of improvisation is how the scale is, harmonized and what chords belong to each key. SUCCESS IS ASSURED TO THOSE WHO SET GOALS AND FOLLOW THROUGH WITH COMMITMENT. You must know what you want, then develop the desire for its attainment. ‘Desire and hard work make up for a shortage of talent.HARMONIZING THE MAJOR SCALE “The seerot to improvisation, “how to make music’, is as simple as ABC. Well almost, lets say ACHE, of FAC, GHD, EGHE, The ability to suosessflly play lea lines over chord progressions i ‘8 simple aa knowing ditonie chord triads ~ the three notes that form each diatonie chord” ~Tradie Improvisation: Wilbur M. Savidge ILLUSTRATION ONE Composers and arrangors have simple rules to ai them in writing harmony, and to under- stand there rules will enable you eaily determine which chords balong to each key. ‘The Major Scale is harmonized by ereating three note chords over each degree of the ele How ie this accomplished? First, we write out a diatonic major eal, In our example we use the C Major Scale: CDE FGABC. ILLUSTRATION TWO ‘We then count up three notes, an interval ofa third, and wrive another seale in parallel over the frst sale. This is accomplished by using only notes of the orginal scale. The frst note of the second scale isthe note (CDE) a third interval. Our new seae is: EFGABCDE, ILLUSTRATION THREE, To complete our threo note chord, we agein count up a third interval ~ (2G), and write another parallel seele using only the original scale notes. Our third seale: GABCDEPC. ‘The major scale contains seven different notes and we now have ereated seven diferent three note triads called chords. Because each chord contains only notes from the original sale, they fare said tobe diatonic to the key of C, (Diatonie Harmony) ILLUSTRATION FOUR DIATONIC SEVENTH CHORD {In our study, “Harmonizing The Major Seale”, we explained how the chord triad is croated by stacking notes in intervals of a third. The triad (three notes) produces major and minor chords, Ifwe continue stacking “third” to extend each chords tonality it is possible to harmo- nize the sole with four note chords, A four note chord, stacking four third interval, creates SEVENTH chords. Boch chord contains oly notes of the parent scale and is said to be diaton- ie t the hey of which the scale is written. This sequence of chords is known as DIATONIC SEVENTH CHORDS. _—____—_ areger smanre { ‘Scales, harmonised with triads, is the basic principle upon which all harmony is Built. It is this foncept tha ace ths book part froma books you may study Memriae chard td and Femi with he three note that form each chard all hye farther om inthis Boo, we ll ‘eal lriing impotent ccept eed on chord ede! CHORD HARMONY STUDY ———-— HARMONIZING THE MAJOR SCALE ILLUSTRATION ONE [al c op ee FG oA Boe Led inert ILLUSTRATION TWO & = oe 8 CS 7s rE FG A Bc Door wale pk FOG A Boe ILLUSTRATION THREE o A hm © Dp ek kG wi fE oF ¢ 8 ob € bf © op £ F G A 8 € ILLUSTRATION FOUR c ERELATIONSHIP OF CHORDS. ILLUSTRATION ONE. ‘The scale harmonized in thirds establishes the typeof chord ereated at each degree of Major scale. Chords built on the frst, fourth, and 6ith dees are Major type chords, Chord built onthe second third and sixth degrees are Minor chords. Tho chord built on ‘the Soventh degree is called a Minor flat five chord (a minor chord with a lated 6th) (CHORD SEQUENCE: (41) Major, 2) Minor, (8) Minor, (4) Major, (5) Major, (6) Minor (7) Minor at ve ‘The chords formed by harmonizing the C Major scale in Uhinds are: C, Dn, Emi, FG, Ami, Brus. Bxtended “color tone” chords are: Cm, D7, 7, F Maj, G7.Am7, BB. RULES OF CHORD HARMONY ILLUSTRATION TWO "The chords formed by harmonising the diatonic sete in thirds are organized into two sroups: primary ehords, ad aecondary chords. Chords built on the Tunis (1), the Sub Dominant (4, and the Dominant (5), ereate a natural progression of major sounds (as ‘opposed to minor sounds), and aro ealed the Primary Chords. Chords built o the seond, ‘third, sith, and the seventh dagre are minor chords ealled Secondary Chords ‘TONIC (1) chord may resolve to any chord, SUPER TONIC 2) chord may resolve to any chord except the Tone () MEDIANT (3) chord may resolve to any chord except the Toni (1), oF Dominant (5) chord ‘SUB-DOMINANT (4) chord may resolve to any chord DOMINANT (5) chord may resolve to any chord except the Super Tone (2), oF the Leading Tone 0. SUB.MEDIANT (6) chord may resolve to any chord except the Tone (1), o the Leading ‘Tone (D. LEADING TONE (7) chord may resolve to ny chord except the Super Tonic (2 Sub-Dominant (4 or the <0 > CHORD HARMONY STUDY ———-~—— HARMONIZING THE MAJOR SCALE—~ RELATIONSHIP OF CHORDS ILLUSTRATION ONE 1 a ow vow ve oF © Dm Em OF G Am Bubs c Major Minor Minor Major —Major—-Miaae Minor Major RULES OF CHORD HARMONY ILLUSTRATION TWO cpm km ok G Am mbs. é F c Tonie ‘Subdom Dom ested mins Dm Em AmCHORD HARMONY STUDY ———~ PRIMARY CHORDS: ‘The key signature establishes the key in which a pico is written. Seals, chords, melody, and harmo ‘ny must confirm to the tanality set by the key signature. This inter-relationship between the seale land the chords, reated by harmonizing the seale in third interval, produees tonality the way sen- fences work tether vo prodace & paragraph [Not al bat most chord progressions center around the three primary chords the Tonic (1), Sub-domi nant (1V), and Dominant (Vi, a sequence of chords that establishes the Key Center or the tonality of the sale. This phenomenon cocars beewse of the interaction of active and inactive tans within cach chord ‘The Tonic chord is inactive, at rest. The Sub Dominant and Dominant chords are active and demand, resolution. The Dominant chord (V) is most active when played as « Dominant Seventh chord (G7, A7 C7 ete.) Why? Because it is formed by adding a minor third interval over the basi tiad. This pro- duces a flat seventh: a tone that is non- diatonic to the scale established by the Key Signatare, The fdition of this one non-diatonie tone creates a tonality that demands resolution hack to the Tonie ‘whichis the point of rest While there are various ways to play chord progressions, chords eventually reach the Dominant Seventh (V7) and from there esolve to the Toate (1) chord ‘TONIC CHORD ‘The First and eight degree of the seale is called the TONIC. I isthe point against whieh al other values are measured. From the Tone, chords progress through a series of sounds that adds tension ‘nd calor Progressions normally begin and end on the Toni. Why? Because itis the home chord, ‘or the prominent point of rest. SUB DOMINANT. ‘The forth degree af the scale (1V) sealed the Sub Dominant. ts closely related tothe Tonie and its appearance establishes @ strong gravitational movement toward the Tonie chord, The Sub Dominant chord may also move tothe Dominant chord DOMINANT CHORD ‘The Dominant Seventh chord (V7) is of special importance in improvisation, not only because of the prominence of Dominant harmony, but also because the Dominate Seventh has properties not shared hy other chords. The Dominant Seventh ia built with « TRITONE ieterval, ree whole Steps, botweon the thied and seventh degrees. This creates a dissonance which is responsible for the chords netive sound and strong gravitational movement toward the Tonic SECONDARY CHORDS SUPER TONIC (i), MEDIANT (i), and the SUB-MEDIANT (Vi), are minor chords. Minor chords fare constructed by combining a Minor dd interval wth a Major dr. This lowers the minor chords third one semi-tone, which creates the chords minor tonality: The Super Toni) chord ean be ‘usd in substitution ofthe 1V chord. Secondary chords are used also as transitional chords to effect ‘8 movement to and fram major chords-——— CHORD HARMONY STUDY ————~ EXTENDED DOMINANT SEVENTH CHORDS ‘COLOR TONES Dai he ary Jet. wing Ge wae nt ad rt harm cad, an ned he a hed id ‘gag td hh sen ans Te Doma eet orn lovee seal od mkv oe thee cso hdl hr. hy mses tl mae Fee! a ened Doon Sevens ors ele 8 Ai 1 ufo md ran whe tity eh kre mt pat eT owe Sd ks re el Teese Boa ST ena den doped eae ie Soe Tada end paar nef td 8 ond te ole, Tain ey enn oie in ey bin escent ety te tc am ak et a ILLUSTRATION ONE Key of G Major 8 ° wou 2 1 1 2 s{4| [s| |s 3 | 6 jpoe Fe G G A B c D B oO ILLUSTRATION TWO EXTENDED DOMINANT SEVENTH CHORDS (Moveable Chord Forms)CHORD HARMONY STUDY ———~ DOMINANT SEVENTH CHORDS AND THE MIXOLYDIAN SCALE ILLUSTRATION ONE. The triad of the dominant seventh chord, built from the notes of the chords seale, will because of the dominant chords lowered seventh, share in common the notes of the scale in which the song is written. (Key Signature Seale.) Example: Key of C Major ~ Notes: CDEFGABC. The dom nant seventh chord (Sth degree is G7. The parent acle of the G7 chord is @ Major: GABCDEF¥G, The formula for building a dominant seventh chord 1 3 5 67, creates a G7 chord comprised of GBDP, notes of the C Major Sele ILLUSTRATION TWO ‘The Mixolydian Seale places the half.stope between the 4 degrees and the 6-7 degrees. Ths placement of the hal step produces a scale that may be played over dominant seventh chords of the same eter name ‘the Sts degree, the not and playthrough the sale ‘toppingon the ove note practice ip ( ram the G7 chor. Then, play the sel commensing on } STRERT SMARTS — ‘The Misnydian Seal tthe seal of hoe o play overdominant seventh chords——— CHORD HARMONY STUDY———_+ DOMINANT SEVENTH CHORDS AND THE MIXOLYDIAN MODE ILLUSTRATION ONE Key of C Major 1 2 3i4 5 6 78 pO c D elrl [e| Ja Bc Hl Hl 1 2 304 5 6 li7'7]8 G A Boe D e|7\re a c B > 7 Tnonores 1 3 5 "7 ILLUSTRATION TWO G Mixolydian Mode 1 2 a4 5 67 a G A Bic D Ele G <0CHORD HARMONY STUDY ——_~ ARPEGGIOS Arpeasos ae sme oral noes of a chord played oe ot tne, Theo are Major, Minor, Diminished and Augmented ree ee Mey nt ran pe ear on nO wy re we treting mre guy thn plying el Te nape cet ying echt ad woe tte ne the 15m the el ton tear. ‘Sipping seren sng rnd wil eres nie wounds nt pase whe plying sale. Arai may be played in sandler deoending oe FORM ONE C SCALE PATTERN (Key of D Major) D Em —________ sreexerswarrs (( Pracie arpa play Because the tre nats thot Frm the chord the ro), funciona guide toes stark naes fro hah oe ay start or alo——— CHORD HARMONY STUDY C PATTERN ARPEGGIOS examrcel@a] /Pract{ce}riep———__. 1. Phy the arpeggo then tum the chord it retest & Practice this example in Une other four patterns and farms. _—_sasne eee)CHORD HARMONY STUDY ———_~ ARPEGGIOS FORM TWO A SCALE PATTERN (Key of ©)-———— CHORD HARMONY STUDY ———_~ A PATTERN ARPEGGIOS: exaurce (Cay) onCHORD HARMONY STUDY ———~ ARPEGGIOS FORM THREE G SCALE PATTERN (Key of 4) comTT CHORD HARMONY STUDY — G PATTERN ARPEGGIOS (Key of A) A Bm im DCHORD HARMONY STUDY———~ ARPEGGIOS FORM FOUR E SCALE PATTERN (Key of @) Bm————. CHORD HARMONY STUDY ——— E PATTERN ARPEGGIOS (Key of G) aARPEGGIOS FORM FIVE D SCALE PATTERN (Key of E) CHORD HARMONY STUDY ———-~———— CHORD HARMONY STUDY D PATTERN ARPEGGIOS (Key of E) exanece [ea] E cm a 5=SCALE PATTERN DEVELOPMENT—+ m three REVIEW eo Sremie® sais ——————___. (Seats, harmonized with rads, the basic principle upon which all harmony ip bull Ii thie fenegp that sts this bok apart frm all bots you may std. Memorize chord triads and become Parlor withthe three moth form sath chm hyn Xe farther on in this BOO, ee \___ tl ema a aang improsaionaeoncpt Bas on chord triads nc 3 ———— orener ouanrs ‘The Mioldian Scale a the sal of choice to play over the dominant seventh chord X\ acs er. STREET SMARTS ————. Practice arpeaso playing beause th three noes that frm the chard (the iid) function a guide tna atarng nae from whi ay art ur ae XN agi 6g ——__________/ osMODAL PLAYING ‘MODAL PLAYING ‘Music can be quite confusing and books offer little insight into the creative aspect of musie. What must you know, what is the secret the great players have come to understand? In this section of "Scales Over Chords’, we present the one element of music all great guitarists have learned — how to use modes to create exciting and original lead lines and "licks' Master this section and you are well on your way to being the guitarist, you desire to be. SURMOUNTING DIFFICULTIES — | IS A STATE OF MIND. Ifyou believe strongly enough in | your desires, you will most ‘certainly obtain themMODAL PLAYING MODES ‘THE SCALES OF IMPROVISATION ‘There isa base relationship between chords in any given major key andthe scales that may be played. ‘To improvise effectively, you mast know which stale goes with each chord, Remember: We are teaching you to play, Seales Over Chords! While the Major scale establishes the key and the chord group (harmony), it does impose limitations ‘when improvising lead lines, As result, musicians oRten tise modal seales in onder to add originality, ‘lor, and interest to ther sic, ILLUSTRATION ONE, ‘MODAL TERMINOLOGY Modios represent an alternative to the melodie and harmonic structure af the diatonic sale. Diatonie scales and modes have diferent applications. The diatonie seale determines harmony (cords) while ‘modes express melodie variations, The Dorian, Phrygian, and Aeolian modes creste minor sounds, the Ionian, Lydian, and Mixalydian modes create major sounds, ond the Lacrian, a diminished sound. ‘The overall mood of each mode can be heard by playing chords build onthe fist note of exch mode, A MODE isa series of eight notes played within the structure ofthe diatonic scale, the parent scale, [A Major scale bons on the fist degre, Uhe Tonic note, and Us is also called the IONIAN mode; scale played from the frst dogree. Simply speaking, mades are scales eveated by starting on any of ‘the seven notes ofthe diatonie seal, ILLUSTRATION ONE. ‘The Major scale is a set arrangement of intervals that places the half'steps between the thi-fourth degrees, end the seventh-eight dagroos. This pattern is altered by starting a scale on any degree other then One (tone), Example: 8 DORIAN mode is a scale played from the second dee vehich places the haf steps between the second-third, and the sixthnseventh degrees, this altered major fale eeates « minor sourd ILLUSTRATION TWO ‘THE MODAL SYSTEM, (1) The IONIAN mode is created by playing a diatonic sale from the First degroe tothe octave note (2) The DORIAN mode is ereated by playing a diatonic scale from the second degree tothe octave note (8) The PHRYGIAN mode is created by playing a diatonic sae fom the third degree tothe octave note (4) The LYDIAN mode is ereated by playing a diatonic scale from the fourth degree to the octave note (6) The MIXOLYDIAN modi erated by playing a diatonic eae fom the ith degree tothe ortave note. (6) The AEOLIAN mode i eeated by playing a diaton cae from the sixth degree tothe octave note. (2) The LOCRIAN mode eeated by playing diatonic scale fm the seventh degre to the otave note C van i uo ———— INTRODUCTION TO MODES MODAL TERMINOLOGY C MAsor ILLUSTRATION ONE. © MAJOR % SSS ° cop E F c A B © Tonian Dorian Phrygian Lydian Mixolydian Aeolian LocrianTonian 1 a i v v VeVi OT ILLUSTRATION TWO Locrian: Mixolydian Dorian Aeolian — sr scars —_____. uoing whey 10 wy vee win the toe ee uring pars he KEY fo Ranelagh, tart coe, lh the dite cat fin a iii atte | Ce at ses lente on oe as osMODAL PLAYING DERIVATIVE MODES Modes derived from the Major Scale ther then the the step, hal step patcrn that preducos distonle harmony Each made covers the range uf a chromatic scale, and lke the Distanie Major Seal, stepr roast the thirtoensote octave, However, the step, halfstep pattern particular to each mode produces a diferent feria of sale tones This new paliern causes ditwonance which eeates the individual characterstin of wich mode, ‘Whee a mode is bil upon 9 note of the parent sale, me eal it derivative to modal construction. When ‘move built from ite Tunie noe, utilizing the eorret modal step, halfstap pattern, we eal ia parallel Approach Wi will use the derivative approach in our study of modes. Derivative seales actually create only five ‘des since the loan mode the Mljor sale ate step, allstep petern) and the Aeolian made the [atsral Minor Seale ‘The Tonian (FO.NE-AN) Mode pcos soor ——— | lala! is tea Bhpatet Frio Ta. 1 sits ‘The Dorian (DOR-E:AN) Mode "The Phrygian (FRIG-E-AN) Mode Seat BS Sat 8 ant it Stent Bon BF feat Santa | pont foolsDERIVATIVE MODES, "The Lydian (LID-E-AN) Mode ro PLybIAN woDe 12 3/4) 5) 6 78 2) [34 © Op DETR G Gala ne [ein DEF "The Mixolydian (MI-O-LID-B-AN) Mode » ae bomen 6 4 clatter bate te state lorena lm ete lee "The Aeolian (E-OLLE-AN) Mode ee 2 tattle {21911 isl sorsite|rlete fotstatate rats ioystetatet es ‘The Locrian (LO-CRL-AN) Made [nse won —— 8,2) |34) 5) 6) 7 oB/e |G! > BEE) F|PAG Gala ,MODAL PLAYING MODES DERIVED FROM MAJOR SCALES: {A derivative mode is ereated by beginning a new seale on a degree of the parent scale and using enly tho notes of the parent scale. A derivative ‘mode is played in parallel tothe parent scale. ILLUSTRATION ONE. 1m Mlustration One, we indicate the modal notes as placed within the parent major scale: The gray trianglos marks the parent scales Tonic ‘oles. The black triangles mark the Tonic notes ofthe modal scale. We have writen out each major seale and the Tonic chord af that scale, Below the Major Seale, we have written ont the appropriate rode. Each mode is identified by its seal degree. We also show the chord created by harmonizing the mode (1-3-5). We suggest strum- ‘ming the chord, then play’ Uhe mode, this wil help establish the tonal ‘dentty ofthe mode and how it relates to the chor ILLUSTRATION TWO Practice each exercise for in each we provide you with valuable knowledge of scales and modes. Each exercise will help you achieve the finger articulation required to play wel, and offers you the oppor tunity to develop your musieal ear, the ability to hear the tonal charac: teristic of each mode. PRacttcg 7p Scrum the chord, then pay through the cale~ then, strum the chord again, Listen tthe harmony eeated, Creat ite note pattern runs then strum the chor. Start snd ap ‘on diferent notes, bu always end a phrase onthe parent seals Toni mote (1) ~ which is ‘teoure, also the mat note ofthe chord 2 —__— srezer owanrs (Arnon masta maxis ta mamorz se eros ip alt paten and oar Ihe chard each moss mos be ploy Ths ta boring and confusing tp nstee players We ook you to {earn he nts that for the chord yo crmy a, Beer 9, rh fo aint coe, ‘thirds and determine aden our head aes7-MODES DERIVED FROM MAJOR SCALES~) ILLUSTRATION ONE DORIAN MODE Second Degree Form One C Seate Pattern p> Daworscaue a ILLUSTRATION TWO fe] sossanova TEMPO 105 STUDY EXERCISE En? Dm? En D Dé Paar ree eee) aMODES DERIVED FROM MAJOR SCALES-~) ILLUSTRATION ONE PHRYGIAN MODE ‘Third Degree Form One C Scale Pattern D D masorscate & mv Oc Bin Fé punycun a, c@0 | a ees oeo |. 4 7 ILLUSTRATION TWO [fs] ooies eear rewPo 135 STUDY EXERCISE D> Fim Bm Gma?D Bn Fim A D vs7-MODES DERIVED FROM MAJOR SCALES: ILLUSTRATION ONE, LYDIAN MODE Fourth Degree Form One C Scale Pattern D D Masorscate & LYDIAN ROCK BEAT TEMPO 135, STUDY EXERCISEMODES DERIVED FROM MAJOR SCALES ILLUSTRATION ONE, MIXOLYDIAN MODE Fifth Degree Form One D masorscate & C Scale Pattern MIOLYDIAN “ AMIXOLYDIAN & ILLUSTRATION TWO [fj] counre” car rewpo 19 STUDY EXERCISE an > ae DMODES DERIVED FROM MAJOR SCALES ILLUSTRATION ONE, AEOLIAN MODE Sixth Degroe Form One C Scale Pattern D D wasor scace A RAP BEAT TEMPO 94 STUDY EXERCISEMODES DERIVED FROM MAJOR SCALES-~) ILLUSTRATION ONE LOCRIAN MODE Seventh Degree Form One C Scale Pattern > D wasorseats 1 8@OOH a 6 bo. : & j aS ILLUSTRATION TWO [fi] @88ear TeWeo o# STUDY EXERCISE cimts) Dai? DF int Dmaj? Dim¢ MODES DERIVED FROM MAJOR SCALES~ ILLUSTRATION ONE, DORIAN MODE Form Two Second Degree A Scale Pattern c C masonscaue a Amo F F ao 5@0 Dm D vonan & 6c® 9°, t eo (2) ROCK BEAT TEMPO 130 STUDY EXERCISE 7 MODES DERIVED FROM MAJOR SCALES ILLUSTRATION ONE DORIAN MODE Form Three ‘Second Degree G Scale Pattern A MAJOR SCALE & 1 oe ILLUSTRATION TWO [fa evra exues euro! STUDY EXERCISEMODES DERIVED FROM MAJOR SCALES~) ILLUSTRATION ONE PHRYGIAN MODE Form Three Third Degree G Scale Pattern A A masonscaLe A. oa d apeye pee LS msaoen, Se te vans pyeal” a7 im CH PRYGIAN & OOO, fe _ aS SS AO en. aT ag lel || Ee I Ot i B- ILLUSTRATION TWO [El] exncna renPo 124 STUDY EXERCISE cen? Daj? Bn? ET Cin? BimMODES DERIVED FROM MAJOR SCALES ILLUSTRATION ONE LYDIAN MODE Fourth Degree Form Three A G Scale Pattern A MAJOR SCALE A TRS ILLUSTRATION TWO [Gal] casun ear Teneo 120 STUDY EXERCISE B ets soteeee 2264246 D A e AMODES DERIVED FROM MAJOR SCALES ~ ILLUSTRATION ONE MIXOLYDIAN MODE Form Tree Frith Deve G Scale Pattern A A MAJOR SCALE a = E EE sixowvoian & ILLUSTRATION TWO] n00K esr reno is STUDY EXERCISE 2 A Ema” A7 MODES DERIVED FROM MAJOR SCALES ILLUSTRATION ONE AEOLIAN MODE Form Three Sixth Degree G Scale Pattern A A masonscaus a - on Bim Fé coun a STUDY EXERCISE 7 MODES DERIVED FROM MAJOR SCALES~ ILLUSTRATION ONE LOCRIAN MODE Form Three Seventh Degree G Scale Pattern a A MAJOR SCALE A LLOCRIAN Gin) G#LOCRIAN & ILLUSTRATION TWO [Zune reuro v0 STUDY EXERCISE BP ae Gent ce Fmt 7 MODES DERIVED FROM MAJOR SCALES ILLUSTRATION ONE. Form Four E Seale Pattern ILLUSTRATION TWO DORIAN MODE ‘Second Degree G MasorscaLe A an A DORIAN a. ‘e— fe) Funk TEMPO 145 STUDY EXERCISEv7 MODES DERIVED FROM MAJOR SCALES~ ILLUSTRATION ONE PHRYGIAN MODE Third Degree — . E Scale Pattern G MAJOR SCALE & 44 FT on c@ loa Bm B punvoun & ILLUSTRATION TWO [F3] poenocx revo STUDY EXERCISE bot coat Dat omy — Rasa? a2 4s sa _— cma? Br? Cai? Dsus! DT Em Am? DG?7- MODES DERIVED FROM MAJOR SCALES ILLUSTRATION ONE. LYDIAN MODE Form Four Fourth Degree E Scale Pattern G MAsoR SCALE & | SSS zy= | vert” ' 4260 4 Tenn —J Cumay a awasos reuro re UI STUDY EXERCISE 6 c SSeS ; = 1 esMODES DERIVED FROM MAJOR SCALES > ILLUSTRATION ONE MIXOLYDIAN MODE Form Four Fifth Degree E Seale Pattern 6 G mason scans | } = FB@O FF = ‘MINOLYDIAN Th oc Oc. > D wow a, a aan I | 7 t |__ 20 vase SSS Se A@OGEA, TaAayT 7] 1* — Let) a “5 4 bs = ILLUSTRATION TWO [fq] rock 'Rou exA0 reNro 184 STUDY EXERCISE G Dust D ma D 3 37-MODES DERIVED FROM MAJOR SCALES: ILLUSTRATION ONE AEOLIAN MODE Form Four Sixth Degree E Seale Pattern GG masonscate a fe 290 Fa oy eer AEOLIAN ILLUSTRATION TWO [f)] aossanova tempo 150 STUDY EXERCISE cm? ma? An? An? = 8>MODES DERIVED FROM MAJOR SCALES~ ILLUSTRATION ONE LOCRIAN MODE Form Four Seventh Degree E Seale Pattern G masorscaLe & ho : weeo!o LOCRIAN cache 4 ce Oc, pinot PE LOCRIAN a. aT ILLUSTRATION TWO [sic reuPo 10 STUDY EXERCISE Aw? Gna? Cos? Bm? my? DP i ’ fe f= i aetee os Serre? = e a ——— “a = 7-MODES DERIVED FROM MAJOR SCALES~ ILLUSTRATION ONE Form Five D Seale Pattern 18 £000, sk A 1 @OOer,, SAO O DO A @a 1 I@e Rs DORIAN MODE ‘Second Degree & E maorscate a ILLUSTRATION TWO fi] nocx sear reuPo oss STUDY EXERCISE Bs Be osMODES DERIVED FROM MAJOR SCALES~+ ILLUSTRATION ONE PHRYGIAN MODE ‘Third Degree Form Five D Seale Patiern © E MAsorscate a Tm 18 £0@@,, PARYGIAN wm Gm G# PHRYGIAN & Wibbe. oe ‘ a 4 t & @a ALTERNATIVE TEMPO 125 STUDY EXERCISE7 MODES DERIVED FROM MAJOR SCALES ILLUSTRATION ONE LYDIAN MODE Form Five Fourth Degree Pattern E E Mason scace & LYDIAN Laat td A ALDEN A | GH ct HOD 4 4 eo. & a 7 —s Dace se eS ILLUSTRATION TWO. [El] couvrey ware 2 STUDY EXERCISE A ‘aes BimMODES DERIVED FROM MAJOR SCALES~ MIXOLYDIAN MODE Fifth Degree 5 Ewaonscaur a ILLUSTRATION ONE Form Five Seale Pattern MINOLYDIA | eda aA * B B wxowypwn & HARD ROCK TEMPO 122 STUDY EXERCISE7-MODES DERIVED FROM MAJOR SCALES~ ILLUSTRATION ONE AEOLIAN MODE, orm ti Sixth Degree D Scale Pattern E E wasorscate & AEOLIAN: Hee Cf ABOLIAN & pie j s ILLUSTRATION TWO [¢)] secuNe rewe0 140 STUDY EXERCISE cm or onILLUSTRATION ONE LOCRIAN MODE Form Five Seventh Degree D Scale Pattern e E mason scar & qf I See 1 2@00n.. op ae [rst DERIVED FROM MAJOR SCALES~ I ae FT vocuan — = innty DB LOCRIAN ILLUSTRATION TWO [GJ te2ear rewro77 STUDY EXERCISE Fn? Fn? Bre EP-——— RULES OF MODAL HARMONY ——. ‘With at least three scale possibilities to play over each chord, is there one that may be more appropriate to use? While we can play scales from any note of a chords triad, you will find that ach scale will cause a shift in tonality and the scale you chooee may not reflect the tonal intent af the song. It is generally more appropriate to play a scale mode) from the root noe of the chord, the Tonic note (1). This will normally conform to the established rules of modal harmony. IONIAN MODE lst degree Tonal characteristic: Mejor ‘The Ionian mode isthe Major Seale and can always be played over major chords, "The Major Pentonic ele is a derivative ofthe lonian mode DORIAN MODE 2nd degree ‘Tonal characteristic: Minor ‘The Dorian mode is uted over the iV chord change. Its a preferred sea in “Blues” songs PHRYGIAN MODE $rd degree ‘Tonal characteristic: Minor or Major “The Phrygian mode isthe most commonly played over minor chords, LYDIAN MODE 4th degree ‘Tonal characteristics Major ‘The Lydian mode is a preferred seale to play over major chords MIXOLYDIAN sth degree Tonal characteristic: Major "The Mixolydian mode is often called the Dominant Seale, because it harmonizes ‘the Dominant Seventh Chord, and ean generally be played over the V7 chord, and its extended note: 8th, 1th and 13th AEOLIAN MODE ¢th degree ‘Tonal characteristic: Minor ‘The Aeolian mode is the Natural Minor Seale, also referred to a8 the Relative ‘Minor Scale, and may always be played over minor chords. The Aeolian mode, i ‘alto called the “Pure” Minor Seale, The Minor Pentatonie Seale is derivative of the Aeolian mode, LOCRIAN MODE 7th degree ‘Tonal characteristic: Diminished [Minor ‘The Locrian mode i, because ofits tonality, the mode of choice to play over the i minor chord. The diminished characteristic allows the Loerian mode to be played ‘over the V7 chord,MODAL PLAYING section four REVIEW = eraser sMaRre Modal improvisation is as simple as playing aditonie sole! STREST SMARTS [Knowing where to start a sale within the diatonic fingering pattern isthe KEY tp improvisation. Yow mus naw hat hoes fr each chord an where these nts ly itn the wale patton idk is notte, you wil be able improvae by plying made and you alse pla care >a PAGE 6B SS TE oman] ——————_ ‘Trained medal studios require you to memorize scle formulas (tp alf.tep patter), and (ver the chord ach made maybe paved. Thee borne and emfusina to ov players, We ask yo {ocean the notes at form te cards sou commonty te,” terse, rar how Yo inatnctiely unt, n hinds and determine triads your hea. PAGE OF: TRIADIC IMPROVISATION 1 . 7] if [ V(X if il + a ‘TRIADIC IMPROVISATION | Now ut get the i accumulated knowledge you have i gained from your study of this book and begin our excursion into creating lead lines over chord progressions Now the fun begins! We recommend practicing with the Audio Companion CD, for its only by practicing with a band that you will be able to put in to effective use the knowledge you will acquire SELF-CONFIDENCE IS FAITH IN YOURSELF Believe you have the ability to achieve the objective you desire. Do not procrastinate. Do today every ) thing you ean to further develop ) your skills, Tis tn this manner you will, slowly but inevitably, develop self-confidence.TRIADIC IMPROVISATION PLAYING FROM CHORD TRIADS [RULES OF TRIADIC IMPROVISATION Proviouly we asked that you learn chord triads, the notes that frm each chord, in all keys. We have ‘explained that this isthe centerpive of our approach to improvisation. Is naw time ta define the term, "Triadie Improvisation”. In ts simplitie form, Triade Improvisation is playing specifc parallel scales built from within a parent sale. Parent seal i defined asthe key sgoatare seal, oF the seale ‘that harmonizes a set group of chords within a progression (See Key Centers). We oftn refer to the note upon which we begin this new seale as a "Guide Tone”. These new scales are chosen ta harmo- nize individual chords over which we are improvising a solo, Those new scales may commence on any roto of the chord triad, Triad Improvisation. Tho scales thus ereated are referred 0 as Modes and their usage is called Model Playing, Jn suramary: We can play correct lead patterns, patterns that will harmonize the melody. by simply ‘Knowing the chord being played, beginning a seale on any note of 8 chords tried, and playing only parent sale notes ‘The term triad means three. In chord construction this is the Root (1), 2rd, and Sth notes of the sale This in effect provides us with Usree different scale we may play over « chord, Ave there rules to Adetormine whieh should be used? As you progross with your study of improvietion you will develop & better understanding of modal usage and we will explore additional improvisational technique and rales, but for now we will simply stzgest starting the new seal (mode) on the Root nate nf the chord [At this time we must datinguish between diatonic and non-diatonie chords and how this effets the rules of improvisation. Our studies are based on diatonie chords, those chord containing nl notes of the parent scale. Nonediatonie chords contain sltered note, a Nat fith, sharp ninth recy Tt is Important to realize that altered chords require altered scales. This will be farther defined later in this bok, but for now we eoneentrate on diatonic harmon, scales, and chords ‘The Triadic Harmonization Chart isthe most significant instructional aid you will encounter in your study of improvisation. I: represents the most important aspect ofthis book. Learn to apply it {o your playing and you will always be able to ereateinatant solos, and you will always play notes that harmonize with the rhythm chords. The chart presents the major diatonie scale harmonized inthirds. Tt shows each degree, it triad (the three notes formed by harmoaizing in thirds), and the resulting chord name. Below each chord we place the name of each triad note (guide tone) and its Seale degree number. The chart ean be used as & handy reference guide until you ean readily recall the triad of each chord being ised, When the chord changes, simply start another lead pattern frum ane the new chords triad nots, again playing only notes of the parent sale. (Remember, we sre utilizing distoni chords, diatonie sale patterns. We are, at this time, only familiarizing you with the basic principal of improvising note patterns from the scale, There are many other aspects of improvisation that must be understood nd fly ‘mastered before you ean ereate “exciting” solos, or even workable "ls, "icks", and “phrases”. But first you mast become familie with the mosical res of seals and arpeggios On the folowing pages we complete our explanation of triadic improvisation, and we further explain how to use the Trade Harmonization Chart, NOTE: At the back ofthis book we provide Tvs commonly used keys le Harmonization Charts written inal of the more—— TRIAD HARMONIZATION CHART KEY OF CMAJOR ii oN vo ow Wi Dm Em OF G Am ms C ore on ° mPa geen bar ane KEY OF G MAJOR ‘Tosic Mince Minor Subdom = Dom Mir Minor 8S TanieTRIAD HARMONIZATION CHART —— KEY OF D MAJOR TTosic Minor Minor Subdom = Dam Minor Minar BS Tone c a Boo op UE UR Gk OG A a) BPH D em G AB © D KEY OF A MAJOR Tonic Minor_—-Minor Sub om Dom Minor MinorbS. Tene D em Gt oA BO F E oo cE om GHA Bb Gr a Bo ocH Dp Eb of «¢ aTRIAD HARMONIZATION CHART — KEY OF EMAJOR Dom Minor Minor bS—‘Tasie Sub dom Tonic Minor Minor KEY OF FMAJOR ‘Tonic Minor Minor Subdom = Dom = Minor Minor 8S Tonic Bb cD E F G A Bb Cc A wb CD EB F coon FOG A Bm CD EB FTRIADIC IMPROVISATION MODAL PLAYING IMPROVISING OVER MAJOR DIATONIC CHORDS. Wie wil now put into use the KRY element presented in this book. We will play sales over rhythm chords. The scales starting notes are determined by the triad of the chord over which we play our lead lines. Our rhythm pattern, at this time, is comprised of only tne chord and we have selected individual seale position for the convenience of weting tech exertses in Tablature, We encourage you to play the exercises fom each of the fee feale patterns we use in this bok, To be succesful at improvisation, you most learn to ‘aso al ive patterns ILLUSTRATION ONE, [RHYTHM CHART - KEY OF © MAJOR ‘We include the rhythm chart for you convenience. If you have not purchased the secompanying Gudio Companion, havea friend play this chart as you practice the exer ‘ise, We have written the C chord triad 20 you wil know upon which note inthe C Major Seale you ean play a parallel sale, a mode. We inchude the Mode name to help familiarize you with modal terminology. This exerciee is performed with the form one open."C" seal patter, ILLUSTRATION TWO IONIAN MODE- NOTE C ‘This four bar exercise presents the C scale. A seale beginning on the rst note of a major seal isan Tonia Mode ILLUSTRATION THREE PHRYGIAN MODE - NOTE E ‘This exercise starts on the Sd of the C chord triad, the E note. A scale boginning on the third note ofa major seal is 8 Phrygian Mode ILLUSTRATION FOUR MIXOLYDIAN MODE - NOTE G ‘This exercise starts on the 5th of the C chord triad, the G note. A stale boginning 09 the fith note of a major scale is Mixelydian Mode <103~—— IMPROVISING OVER MAJOR CHORDS ILLUSTRATION ONE RHYTHM CHART c Key of C Major ILLUSTRATION TWO SCALE STARTING ON TONIC NOTE"C" (lonian Mode) c y SSeS Olg tie f i= a3 Bt ILLUSTRATION THREE SCALE STARTING ON SRD NOTE "E” (Phrygian Mode) bg ier ae ILLUSTRATION FOUR SCALE STARTING ON 5TH NOTE "G (Mixolydian Mode) SS tet tes oa maTRIADIC IMPROVISATION IMPROVISING OVER DIATONIC MINOR CHORDS MODAL PLAYING IMPROVISING OVER DIATONIC MINOR CHORDS. ILLUSTRATION ONE, Rhythm chart key of € Major, (D Minor chord). We include the rhythm chart for your ‘convenience, Again, if your da not have the Gudio Compenion for this book, have s friend play the chart as you practice the exercise. We have writton the D Minor chord triad so you will know upon which triad note ofthe D Minor chord you ean play a parallel sale. We include the Mede name to familiarize you with modal terminology. This exorcise is performed with the °C", form ane open pattern. Practice playing these exercises from other patterns ILLUSTRATION TWO DORIAN MODE -NOTED ‘This four bar exercise present the D Minor chord A sale beginning on the second note of ‘a major scales called a DORIAN mode ILLUSTRATION THREE, LYDIAN MODE- NOTE F ‘This exercise start onthe Sed ofthe D Minar chord, the note FA scale beginning on the Lind note ofa D Minor chord is the FOURTH note ofthe parent scale, i this exemple, C ‘Mayor. A mode played from tho fourth degree ofa majo sele i alle a LYDIAN mode, ILLUSTRATION FOUR AEOLIAN MODE - NOTE A ‘This exersise starts on the Sth ofthe D Minor chord, the note A. A scale beginning on the Fith note of a D Minor chord isthe SIXTH note ofthe parent scale, inthis example, C ‘Mayor. A mode played from the 6th degree af major seale is called an AEOLBAN mode. ~105~— IMPROVISING OVER MINOR CHORDS ILLUSTRATION ONE RHYTHM CHART [3] Key of © ILLUSTRATION TWO SCALE STARTING ON TONIC NOTED’ (Dorian Mode) ILLUSTRATION THREE —_ SCALE STARTING ON SRD NOTE"F" (Lydian Mode) Dm ILLUSTRATION FOUR SCALE STARTING ON 5TH NOTE A" (Aeolian Mode) —s fe =106~TRIAD IMPROVISATION —_—,) KEY CENTERS ‘While the key signature does establish the rules we must use when playing a melody, strange Unings happen when we begin to improvise. Writers and arrangers froquently Incorporate nonvdiatonie tones, accidentals (sharpsfats) in order Lo move a melody slong in a desired direction, This in turn can ereste chords outside the original scale ‘This occurs because individual chords appear in more then one key. The use af aciden tals also creates non-diatanic harmony which in tara requires non-diatonie chords to be used. The chords are created by adding @ noto not within the scale specified by the ey signature It's for these reasons chord progressions may modulate to various keys, often without any clue to the musician, except perhaps for seeidentale Ubat appear in Ube melody, oF the appearance of non-diatonie chords, This change of Key center, implied or real is usually ereated by the choice of chords that appear within the chord progression, Our study of “Scales Over Chord has been focused on individual chord harmony and playing seals from indvidal notes ofeach triad, You have been abl to concentrate o playing all scales from one fingering pattern, the original key signature seale. This ‘one-byone chord technique has its creative limitations, If we learn to associate chord groups by the scale (key) of which they are formulated, we allow ourtelve alternatives that permit fll exploration of ove improvieatonal potential UNDERSTANDING CHORD GROUPS ILLUSTRATION ONE, Determining key conters is simply a matter of identifying a chord sequence as belonging toa specific scale. [t is most important to understand that you CANNOT. determine the scale of which # chord belongs by isolating individual chords within a ‘progression, Why? Because specific chords are found in more than ene Key {ecle In Illustration One, we show the © Major scale harmonized in third intervals (Triads. Ifyou have memarized scale harmony as presented previously, you know that each key produoes seven chords which fall into thee chord types: Two Major chords, the frst and fourth degrees; three minor chords, the second, third, snd sixth Agrees; end one dominant seventh, the fith degree, (The seventh degree may be ‘used ether a minor or diminished chor. ILLUSTRATION TWO {A study of keys will demonstrate that chords may appear in more then one kes: ‘Major chords appear in two different keys, the three minors, in foor keys. The domi ynant seventh will only appear in one key, iis always the Sith ofthe parent sale,— C MAJOR SCALE-SEVENTH CHORDS ILLUSTRATION ONE, of C Major Bmbs€ Kos aro Keys ae c D Clo Co mem amc fr c Fr ¢ er re er 2 8 U8 ILLUSTRATION TWO ‘conn by Keys Se G F cm cm by ogc sa a ee £ oder im G pC Gu Gu 2 Sui a & eiboa § =109> ca ae c oH De F G a D "7 neozros}TRIADIC IMPROVISATION IDENTIFYING CHORD GROUPS WITHIN PROGRESSIONS ‘Our studies, until now, have concentrated on learning to play specific seales over individual chords. We now focus on identifying chord progressions (a progression is the order in which chords appear within a song), and special, those shart sets of chords called chord groups, as belonging to one common seale. ‘To improvise effectively, itis necessary to play scale common to these connecting horde so we can develop our melodie melodies and musial statements withont interruptions or the need to adjust to new guide tone foreach chord. Example: F, G7, Care the three primary chords that harmonize the C Major seale and we may play a C scale over these chords. Bb, C7, F harmonize the F Major scale and we ‘may play an Fseale over these chords. Hiaving identified the key of which a group ‘of chords belong, we can then determine the correct seale pattern, shit the Starting note (guide tone) to mateh tho chord group, and then use our Improvieationel tools (arpeggios, common tones and modes) to create effective solos. The examples on the following pages are considered ‘common’ chord groups, {Learn to identify thern and instantly know the parent seale of which they belong, 0 you can improvise solo lead lines without fear of stumbling or playing bad THE IV-V-1 PROGRESSION Bach chord has its own distin effect upon the tonality of chord progression of which iti « part. OF the seven chords (Dintonie Scale Harmony), the three ‘most important chords, called the primary chords, are the ‘Tonic (D) the Subdominant (IV), and the Dominant (V. This occurs boeause chords built on the fourth JV) and fith (V) degrees are, like the Tone (D), comprised of major triads, The IV and V appearance establishes a strang gravitation tothe tonic chord, This chord group is enough to indieate the key of which a composition is ‘written. Secing the chards C, D, C (written example, following pase) establishes the song as being in the key of G Major. The IVI progression is the comerstone of traditional harmony and is used extensively in Country and [Rock chord progressions (se page 45) 109IV-V-I PROGRESSION STUDY EXERCISE ea]tawosoa rewro 126 Example 56 is written in the key of G Major (key signature-one sharp), However, the song starts fon the fourth note of the seale (the note C), and is harmonized with the sulsdominant chord, C ‘Major A mode starting on the fourth note ofa bbgins with e C Lydian mode. Measure two is ‘Major scale (Uhe parent sale), Measare our is another arpegeo. Mensures five and six are simply scale movements: Measure seven is a Phrygian mode, while measure elght is again, an arpepio Tmovement. Each measure starts with note of the chord triad that harmonizes that mensure ‘Study exorcise 56 is played from the @ scale, pattern four. We encourage you to experiment with ‘your owe Tea line, and practice this exereve in all five patterns. We also suggest beginning Sor Inmprovisod solos from other triad note. NOTB: In our oxampl, we havo included extra measures to show the triad of each chord used ‘These tradie measures are not to be played and are not counted. This may be confusing at iret, ‘since the placement of the chord triad (written in whole nots), creates spit measures (the triads fppear in the middle of a measure). However, We Tel itis a helpfl instructional id at this point in your stadier of triadic improvisation. <10~TRIADIC IMPROVISATION IDENTIFYING CHORD GROUPS WITHIN PROGRESSIONS ‘THE ii-V-I PROGRESSION ume ‘Triads built on the second (i), third (i) and sixth (vi) degrees of the major stale form minor chords, called gecondary chords. Because several majar and ‘minor chords within a key aro similar in triadic composition (they share two of the three notes that form their triads), minor chords are used frealy in Substitution for major chords with which it shares eaimon tones. ‘The i chord (minon) payed asa i7 seventh, i often subetitaved for the TV in ‘modern chord progressions. In the key of C’Major, the IV chord (F Major) is fomprised of the notes F-A.C, and the ii minor seventh is comprised ofthe notes D-F-A-C. Sineo only tho note D distinguished the Dri? from its companion Major chord, Major, th iis often used in direct substitution for the IV chord. This gives us the common progression of i7-VI. This combination (Dmi7-G7-C) s enough to indicate that the key center i C Major, land the proper parent scale to play over these chords is the C Major scale “raving established the eorrect scale, we may then concentrate on ereating our solo by first choosing our starting tone, or guide tone CIriadie Improvisation) from the appropriate sale pattern. The guide tone may be any ofthe chard ‘wiad tones. The i7-V chord group proceeding a chord, signals new chord ‘roup. Passing Tones Passing tones are notes that appear in the melody that are not ‘common toa chords triadic eomportion, and they occu from playing @ Seale over a chord group. These notes are called accidentals and Tanction to create a stnooth melodie passage from one chord to another. ‘They are usually quick notes in duration (eighth notes, sixteenth notes, te) In exercise 57, they cour in the second, fourth, sith and seventh measures STRERT SMARTS: ‘Always ook forthe iV chord groupe wll identify the proper scale play at that point in ‘esong \ —____/ii-V-l PROGRESSION: STUDY EXERCISE [fi]por aock rewro 130 ANALYSIS. ‘We bein exercise 87, measure one, with « D Dorian mode played over the Di? chord. A ‘mode commencing on the second note af the parent sele i ealled a Dorian Mode; inthe Key ‘of C major, D Doran. We continue the D Dorian me over the G7 ehord, second measre, In the third and fourth measures, we use an A Acolean mode (sixth seale step). The next five measures are variations of the provious four. Brackets identify the i-V7-l chord group Our exerise is played from the A pattern, form Uo NOTE: Again, we use triadic measure to show the chord triads. They are not to be counted nor payed, TRIADIC IMPROVISATION vilV-V-I PROGRESSION "The viIV.VE progression is another chord group that is eaily recognizable. (We have placed a bracket over this progression In our excercise) soloist must leara to identify these groups through a thoughtful analysis of each sang and instinctively know what pattern oF Scale is mest appropriate to facilitate ease of playing tnd allow you to maintain the integrity of the melody Again, we must stress that identifying a scale common tora group of chords ax belonging to one key center wil simplify the creation or your solo lines. ‘The VI chord group establishes a key center. However, itis advisable to determine i any preceding chords are falso common ‘with thie. sub-chord group. In. the 1950-60, the se ofthe relative minor chord as part of is group came into common practice and helped to establish the musical sounds of that era ~ iti still popular to thia day. The relative minor, a ehord built fon the sixth note of the seale, is often used in Substitution for the Tonie chord because their triads ‘Share to notes in common, The relative minor s“tanal Sound” has a natural tendency to gravitate towards the IV chord which as we already know, pulls to the V7 chord and then on to the I chard (page 45). This "el of tonal rotation" makes this chord group most useful in composing songs and soos. "The VLIV-V chord sub group defines the key center of the I chord STREBT SMARTS \ a (When oi chants ae common to a subschord group we may utlize triadic harmonization to play | te hss onion > vi-IV-V7-I PROGRESSION STUDY EXERCISE fe reuro Exercise 58 isin the key of G ane sharp) and played out ofthe G pattern, form three The Tis chord (measure one is the Tone ehord, G mayer, allowed by E minor (second measure) Inthe key of G major the E note i the sixth nate ofthe scale, and a ehord built on the sixth is « minor chord calied th eelative minor (i. The lead pattern for this measure also begins om the sixth ‘ote of the scale (nate B snd a ode played from the sixth note is called sn Avon mode. (The ‘Acoli mode is the mode of ehoie to play over Ye velative minor chord.) Measure three is harmonized with the subdominant chord (1V) C major. The lead partern bess an the root nate of the © Major ebord, the note C, which is the fourth note of the G major scale. A mode ‘commencing on the fourth note of'@ diatonic scale i called a Lydian mode, Measure four ie harmonized with the Dominant Seventh chord, which in the key of G major, is D7. Our lead pattern commences on the note A, the fh of the D7 chord triad which isthe second nate of the {@'major see. A mode played Irom the second note of @G major seule ereates an A Dorian mode All the chords used in Exercise 58 are G scale chords — that is, chords formed by harmonizing ‘he G major ssa in tind intervale Therefore ll our modal playing ubizes only ontes of the @ major scale REMEMBER: Do not play the triadie measures!TRIADIC IMPROVISATION IDENTIFYING CHORD GROUPS WITHIN PROGRESSIONS In our study of diatonic harmony, we stressed the importance of understanding the relationship between the dominant shord (V) and the Tonic (1). Te is from the scale they ‘hare in common (the parent seal), that we buld our modes, To improvise effectively over dominant chords, we must quickly determine the dominant chords parent scale; and this may be accomplished by a device called the “erele of fourths” (page 19) In esence, we Simply count up (alphabetically) four intervals. Example: £8, a dominant chord, ‘To {evermine the parent seale of this chord we may count up four notes: BF GA. The ED chord isthe dominant chord (V) af the A major scale. The ith note of the A major scale is the note B, and by playing a scale from thie note, we ereale an B Mixolydian mode, Exercise 69 is study in playing Minolydian modes over a series of dominant type chords where each chord creates its own key center; and ve also introduce you to chord Substitution, We use major chords (raised third in triad fr substation forthe minor ivi Chords. Ths erates a chord progression made up of major chords (II7-VIT-IT-V@-D, Since tach chond isa dominant type chord, you must quickly determine the chord’ parent scale, then play from the fih note to play te correct Mixalydian mode REMEMBER: Do not play or count the triadic measures! LAMBADA TEMPO 126 PRACTICE TIP E9— E Misolydign, B7 ~ B Mixolydian, A7 ~ A Mixolydian. See if you can ‘determine whieh sale pattern is being used over each chord. ‘Study exercise 60 continued Fray Em «OY arTRIADIC IMPROVISATION Exercise 61 brings togethor all aspects of improvisational playing as previously explained in this ook. tis ful, written arrangement utilizing many of the elements of musiecompostion (explained helo), that eslnist wil encounter playing with a band Introduetion —A short phraso rif) which prepares the way forthe main body ofa eampasition. Verse ~ Part of composition that oten came after the introduction and establishes the melody before the chorus or bre. Chorus = The main melody or refrain of a musical composition, Not all songs use a chorus, Our texample does nat use chorus Bridge ~A separate melody, sally providing melodie relief from a series of verses ‘Turnaround A group of chords, atthe end ofa verse or song, that takes the arrangement back to the boginning, Ending ~A section ofthe composition that brings the sang toa close Repeat Signs. Indicates a section is to bo repeated from the sgn to the sign First & Second Endings Play frst ending, go back to beginning or repeat sign and repeat section, Aten of section, hypasé fist ending and play second ending ‘Coda Signs ~D.S. al Coda al seo) Tom the sign indicates that a setion ofa compzsition isto berepeaed beginning a thewign -g¢ andcontinuinguntl the sign or Fine, or end STUDY EXERCISE [fj swine eacrao reweo 114 Into ae Am? Fen? Bm? fAP A Fin? » Ye a £STUDY EXERCISE ¢ Dima DS Em? ” Dmaj? Bm? Em? AT Bn B A Fn? Bm? B 120TRIADIC IMPROVISATION i five REVIEW —— 2 res ema: (/-Ateays tok fr the i cht group. 1 wil identify the proper scale to play a hat pine in ‘eng Vai pao 209 STREET SMARTS ——PENTATONIC SCALES On the following pages, we explore the usage of the major and minor pentatonic (five note) scale. The pentatonic scale is an altered diatonic scale; and by improvising with pentatonic scales, we ean move beyond diatonic harmony, ereating a softer, bluesy sound popular in Blues, Country and Rock music. The pentatonic scale makes creating improvisational solos easy ~ less notes to use, the fingering patterns are easier, and it reduces the tendeney to play bad notes! EINSTEIN'S UNIVERSAL RULES 1. Out ofelutter find simplicity. 2. From discord make harmony, | 9. Inthe middle of difficulty ties opportunity.PENTATONIC SCALES MAJOR PENTATONIC SCALE Penta ig the Latin word for five. Therefore a ve note major ‘or minor scale, is ealled @ pentatonic seale. The five-note pentatonic scale is simply @ modification ofthe seven note major diatonie seale (ILLUSTRATION ONE). A major pentatonic scale js created by eliminating the 4th and 7th Alogrees (notes) ofa major sale. The formula i: whole step, whole step, minor third, whole step, minor thir. Tei sale ‘without halsteps, This is a mjorseale beesuse the interval between the Root (Ist note of the sale), andthe thind note ofthe scale, a third isa MAJOR THIRD INTERVAL, 12945 CMajordiatonicscale: = C DEF GABC 123 (© Major pentatonieseale: C DE nm GAwC ‘The absences of the diatonic scale’s 4th and 7th degrees (notes), creates a scale that does not posses a strong fravitational movement associated with diatoni harmony [By playing pentatonic scale, its posible to go outside of ‘traditional diatonic harmony while still retaining logical ‘basis, and sts viewal patterns are easily assimilated. By creating patterns derived from pentatonic seles, it is nearly impossible to play bad notes! Pentatonic ecaes are used ‘extensively in Latin, Blues, Rock and Country Music—— PENTATONIC MAJOR SCALES ——— ILLUSTRATION ONE DIATONIC MAJOR SCALE, 1 28 Bi4) 16 6 ILLUSTRATION TWO PENTATONIC MAJOR SCALE paid x 1 ct D <2PENTATONIC SCALES MINOR PENTATONIC SCALE RELATIVE MINOR PENTATONIC SCALE ‘The minor pentatonic sale i an altered relative minor, Aeolian scale (ILLUSTRATION ONB). ‘Tho relative minor sale start from tho 6th note of the major diatone seal, the name of this notes the name ofthe minor scale. Ita niaorseale heause the interval between the Root find the third note ofthe aealo is a MINOR THIRD INTERVAL. The formula for a minor pentatonic seale is: Minor third, whole step, whole stop, minor thid, whole step. A minar Dentatoni seale is ereaved by eliminating the tecond aad sixth degrees inotes) of a relative finor scale. The major and minor diatonic scale, and its pentatanie derivtive-major and minor scales, share the same key signature. 12345678) CMajor ditonieseale: ~C DEF GABC 125456718) Relative minorseales = ABCD EF GA 1234 56) Relative minor pentatonieeale: Ax DEn G A ‘MINOR PENTATONIC SCALE APPLICATION In diatonic harmons, the sith note of diatone sale is harmonizad with the minor chord of ‘the same letir name (Triad Harmonization, page 100), In practical application, we would play ‘Amminoe pentatonie sale over this minor chord, this prudicess Spanish sound. However, we fonvert the minor chord toa major chord (raise the third a half stepl ofthe samme name (Arm to ‘8, and play the pentatonic over the major chord, we erate a spacious, Blues) sounding chord ‘Seale relationship which isthe essence of Rock, Country, and Blues unis. STREET SMARTS a, Because the ath note of major scale is ising in a pentatonic scale the fit moe of the minor ontatani scale isthe 3% note of the major pentatonic wale \ KY <1259———— PENTATONIC MAJOR SCALES ——— ILLUSTRATION ONB AEOLIAN SCALE RELATIVE MINOR p MBOREMERS — 1 2.3 4 ae alee aaa Ai ‘BIC D EI F Vet A PENTATONIC MINOR SCALE =126~PENTATONIC SCALES PENTATONIC SCALE DERIVED FROM MAJOR SCALES Hire, we present the major diatonic sesle and its two a‘PENTATONIC SCALES DERIVED FROM MAJOR SCALES Form Two A Scale Pattern Key of C *, CC mason pratowtescate a. <1y-PENTATONIC SCALES DERIVED FROM MAJOR SCALES Form Three G Seale Pattern Key of A A MAJOR DIATONIC SCALE & CTT — cfott = onEn Sr, +T — AD Ey — —— AD | BS oe s 4 ae Ge ex — Lt TT" A MAJOR PENTATONIC SCALE A =190~(~PENTATONIC SCALES DERIVED FROM MAJOR SCALES~) Form Four E Seale Pattern Key of c G MAJOR DIATONIC SCALE & 2(~PENTATONIC SCALES DERIVED FROM MAJOR SCALES: Form Five D Seale Pattern Key of E HH Fe BE A CaF Pn. E MAJon DIATONIC SCALE &. fT EMAJOR PENTATONIC SCALE A cose) (C# MINOR PENTATONIC SCALE & Wes | 7 =SCALE-CHORD APPLICATION ——— FIVE PENTATONIC PATTERNS In this section, we present the five movable” chord forms (the CAGED system), and the pentatonic major and ‘minor scale that overlays each chord form, In our diagrams of the pentatonic scales, ‘we show the notes in the “elosed position = no open strings, therefore each pattern is movable throughout the entire range of the fingerboard. Most improvisational lead lines are played on the higher strings, therefore, we show the more commonly used notes of each scale. However, we encourage you to learn to play the correct notes for each scale above, and below our ‘marked examples. (Refer to scale patterns fon previous pages.) Remember: Each pattern overlays its respective chord. The black triangles mark the Tonic note of the pentatonic minor seale. 180S$ CALE-CHORD APPLICATION———— DChord Form One 'C" Seale Pattern ‘Key of D cry D Masor DIATONIC SCALE & oo eke B MINOR PENTATONICSCALE. a x180~(7 SCALE-CHORD APPLICATION Form Two "A’Seale Pattern Key of C C Chora C MAsor DIATONIC SCALE & a1s>———SCALE-CHORD APPLICATION———+ Form Three "G" Seale Pattern Key of A A MAJOR DIATONICSCALE A. Fi Minor PENTATONICSCALE A. 106~SCALE-CHORD APPLICATION—— Form Four 'E" Seale Pattern Key of G G MasoR DIATONIC SCALE & G MAJOR PENTATONIC SCALE A ADG EA apg _esSCALE-CHORD APPLICATION Form Five ‘D"’Seale Pattern Key of E fim E muon ironic scat aPLAYING PENTATONIC SCALES OVER STUDY EXERCISES ~ The art of improvisation isa vast, complex subject, and one thet certainly goes well beyond the scope ofthis book, however, we have touched apon many worthwle ideas we hope you wil pursue on your own. We do telieve the information we have prescited wil require many hours of thoughtful sudy, but with the aid ofthe ‘Audio Companion CD, many hours of enjoyable practice time a wel, Below we have complied a list of the sty exercises, by number, and the appropriate pentatonic seal that maybe played over each. If your CD player has a balance contol t may be used to elimiate our lead guitar so you may practice playing pentatonic seals witha band, PAN lft to cut te lead guitar, experiment ‘withthe appropriate seale, and have fan! RLV.WMS pee ele ‘Track _ | TYPE OF SCALE 12 | Dsisor Petals 2 Aor Penne | ASjor Peau rm FE Mio Pensoaic 15 Gj Penne a1 AMior Fess a ‘A Noe Pennie TE [Dr Penton o CtjorFeswione 19] Car Fenton 35 (GNBjorFenatone 221] € Nar eno rm FY Mior Pete 22 [Eno Reon 32 (CE vino Feat 24 [Dna Peotone én ‘Car Fenwione 126 | Diao Peston 55 ‘Dao ent 21 __[ PsbirDNimeFamie 155 [GNaor esate 238 | Pair i Fee sh ‘A Mjrenstoie FT jr Pntoie Tear Peon 6 Myer Ferns ‘Evo Pes 64 A Mjr Fenton “ss Gotyor Renate 6 Eisor Fenton er Cor PensionsTOOLS OF CREATIVE IMPROVISATION — TOOLS OF CREATIVE IMPROVISATION Knowledge of scales alone will not allow you to create exciting or even enjoyable music. You ‘must learn the ereative tools required to transform simple note patterns into exciting solos. In this section, we will explore the tricks of creative playing. FOUR STEPS ESSENTIAL FOR SUCCESS 1. Definiteness of Purpose. Know | hat you want to accomplish. Set goals | and constantly monitor your progress. | 2. Desire, It is comparatively easy to | ‘acquire and maintain persistence in pursuing your goals if you maintain a burning desire for their accomplishment 3, Self-Reliance. Believe in yourself and your plan of action. March forward in small steps, for this allows you to ‘overcome setback, and not lve faith in yourself or your plan, 4. Accurate Knowledge. Knowing ‘one's plan is sound, based on experience (or observation, encourages persistence ‘and helps to overcome the effect of negative events that are Bound t9 | interfere with your plans }TOOLS OF CREATIVE IMPROVISATION — CREATIVE TOOLS HAMMER-ON (Measure 6) ‘A"hammer-on’ is @ way of raising the piteh of a note without striking the string twice. A hhammersn is acomplished by picking the first note, and while holding it down, striking the string sharply with another finger at the proper fet required to aound the higher nate. The ‘second note isnot picked; the impact ofthe finger steiking the string will crete the soar of the hammeredan tone. The string must be struck Mrmly and close to the enerect fr PULL-OFF (Measure 2,8) ‘A“pull-of isa device that allows you to lower the pitch of «note without striking the string Second lime to create the sand, lower tone. Ty ereate a pull-of, place a finger on hoth the higher feted note and the feof the lower note, Strike the string and without picking the string again, pull the finger if ofthe higher fret sharply enousit to eres the tone af the Tower note, HAMMER-ON / PULL-OFF (Measure 2,7) Ahammercn/pull-off is a device that combines both effets to produeo a series of notes in ‘rapid succession without the need to pick each individual note STRING BEND (Measure 2) Astring ben, commonly rfrod to "Ben vig tat allows you tori the itch ‘oa note by pushing 4 fretied string sideways, increasing the ston tension. Example pushing the second string sideways, up lovvard the thea string. The string may be pushed [ent sufciently to raise tne pitch ofa fretted note @halftep half bend (Ato A) aa full, bende fall step (A ta BI-A bond allows you to ralae a nde's pitch smoothly, creating 3 unite tonal shit BEND AND RELEASE (Measure 14) [Aend and release” raises and lowers the pitch of s note, This is atromplished by firmly fretting the string snd pushing the string up to erente the desired pitch; hen, while keeping fulliressure on Uhe string, allowing ito return to ite orginal state VIBRATO (Last Measure) ‘A vibrato” is created by striking the string and rapidly bending and vel with a rapid, telchand movement. (Asheking movement.) SLIDE (Measure 8) ‘ACelide’ is way of moving a fretted note to another pitch. A note is sounded, and with the finger firmly on the string, we slide the finger sp or down to a new location on the Fngerboard PRACTICE TIP We recommend that you go back over previous examples and use these ereative tools to create your own unique soon. This i= most elfective when playing along with the Audio Companion CD.STUDY EXERCISE ATOOLS OF CREATIVE IMPROVISATION > PHRASING SOLOS Solos are not disninted, rambling attempts to showease a repertoire of licks" Solos shoul always be appropriate tothe song. Solos make musial statements eal "motif, ifs or fils" Inereating effective solos, its important to oat alow the melodie Mow to be Interrupted by chord changes or key center changes. Once we have made # melodie statement, it i Sesirabe to reine and develop the idea flly before moving on to another idea or statement, ‘Think of it as completing a thought in couversation before moving on to anether subject ‘The real art of improvication lies in the ability to play an effective solo over the rhythmic character of the song, eealing new phrases that compliment and build upon previous ideas Motif" are lke short sentences or an expression of thought They are usually three o four notes in length and used to make an “identifiable: musical statement within the seo, They fre offen used in repetition throughout a soo, to crete the “theme” of the piece, or the ‘dontifable musical statement of which the listener comes to identify, Motte are created from seales and arpeggis, and shaped by expression taal (bends, aides or hammers) ‘The Stroot Smarts word for motif slick” Develop the “ear” to hear motifs in songs since they shape Une guitarist’ playing ste short statemont is called a motif - longer statoment i called a “iff A riff may be two, four of eight measures long. Often itis comprised of short motifs connected together to reate a longor solo line. Kifs are often ealld the “hook lines, ora statoment the listener ames to identify as the main theme of the cong. The elf of a song ean appear at the beginning ofa song and may reoccur as the arranger desires Study Bxercise 63 has been arranged to allow you to practice creating fs’, measures ‘where our lead guitar steps out, providing you che opportunity to improvise using mois {and rif of your creation. A soloist should always build upon the established: theme ‘Therefore, your fills should maintain the integrity of what has already been played Develop the ability to articulate and refine your solos so you may play “or the fly, without forethought. Use your ereativeneas ~ play ad have fut PRACTICE TIP {Go back and play previous examples and study the phrasing. See i ‘you ean identity the motifs and nfs, This i eepecaliy set i yom Use the Audio Companton CD. n 2,COUNTRY SONG Giec Bm Dau ‘To Codal t c > > DS. al Coda $ a %G © CBAm G Cc OG CoB AmG DG Fine =190~[BLUES SONG] BLUES SONG ‘This song should be played with a sulle bet, The tempo is up to you, The Mixolydian and Dorian ‘modes werk well in creating blues solos. miro Verse 1.3 @ x B BAA BT B e » » » ” P Verse. 4 » a » BAT AT BOB ” Bridge BI ” Pow PP Op p 51>BLUES SONG B ” ” » B BP x BAP ataP pr =182~JAZZ SONG ‘Do not expect to get this one very quickly, for it isthe most difficlt of the four arrangements, It should be played asa jazz swing, and you can use your own tempo. Ifyou encounter points in the Song with which You are unfamiliar, Use your head and think ‘Through Roplsing the ‘Srowledge of tac harmonization presen in thi boa ns 7" NAY “rons appiving Baim AZZ SONG| & Vere wt? Dnt Fi?JAZZ SONG Gmaj? En? Ant > Verse Da? oe naj? Ci Dat Bain Bn? AT ra cody @ Femi? OP maj? Be Da? Goons & oo Ems) a Dat Ending tag Ne. Fine e cm" CHORD DIAGRAMS a Amal 7 a6 a7, Ato a ee EE Es7 CHORD DIAGRAMSCHORD DIAGRAMS—.\CHORD DIAGRAMSCHORD DIAGRAMS 159ISRSIET