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 ISOMETRIC EXERCISES
As recorded by Derryl Gabel
Transcribed by Derryl Gabel Music by Derryl Gabel
Arranged by Derryl Gabel
Performance Notes

This exercise will be used to develop strength, independence, endurance, and dexterity in the fret hand.

Place fingers not in use in the following exercises on the adjacent string. This will promote independence.

Example 1 Hammer your index finger on the fifth fret and pull-off to the open string.

In the following examples pick the first note for each grouping as shown.

Example 2 Hammer your middle finger on the sixth fret and pull-off to the fifth fret.

Example 3 Hammer your ring finger on the seventh fret and pull-off to the fifth fret.

Example 4 Hammer your pinky finger on the eighth fret and pull-off to the fifth fret.

Example 5 Hammer your ring finger on the seventh fret and pull-off to the sixth fret.

Example 6 Hammer your pinky finger on the eighth fret and pull-off to the sixth fret.

Example 7 Hammer your pinky finger on the eighth fret and pull-off to the seventh fret.

Practice this exercise with your metronome and gradually increase your speed. Play these exercises on all strings.

Example 1
1
I 44
V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V
Gtr I

T
A
B 5 0 5 0 5 0 5 0 5 0 5 0 5 0 5 0 5 0 5 0 5 0 5 0 5 0 5 0 5 0 5 0
P H P H P H P H P H P H P H P H P H P H P H P H P H P H P H P
Example 2

I 44
V eV V V V V V V V eV V V V V V V V eV V V V V V V V eV V V V V V V
5

T
A
B 5 6 5 6 5 6 5 6 5 6 5 6 5 6 5 6 5 6 5 6 5 6 5 6 5 6 5 6 5 6 5 6
H P H P H P H P H P H P H P H P H P H P H P H P H P H P H P H

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 ISOMETRIC EXERCISES - Derryl Gabel Page 2 of 2
Example 3
I
V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V
9

T
A
B 5 7 5 7 5 7 5 7 5 7 5 7 5 7 5 7 5 7 5 7 5 7 5 7 5 7 5 7 5 7 5 7
H P H P H P H P H P H P H P H P H P H P H P H P H P H P H P H

Example 4
I
V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V
13

T
A
B 5 8 5 8 5 8 5 8 5 8 5 8 5 8 5 8 5 8 5 8 5 8 5 8 5 8 5 8 5 8 5 8
H P H P H P H P H P H P H P H P H P H P H P H P H P H P H P H

Example 5
I
e V f V e V f V e V fV e V fV eV fV e V fV e V fV e V fV e V fV e V fV e V f V e V f V e V f V e V fV e V fV e V fV
17

T
A
B 6 7 6 7 6 7 6 7 6 7 6 7 6 7 6 7 6 7 6 7 6 7 6 7 6 7 6 7 6 7 6 7
H P H P H P H P H P H P H P H P H P H P H P H P H P H P H P H
Example 6
I
eV V V V V V V V eV V V V V V V V eV V V V V V V V eV V V V V V V V
21

T
A
B 6 8 6 8 6 8 6 8 6 8 6 8 6 8 6 8 6 8 6 8 6 8 6 8 6 8 6 8 6 8 6 8
H P H P H P H P H P H P H P H P H P H P H P H P H P H P H P H

Example 7
I
V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V
25

T
A
B 7 8 7 8 7 8 7 8 7 8 7 8 7 8 7 8 7 8 7 8 7 8 7 8 7 8 7 8 7 8 7 8
H P H P H P H P H P H P H P H P H P H P H P H P H P H P H P H

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 MOTION EFFICIENCY
As recorded by Derryl Gabel
Transcribed by Derryl Gabel Music by Derryl Gabel
Arranged by Derryl Gabel
Performance Notes

This exercise will be used to develop finger independence, dexterity and train your mind to keep your fingers closer to the fretboard.

Example 1 Begin playing the first 4 note phrase on the low E. As you play each note keep your finger down on the fretboard. When you
go to the A string only lift the finger needed to play each note. Keep the other fingers down until needed. Do this across all strings. You
will be using alternate picking.

Example 2 Descend as you normally would but after you play a note place it on the adjacent string on the appropriate fret.

Practice this exercise with your metronome and gradually increase your speed.
V
eV V V gV V V e V fV
Example 1

I 44 V V gV V e V V gV V
V e V fV V V e V fV
1

Gtr I

5 6 7 8
T 5 6 7 8
5 6 7 8
A 5 6 7 8
B 5 6 7 8
5 6 7 8

Example 2
V V e V V V gV fV
V e V V gV fV e V V
4
I 44 gV fV V V e V V V V eV
V
8 7 6 5
T 8 7 6 5
8 7 6 5
A 8 7 6 5
B 8 7 6 5
8 7 6 5

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 NOTE RECOGNITION
As recorded by Derryl Gabel
Transcribed by Derryl Gabel Music by Derryl Gabel
Arranged by Derryl Gabel
Performance Notes

This exercise will be used to help you memorize the notes on the neck.
The note sequence is the Cycle of Fourths.
C F Bb Eb Ab Db Gb B E A D G

Each example should be played with the metronome. Gradually build your speed. Take note of where each note is in regards to the dots
on the fretboard. These act as a guide post or landmark to help you know where you are.

V eV gV V V
Example 1
V eV gV gV V V V
1
I 44
Gtr I

8 1 6 11 4 9 2 7 12 5 10 3
T
A
B

eV V V
Example 2
V eV gV gV V V
4
I 44 V gV V

T 1 6 11 4 9 2 7 12 5 10 3 8
A
B
Example 3
V eV gV V V V
7
I V eV gV gV V V

T
5 10 3 8 1 6 11 4 9 2 7 12
A
B
Example 4

I V eV gV gV V V V V
10
V eV gV V

T
A 10 3 8 1 6 11 4 9 2 7 12 5
B

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 NOTE RECOGNITION - Derryl Gabel Page 2 of 2
Example 5

I V V eV gV gV V V V V
eV gV V
13

T
A
B 3 8 1 6 11 4 9 2 7 12 5 10

Example 6
I V eV gV V V
eV V
16

V gV gV V V
T
A
B 8 1 6 11 4 9 2 7 12 5 10 3

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 THE MAJOR SCALE
As recorded by Derryl Gabel
Transcribed by Derryl Gabel Music by Derryl Gabel
Performance Notes

The C Major Scale

This is the C major scale played on diffrent string groupings.

Example 1
1
I 44 V V V V V V V V V V V V V V V V
Gtr I

T
A
B 3 5 7 8 10 12 14 15 15 14 12 10 8 7 5 3

Example 2

I V V V V V V V V V V
V V V V V V
5

T
A 7 9 10 9 7
B 8 10
7 8 10 10 8 7
10 8

V
Example 3
I V V V V V V V V V V V
V V V V
9

T
2 4 5 4 2
A 2 3 5 5 3 2
B 3 5 5 3

V V V V V V V V V
V V
Example 4
13
I V V V V V

T 10 12 13 12 10
9 10 12 12 10 9
A 10 12 12 10
B

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 THE MAJOR SCALE - Derryl Gabel Page 2 of 2
Example 5
V V V V V V V V V
V V V V
1
I V V V

5 7 8 7 5
T 5 6 8 8 6 5
5 7 7 5
A
B

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 MODES
As recorded by Derryl Gabel
Transcribed by Derryl Gabel Music by Derryl Gabel
Performance Notes

Examples 1 -7 are all the modes of the C major scale.

Example 1 When playing the major scale starting on the first degree the modal name is Ionian.

Example 2 When playing the major scale starting on the second degree the modal name is Dorian.

Example 3 When playing the major scale starting on the third degree the modal name is Phrygian.

Example 4 When playing the major scale starting on the fourth degree the modal name is Lydian.

Example 5 When playing the major scale starting on the fifth degree the modal name is Mixolydian.

Example 6 When playing the major scale starting on the sixth degree the modal name is Aeolian.

Example 7 When playing the major scale starting on the seventh degree the modal name is Locrian.

Take note of the economy picking technique used. Economy picking, as opposed to alternate picking, allows for less wasted energy which
in turn allows for greater speed with minimal difficulty.
Be careful though not to rush the consecutive down strokes. It's best to practice with a metronome or backing tracks so as to make sure of
your timing and evenness. Always start at a slow tempo and once mastered gradually increase.

Example 1
1
I 44 V V V V V V V V V V V V V V V V
Gtr I

T
4 5 4
A 3 5 7 7 5 3
B 3 5 7 7 5 3

Example 2

I V V V V V V V V V V
5
V V V V V V

T
5 7 5
A 5 7 9 9 7 5
B 5 7 8 8 7 5

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 MODES - Derryl Gabel Page 2 of 2

Example 3
V V V V V V V V V
9
I V V V V V V V

T
7 9 7
A 7 9 10 10 9 7
B 7 8 10 10 8 7

Example 4
V V V V V V V
13
I V V V V V V V V V

T
9 10 9
A 7 10 12 12 10 7
B 8 10 12 12 10 8

Example 5

V V V V V V V V V
17
I V V V V V V V

T
10 12 10
A 10 12 14 14 12 10
B 10 12 14 14 12 10

V V V
Example 6

V V V V V V V V V V
21
I V V V

T
12 14 12
A 12 14 15 15 14 12
B 12 14 15 15 14 12

V V V
Example 7

V V V V V V V V V V
25
I V V V

T
14 16 14
A 14 15 17 17 15 14
B 14 15 17 17 15 14

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 MODAL OCTAVE LINKING
Transcribed by Derryl Gabel Music by Derryl Gabel
Arranged by Derryl Gabel
Performance Notes

Here's a simple way to play a two octave modal scale by linking two of the same modal shapes and the octave. This will be the beginning
of helping you see more of the fretboard.

In this particular example we are starting with the lowest possible note excluding open strings. This happens to be "F" which is the fourth
degree of the C major scale.

Example 1 When playing the major scale starting on the fourth degree the modal name is Lydian.

Example 2 When playing the major scale starting on the fifth degree the modal name is Mixolydian.

Example 3 When playing the major scale starting on the sixth degree the modal name is Aeolian.

Example 4 When playing the major scale starting on the seventh degree the modal name is Locrian.

Example 5 When playing the major scale starting on the first degree the modal name is Ionian.

Example 6 When playing the major scale starting on the second degree the modal name is Dorian.

Example 7 When playing the major scale starting on the third degree the modal name is Phrygian.

Take note of the economy picking technique used. Economy picking, as opposed to alternate picking, allows for less wasted energy which
in turn allows for greater speed with minimal difficulty.
Be careful though not to rush the consecutive down strokes. It's best to practice with a metronome or backing tracks so as to make sure of

`
your timing and evenness. Always start at a slow tempo and once mastered gradually increase.

Fmaj7 G7 Am7 5 fr. Bm7 5 6 fr. Cmaj7 8 fr. Dm7 10 fr. Em7 12 fr.
x x x x 3 fr. x x x x x x x x x x

`
Bm7 5 Cmaj7III 3 fr. Dm7V 5 fr. Em7 VII 7 fr. Fmaj7VIII 8 fr. G7X 10 fr. xAm7
XII
12 fr.
x x x x x x x x x x x x x

^ ^
Fmaj7 Example 1
Gtr I

I 44 j V V V V V V V V j
V V V V V V V
1

V V V
Gtr II

T 5 6
4 5 7
A 2 3 3 5 7
B 1 3 5
2 3 5

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 MODAL OCTAVE LINKING - Artist Page 2 of 5

^ ^
V V V V V j j
3
I V V V V V V V V V
V V V V

T 6 5
7 5 4
A 7 5 3 3 2
B 5 3 2
5 3 1

^ ^
G7 Example 2

j V V V V V V V V j
I V V V V V V V
V
5

V V
T 6 8
5 7 9
A 3 5 5 7 9
B 3 5 7
3 5 7

^ ^
V V V V V j j
I V V V V V V V V V
V V V V
7

T 8 6
9 7 5
A 9 7 5 5 3
B 7 5 3
7 5 3

^ ^
Am7 Example 3

j V V V V V V V j
I V V V V V V V V
V V
9

V
T 8 10
7 9 10
A 5 7 7 9 10
B 5 7 8
5 7 8

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 MODAL OCTAVE LINKING - Artist Page 3 of 5

^ ^
V V V V V V j j
I V V V V V V V V
V V V V
11

T 8 10
10 9 7
A 10 9 7 7 5
B 8 7 5
8 7 5

`
^ ^
Bm7 5 Example 4

V V V V
I V V V V V V j V V V V V j
V V V
13

T 8 10
9 10 12
A 7 9 9 10 12
B 7 8 10
7 8 10

^ ^
V V V V V V j j
I V V V V V V V V
V V V V
15

T 10 8
12 10 9
A 12 10 9 9 7
B 10 8 7
10 8 7

^ ^
Cmaj7 Example 5

j V V V V V V V V j
17
I V V V V V V V V V V

T 12 13
10 12 14
A 9 10 10 12 14
B 8 10 12
8 10 12

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 MODAL OCTAVE LINKING - Artist Page 4 of 5

^ ^
V eV V V V V
I V V V j V V V V V j
V V V V
19

T 12 11
14 12 10
A 14 12 10 10 9
B 12 10 8
12 10 8

^ ^
Dm7 Example 6

V V V V V V V V
21
I V V V V V V V V V j V j

T 13 15
12 14 16
A 10 12 12 14 15
B 10 12 13
10 12 14

^ ^
V V V V V V
V V V j V V V V V j
23
I V V V V

T 13 15
16 14 12
A 15 14 12 12 10
B 14 12 10
13 12 10

^ ^
Em7 Example 7

V V V V
V V V V V V V
25
I V V V V V V V j j

T 13 15
14 16 17
A 12 14 14 15 17
B 12 13 15
12 14 15

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 MODAL OCTAVE LINKING - Artist Page 5 of 5

^ ^
V V V V V V
V V V j V V V V V j
1
I V V V V

T 15 13
17 16 14
A 17 15 14 14 12
B 15 14 12
15 13 12

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 MODAL OCTAVE LINKING SET 2
As recorded by Derryl Gabel
Transcribed by Derryl Gabel Music by Derryl Gabel
Arranged by Derryl Gabel
Performance Notes

Continuing on, we are going to use the modal octave linking idea but this time we are going to use the A, D, G, B, and E strings.

Example 1 B Locrian

Example 2 C Ionian

Example 3 D Dorian

Example 4 E Phrygian

Example 5 F Lydian

Example 6 G Mixolydian

Example 7 A Aeolian

`
Bm7 5 Cmaj7III 3 fr. Dm7V 5 fr. Em7 VII 7 fr. Fmaj7VIII 8 fr. G7X 10 fr. xAm7
XII
12 fr.
x x x x x x x x x x x x x

`
^ ^
Bm7 5 Example 8
Gtr I

V V V V
I V V V V V V V V j V V V V V j
V
1

Gtr II

3 5
T 5 6 8
2 4 4 5 7
A 2 3 5
B 2 3 5

^ ^
V V V V V V j j
I V V V V V V V V
V V V V
3

5 3
T 8 6 5
7 5 4 4 2
A 5 3 2
B 5 3 2

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 MODAL OCTAVE LINKING SET 2 - Derryl Gabel Page 2 of 4

^ ^
Cmaj7III Example 9

j V V V V V V V V j
5
I V V V V V V V V V V

7 8
T 6 8 10
4 5 5 7 9
A 3 5 7
B 3 5 7

^ ^
V eV V V V V
I V V V j V V V V V j
V V V V
7

7 6
T 10 8 6
9 7 5 5 4
A 7 5 3
B 7 5 3

^ ^
Dm7V Example 10

V V V V V V V
9
I V V V V V V V V V j V V j

8 10
T 8 10 12
5 7 7 9 10
A 5 7 9
B 5 7 8

^ ^
V V V V V V
V V V j V V V V V j
11
I V V V V
8 10
T 12 10 8
10 9 7 7 5
A 9 7 5
B 8 7 5

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 MODAL OCTAVE LINKING SET 2 - Derryl Gabel Page 3 of 4

^ ^
Em7VII Example 11

V V V V V V V V
V V V
13
I V V V V V V V j j

8 10
T 10 12 13
7 9 9 10 12
A 7 9 10
B 7 8 10

^ ^
V V V V V V
V V V j V V V V V j
15
I V V V V
10 8
T 13 12 10
12 10 9 9 7
A 10 9 7
B 10 8 7

^ ^
Fmaj7VIII Example 12

V V V V V V V V
V V V V
17
I V V V V V V j j

12 13
T 12 13 15
9 10 10 12 14
A 9 10 12
B 8 10 12

^ ^
V V V V V
V V V V j V V V V V j
19
I V V V V
13 12
T 15 13 12
14 12 10 10 9
A 12 10 9
B 12 10 8

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 MODAL OCTAVE LINKING SET 2 - Derryl Gabel Page 4 of 4

^ ^
G7X Example 13

V V V V V V V V
V V V V V V V V j V j
21
I V
13 15
T 13 15 17
10 12 12 14 16
A 10 12 14
B 10 12 14

^ ^
V V V V V
V V V V V V V V V
23
I j V V V V j

15 13
T 17 15 13
16 14 12 12 10
A 14 12 10
B 14 12 10

^ ^
Am7XII Example 14

V V V V
V V V V V V j V V V V V j
25
I V V V

15 17
T 15 17 18
12 14 14 16 17
A 12 14 15
B 12 14 15

^ ^
V V V V V V
V V V V V V V V
27
I j V V V V j

15 17
T 18 17 15
17 16 14 14 12
A 15 14 12
B 15 14 12

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 THREE NOTES PER STRING
As recorded by Derryl Gabel
Transcribed by Derryl Gabel Music by Derryl Gabel
Arranged by Derryl Gabel
Performance Notes

This is an example of playing the C major scale using three notes per string. Pay close attention to the patterns formed in each position.
These patterns will always stay the same and be in the same order. Also, take note of where the key center is in each modal pattern. This
will stay the same as well.

A numonic sequence that will help you memorize the three note per string patterns is CCCLLRR which will be discussed in the video and is
also explained in the included PDF document "Scale Pattern Numonics".

Pay special attention to the picking pattern. Notice that only the first two notes are picked and the third is hammerd-on when ascending
and pulled-off when descending. This gives a smoother sound as opposed to picking every note.

In this particular example we are starting with the lowest possible note excluding open strings.

Example 1 - 7 are the modes in C major ascending and descending.

Fmaj7 G7 Am7 5 fr.

`
Bm7 5 6 fr. Cmaj7 3 fr. Dm7 5 fr. x Em7
x x x x 3 fr. x x x x x x x x x 7 fr.

^ ^ ^
Fmaj7 Example 1: F Lydian
Gtr I

V V V V V V V V V V
I 44 V V V V V V V V V
V V V V V
1

Gtr II

3 5 7 5 3
T 3 5 6 6 5 3
2 4 5 5
A 2 3 5
B 1 3 5
2 3 5
H H H H H P P
H

^ ^
Fmaj7

I V V V j
4
V V V V V V V V V
T
4 2
A 5 3 2
B 5 3 2
5 3 1
P P P
P

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 THREE NOTES PER STRING - Derryl Gabel Page 2 of 4

^ ^ ^
G7 Example 2: G Mixolydian

V V V V V V V V V V
I V V V V V V V V V V
V V
6

V V
5 7 8 7 5
T 5 6 8 8 6 5
4 5 7 7
A 3 5 7
B 3 5 7
3 5 7
H H H H H P P
H

^ ^
G7

I V V V V j
9
V V V V V V V V
T
5 4
A 7 5 3
B 7 5 3
7 5 3
P P P
P

^ ^ ^
Am7 Example 3: A Aeolian

V V V V V V V V V V V
V V V V V
I V V V V V V
V V
11

7 8 10 8 7
T 6 8 10 10 8 6
5 7 9 9
A 5 7 9
B 5 7 8
5 7 8
H H H H H P P
H

^ ^
Am7

I V V V V V V V V V
j
V
14

V V
T
7 5
A 9 7 5
B 8 7 5
8 7 5
P P P
P

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 `
THREE NOTES PER STRING - Derryl Gabel Page 3 of 4

^ ^ ^
Bm7 5 Example 4: B Locrian

V V V V V V V V V V V
V V V V V
I V V V
V V V V V
16

8 10 12 10 8
T 8 10 12 12 10 8
7 9 10 10
A 7 9 10
B 7 8 10
7 8 10

`
H H H H H P P
H

^ ^
Bm7 5

V V V V V j
I V V V V V V V
19

T
9 7
A 10 9 7
B 10 8 7
10 8 7
P P P
P

^ ^ ^
Cmaj7 Example 5: C Ionian

V V V V V V V V V V
21
I V V V V V V V V V V V V V V

10 12 13 12 10
T 10 12 13 13 12 10
9 10 12 12
A 9 10 12
B 8 10 12
8 10 12
H H H H H P P
H

^ ^
Cmaj7

V V V V V j
I V V V V V V V
24

T
10 9
A 12 10 9
B 12 10 8
12 10 8
P P P
P

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 THREE NOTES PER STRING - Derryl Gabel Page 4 of 4

^ ^ ^
Dm7 Example 6: D Dorian

V V V V V V V V V V V
V V V V V
26
I V V V V V V V V
12 13 15 13 12
T 12 13 15 15 13 12
10 12 14 14
A 10 12 14
B 10 12 13
10 12 14
H H H H H P P
H

Dm7
V V V V V j
I V V V V V V V
29

T
12 10
A 14 12 10
B 14 12 10
13 12 10
P P P
P

^ ^ ^
Em7 Example 7: E Phrygian

V V V V V V V V V V V
V V V V V V
31
I V V V V V V V
13 15 17 15 13
T 13 15 17 17 15 13
12 14 16 16
A 12 14 15
B 12 13 15
12 14 15
H H H H H P P
H

^ ^
Em7

V V V V V j
I V V V V V V V
34

T
14 12
A 15 14 12
B 15 14 12
15 13 12
P P P
P

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 SHIFTING
As recorded by Derryl Gabel
Transcribed by Derryl Gabel Music by Derryl Gabel
Arranged by Derryl Gabel
Performance Notes

Here's another way to practice playing your scale patterns three notes per string. Ascend one pattern, shift and descend the next.

Also practice these by decsending your first pattern, shifting and ascending the next.

The picking technique used is the same as when we ascended the patterns earlier. When descending you will want to do an up down

`
pull-off pattern.

Fmaj7 G7 Am7 5 fr. Bm7 5 6 fr. Cmaj7 3 fr. Dm7 5 fr. x Em7
x x x x 3 fr. x x x x x x x x x 7 fr.

^ ^ ^
Fmaj7 Example 1
Gtr I

V V V V V V V V V V V
I 44 V V V V V V V V
V V V V V
1

Gtr II

3 5 7 8 7 5
T 3 5 6 8 6 5
2 4 5
A 2 3 5
B 1 3 5
2 3 5
H H H H H sl. P P
H

^ ^
Fmaj7

I V V V V V V V V V
j
V
4

V V
T
7 5 4
A 7 5 3
B 7 5 3
7 5 3
P P P
P

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 SHIFTING - Derryl Gabel Page 2 of 5

^ ^ ^
G7 Example 2

V V V V V V V V V V V V
I V V V V
V V V
V V V V V
6

5 7 8 10 8 7
T 5 6 8 10 8 6
4 5 7
A 3 5 7
B 3 5 7
3 5 7
H H H H H sl. P P
H

^ ^
G7

V V V V V j
I V V V V V V
9

V
T
9 7 5
A 9 7 5
B 8 7 5
8 7 5
P P P
P

^ ^ ^
Am7 Example 3

V V V V V V V V V V V
I V V V V V V V V V
V V V
11

V
7 8 10 12 10 8
T 6 8 10 12 10 8
5 7 9
A 5 7 9
B 5 7 8
5 7 8
H H H H H sl. P P
H

^ ^
Am7

V V V V V j
I V V V V V V V
14

T
10 9 7
A 10 9 7
B 10 8 7
10 8 7
P P P
P

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 `
SHIFTING - Derryl Gabel Page 3 of 5

^ ^ ^
Bm7 5 Example 4

V V V V V V V V V V V V
V V V V
I V V V
V V V V V
16

8 10 12 13 12 10
T 8 10 12 13 12 10
7 9 10
A 7 9 10
B 7 8 10
7 8 10

`
H H H H H sl. P P
H

^ ^
Bm7 5

V V V V V j
I V V V V V V V
19

T
12 10 9
A 12 10 9
B 12 10 8
12 10 8
P P P
P

^ ^ ^
Cmaj7 Example 5

V V V V V V V V V V V
21
I V V V V V V V V V V V V V

10 12 13 15 13 12
T 10 12 13 15 13 12
9 10 12
A 9 10 12
B 8 10 12
8 10 12
H H H H H sl. P P
H

^ ^
Cmaj7

V V V V V j
I V V V V V V V
24

T
14 12 10
A 14 12 10
B 14 12 10
13 12 10
P P P
P

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 SHIFTING - Derryl Gabel Page 4 of 5

^ ^ ^
Dm7 Example 6

V V V V V V V V V V V V
V V V V
26
I V V V V V V V V
12 13 15 17 15 13
T 12 13 15 17 15 13
10 12 14
A 10 12 14
B 10 12 13
10 12 14
H H H H H sl. P P
H

^ ^
Dm7

V V V V V
I V V V V V j
29
V V

T
16 14 12
A 15 14 12
B 15 14 12
15 13 12
P P P
P

^ ^ ^
Em7 Example 7

V V V V V V V V V V V V
V V V V V
31
I V V V V V V V
13 15 17 19 17 15
T 13 15 17 18 17 15
12 14 16
A 12 14 15
B 12 13 15
12 14 15
H H H H H sl. P P
H

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 SHIFTING - Derryl Gabel Page 5 of 5

^ ^
Em7

V V V V V V V V V V j
1
I V V

T
17 16 14
A 17 15 14
B 17 15 14
17 15 13
P P P
P

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 TWELVE KEY STUDY
As recorded by Derryl Gabel
Transcribed by Derryl Gabel Music by Derryl Gabel
Arranged by Derryl Gabel
Performance Notes

In this example we are playing all twelve keys in basically one position in the cycle of fourths and highlighting the key centers within each
scale pattern. These key centers will always stay in the same location in regards to the scale pattern. Memorize where every key center is
located within each of the seven patterns.

You will want to do this exercise in all seven positions which includes this example.

The cycle of fourths is as follows

C F Bb Eb Ab Db Gb B E A D G

We started with F Lydian from the key of C and cycled through all twelve keys.

When you go to the next position you will begin with the key of C but will start with G Mixolydian. Cycle through all the keys making sure not
to repeat any patterns from the previous position.

The next position will begin with A Aeolian from the key of C. So as you progress you are starting each twelve key cycle with the next mode
in the key of C. Since there are seven modes you will do this study in seven positions. It is recommended that you even repeat the exercise
an octave ( twelve frets ) higher so as to also exercise the higher registers of the neck.

V
V V V V V V
Key of C

I 44 V j
V V V V V V V V
V
j
V V V V
1

Gtr I

3 5 7
T 3 5 6
2 4 5 5
A 2 3 5
B 3
1 3 5
2 3 5 3
H H H H H
H

Key of F
V V V V V V V V V V V
Ie j V V V j
5
V V V V V V
V
6 5 3 1
T 6 6 5 3
5 3 2
A 5 3 2 3
B 5 3 1
5 3 1
P P P P P
P

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 TWELVE KEY STUDY - Derryl Gabel Page 2 of 4

V
V V V V V V
Key of Bb
e j V V V j
Ie V V V V V
V V V V V V
9

3 5 6
T 3 4 6
2 3 5 3
A 1 3 5
B 1
1 3 5
1 3 5 1
H H H H H
H

Key of Eb
e V V V V V V V V V V V
Ie e j V V V j
V V V V V V
13

V
6 4 3
T 4 6 4 3 4
5 3 1
A 5 3 1 1
B 5 3 1
4 3 1
P P P P P
P

V
V V V V V V
Key of Ab
e
Ie e e j
V V V V V V V V V j
V V V V
17

V
3 4 6 4
T 2 4 6
1 3 5 1
A 1 3 5
B 4 1 3 4
1 3 4
H H H H H
H

V V V V
Key of Db
e V V V V V
21
Ie e e e V j V V V V V V V V V
V j
V
6 4 2
T 2 6 4 2 2
5 3 1
A 4 3 1
B 4 3 1
4 2 1
4
P P P P P
P

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 TWELVE KEY STUDY - Derryl Gabel Page 3 of 4

V
V V V V V V
Key of Gb
e
Ie e e e e j
V V V V V
V V V V j
V V V V
25

V
2 4 6 2
T 2 4 6
1 3 4
A 1 3 4 4
B 2 1 2 4
1 2 4
H H H H H
H

gggg V V V V V
Key of B
j V V V V V V j
29
I g V V V V V V V V V
V
7 7 6 4
T 7 5 4
6 4 3 4
A 6 4 2
B 6 4 2
6 4 2
2
P P P P P
P

V
V V V V V V
Key of E
gg
Igg V j
V V V V V V V V V
j
V V V V
33

4 5 7
T 4 5 7 5
2 4 6
A 2 2 4 6 2
B 2 4 5
2 4 6
H H H H H
H

ggg V V V V V
Key of A
j V V V V V V j
37
I V V V V V V V V V
V
5 7 5 4
T 7 5 3
6 4 2 2
A 6 4 2
B 5 4 2
5 4 2 5
P P P P P
P

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 TWELVE KEY STUDY - Derryl Gabel Page 4 of 4

V
V V V V V V
Key of D
gg j j
I V V V V V V V V V
V V V V V
41

3 5 7
T 3 5 7 3
2 4 6
A 2 4 5
B 5
2 3 5
2 4 5 5
H H H H H
H

g V V V V V
Key of G
j V V V V V j
45
I V V V V V V V V V V
V
3 7 5 3
T 7 5 3
5 4 2
A 5 4 2 5
B 5 3 2
5 3 2 3
P P P P P
P

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 SEQUENCING
As recorded by Derryl Gabel
Transcribed by Derryl Gabel Music by Derryl Gabel
Arranged by Derryl Gabel
Performance Notes

There are different ways we can use a roll.

Example 1 shows a variation on the idea we did earlier. Here we are starting on the second note of the roll.

Example 2 is another variation.

Example 3 sequences the same idea going across the strings horizontally. in groups of six using the C major scale.

Example 4 uses the same idea used in example one but we are ascending across the strings.

Example 5 sequences this idea using a C major pentatonic.

Example 6 descends an A minor pentatonic with a new idea. For more "cool phrases" like this check out my DVDs "Cool Legato Phrases
parts 1 and 2.

gV V V e V V V V V V V V V V V V V V V V V V V V V
Example 1

1
I 44 6 6 6 6
Gtr I

9 7 9 11 9 7 9 7 9 11 9 7 9 7 9 11 9 7 9 7 9 11 9 7
T
A
B
P H H P P P H H P P P H H P P P H H P P

Example 2
e V V gV V V V V V V V V V V V V V V V V V V V V V
2
I 44 6 6 6 6

11 7 9 11 9 7 11 7 9 11 9 7 11 7 9 11 9 7 11 7 9 11 9 7
T
A
B
P H H P P H P H H P P H P H H P P H P H H P P

V V V V V V V
Example 3
V V V V V V V V V V V V
3
I 6 V V V V V
6
6
6
13 10 12 13 12 10
T 13 10 12 13 12 10
12 9 10 12 10 9
A 12 9 10 12 10 9
B
P H H P P P H H P P P H H P P P H H P P

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 SEQUENCING - Derryl Gabel Page 2 of 2

I V V V V V V
6
V V V V V V
4

T
A
B 12 8 10 12 10 8
12 8 10 12 10 8
P H H P P
P H H P P
Example 4
6

V V V V V V
6

I V V V V V V
6

Vj V V V V V
5

T
A 10 9 10 12 10 9
B 10 8 10 12 10 8
10 8 10 12 10 8
P H H P P P H H P P
P H H P P

V V V V V
Example 5
V V V V
I V V V V V V V V V V
V V V V V
6

10 8 10 12
T 10 8 10 13
9 7 10 12
A 10 7 10 12
B 10 8 10 12
10 7 10 12
P H H P H H P H H P H H P H H
P H H

V V V V V V V V
Example 6
V V V V V V V V V V V V
6
7
I 6
V V V V
6
6
10 8 5 8 5
T 8 10 8 5 8 5
7 9 7 5 7 5
A 7 10 7 5 7 5
B 7
P P H P H P P H P H P P H P H P P H P

6
I V V V
6
V V V V V
8

V V V V
T
A
B 10 7 5 7 5
8 10 8 5
P P H P
H P P

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 ROLLING EXERCISES
As recorded by Derryl Gabel
Transcribed by Derryl Gabel Music by Derryl Gabel
Arranged by Derryl Gabel
Performance Notes

This exercise will be used to develop strength, independence, endurance, and dexterity in the fret hand.

A roll is a short musical ascending to descending phrase were the notes run consecutively as shown in these examples. A roll could also
start descending and then ascend.

Example 1 is a chromatic roll using your first, second, and third fingers.

In the following examples pick the first note of each exercise as shown.

Example 2 uses your second, third, and fourth fingers.

Example 3 uses the first three notes of a major scale pattern. Use your first, third, and fourth fingers,

Example 4 uses the first three notes of a minor pentatonic pattern. Use your first, third, and fourth fingers,

Example 5 uses a diminished triad pattern. Use your first, third, and fourth fingers,

Example 6 uses a major triad pattern. Use your first, third, and fourth fingers,

Example 7 uses the first three notes of a major scale pattern but this time use your first, second, and fourth fingers,

Example 8 uses the first three notes of a minor pentatonic pattern. Use your first, second, and fourth fingers,

Example 9 uses a diminished triad pattern. Use your first, second, and fourth fingers,

Example 10 uses a minor triad pattern. Use your first, second, and fourth fingers,

Practice this exercise with your metronome and gradually increase your speed. Play these exercises on all strings

V V gV f V V V gV fV V V gV f V V V gV f V V V gV fV V V gV fV V V gV f V V V gV fV
Example 1

1
I
Gtr I

7 8 9 8 7 8 9 8 7 8 9 8 7 8 9 8 7 8 9 8 7 8 9 8 7 8 9 8 7 8 9 8
T
A
B
H H P P H H P P H H P P H H P P H H P P H H P P H H P P H H P

V gV V V fV gV V V fV gV V V f V gV V V V gV V V fV gV V V f V gV V V f V gV V V
Example 2

3
I 44
8 9 10 9 8 9 10 9 8 9 10 9 8 9 10 9 8 9 10 9 8 9 10 9 8 9 10 9 8 9 10 9
T
A
B
H H P P H H P P H H P P H H P P H H P P H H P P H H P P H H P

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 ROLLING EXERCISES - Derryl Gabel Page 2 of 3

V gV e V V V V V V V V V V V V V V V gV e V V V V V V V V V V V V V V
Example 3

5
I
7 9 11 9 7 9 11 9 7 9 11 9 7 9 11 9 7 9 11 9 7 9 11 9 7 9 11 9 7 9 11 9
T
A
B
H H P P H H P P H H P P H H P P H H P P H H P P H H P P H H P

V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V
Example 4

7
I
7 10 12 10 7 10 12 10 7 10 12 10 7 10 12 10 7 10 12 10 7 10 12 10 7 10 12 10 7 10 12 10
T
A
B
H H P P H H P P H H P P H H P P H H P P H H P P H H P P H H P

V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V
Example 5

9
I
7 10 13 10 7 10 13 10 7 10 13 10 7 10 13 10 7 10 13 10 7 10 13 10 7 10 13 10 7 10 13 10
T
A
B
H H P P H H P P H H P P H H P P H H P P H H P P H H P P H H P

V e V gV V V V V V V V V V V V V V V e V gV V V V V V V V V V V V V V
Example 6

11
I
7 11 14 11 7 11 14 11 7 11 14 11 7 11 14 11 7 11 14 11 7 11 14 11 7 11 14 11 7 11 14 11
T
A
B
H H P P H H P P H H P P H H P P H H P P H H P P H H P P H H P P

V gV e V V V V V V V V V V V V V V V gV e V V V V V V V V V V V V V V
Example 7

13
I
7 9 11 9 7 9 11 9 7 9 11 9 7 9 11 9 7 9 11 9 7 9 11 9 7 9 11 9 7 9 11 9
T
A
B
H H P P H H P P H H P P H H P P H H P P H H P P H H P P H H P

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 ROLLING EXERCISES - Derryl Gabel Page 3 of 3

V gV V V V V V V V V V V V V V V V gV V V V V V V V V V V V V V V
Example 8

15
I
7 9 12 9 7 9 12 9 7 9 12 9 7 9 12 9 7 9 12 9 7 9 12 9 7 9 12 9 7 9 12 9
T
A
B
H H P P H H P P H H P P H H P P H H P P H H P P H H P P H H P

V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V
Example 9

17
I
7 10 13 10 7 10 13 10 7 10 13 10 7 10 13 10 7 10 13 10 7 10 13 10 7 10 13 10 7 10 13 10
T
A
B
H H P P H H P P H H P P H H P P H H P P H H P P H H P P H H P P

V V gV V V V V V V V V V V V V V V V gV V V V V V V V V V V V V V
Example 10

19
I
7 10 14 10 7 10 14 10 7 10 14 10 7 10 14 10 7 10 14 10 7 10 14 10 7 10 14 10 7 10 14 10
T
A
B
H H P P H H P P H H P P H H P P H H P P H H P P H H P P H H P P

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 VERTICAL ROLLING SHIFTS
As recorded by Derryl Gabel
Transcribed by Derryl Gabel Music by Derryl Gabel
Arranged by Derryl Gabel
Performance Notes

This exercise is designed to help you see the scale patterns vertically.

Examples 1 - 7 are the basic scale fragments used for our "Vertical Rolling Shifts" idea. These scale fragments are 6 note groupings taken
from each modal pattern from the C major scale. Take note of the geometric patterns created. These same patterns are repeated in the
same order just starting on a different note on each group of strings. The patterns are slightly different on the G and B string group
because of the tuning. To compensate just remember that the pattern on the B string will be up a fret.

Examples 8 - 17 are scale patterns that are linked together vertically using a series of rolls and shifts. These patterns are played on each
group of two adjacent strings.

Example 8 ascends up the fretboard while example 9 descends.

`
This same concept is applied to each string grouping in the remaining examples,

Dm7add45 fr. Am7add4 Em7add4 7 fr. Bm7add4 2 fr. Fmaj7 5 3 fr.

x x x x x x x x xx

V V
V V V V V V j V V V V V j
Example 4
V V eV j V V V V V j
Example 1 Example 2 Example 3

4 V V V
1
I4
Gtr II

3 5 6 5 7 8 7 8 10 8 10 12
T 3 5 6 5 6 8 6 8 10 8 10 12
A
B

V V
V V V V V V V V V V V V V V V
Example 5 Example 6 Example 7
V
5
I 44 j j j
10 12 13 12 13 15 13 15 17
T 10 12 13 12 13 15 13 15 17
A
B

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 VERTICAL ROLLING SHIFTS - Derryl Gabel Page 2 of 6

^ ^
Dm7add4 Example 8
Gtr I

V V V V V V V V V V V V V V V V V V V V V
4 V V V V V V V V V V V
8
I4
Gtr II

3 5 7 5 3 5 7 8 7 5 7 8 10 8 7 8 10 12 10 8
T 3 5 6 8 6 5 6 8 10 12 10 8
A
B
H H H H P P sl. H H P P P P sl. H H H H P P sl. H H P P P P sl.

^ ^
V V V V V V V V V V V V V V V
V
V V V V V V V V V V V V V V V V
10
I
10 12 13 12 10 12 13 15 13 12 13 15 17 15 13 15 17 19 17 15
T 10 12 13 15 13 12 13 15 17 18 17 15
A
B
sl. H H H H P P sl. H H P P P P sl. H H H H P P sl. H H P P P P

^ ^
V
Example 9

V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V
12
I
15 17 19 17 15 13 15 17 15 13 12 13 15 13 12 10 12 13 12 10
T 15 17 18 17 15 13 12 13 15 13 12 10
A
B
H H H H P P sl. H H P P P P sl. H H H H P P sl. H H P P P P sl.

^ ^
V
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V
14
I
8 10 12 10 8 7 8 10 8 7 5 7 8 7 5 3 5 7 5 3
T 8 10 12 10 8 6 5 6 8 6 5 3
A
B
sl. H H H H P P sl. H H P P P P sl. H H H H P P sl. H H P P P P

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 VERTICAL ROLLING SHIFTS - Derryl Gabel Page 3 of 6

Example 10
^ ^
Am7add4

V V V V V V V V V V V V V V V V V V V V
16
I V V V V V V V V V V V V

T 3 5 6 5 3 5 6 8 6 5 6 8 10 8 6 8 10 12 10 8
2 4 5 7 5 4 5 7 9 10 9 7
A
B
H H H H P P sl. H H P P P P sl. H H H H P P sl. H H P P P P sl.

^ ^
V V V V V V V V V V V V V V V
V
V V V V V V V V V V V V V V V V
18
I

T 10 12 13 12 10 12 13 15 13 12 13 15 17 15 13 15 17 18 17 15
9 10 12 14 12 10 12 14 16 17 16 14
A
B
sl. H H H H P P sl. H H P P P P sl. H H H H P P sl. H H P P P P

^ ^
V
Example 11

V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V
20
I

T 15 17 18 17 15 13 15 17 15 13 12 13 15 13 12 10 12 13 12 10
14 16 17 16 14 12 10 12 14 12 10 9
A
B
H H H H P P sl. H H P P P P sl. H H H H P P sl. H H P P P P sl.

^ ^
V V V V V V V V V V V V V V V
22
I V V V V V V V V V V V V V V V V V

T 8 10 12 10 8 6 8 10 8 6 5 6 8 6 5 3 5 6 5 3
7 9 10 9 7 5 4 5 7 5 4 2
A
B
sl. H H H H P P sl. H H P P P P sl. H H H H P P sl. H H P P P P

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 VERTICAL ROLLING SHIFTS - Derryl Gabel Page 4 of 6

^ ^
Em7add4 Example 12

V V V V V V V V
24
I V V V V V V V V V V V V V V V V V V V V V V V V

T
2 4 5 4 2 4 5 7 5 4 5 7 9 7 5 7 9 10 9 7
A 2 3 5 7 5 3 5 7 9 10 9 7
B
H H H H P P sl. H H P P P P sl. H H H H P P sl. H H P P P P sl.

^ ^
V V V V V V V V V V V V V V V V V V V V V
26
I V V V V V V V V V V V

T
9 10 12 10 9 10 12 14 12 10 12 14 16 14 12 14 16 17 16 14
A 9 10 12 14 12 10 12 14 15 17 15 14
B
sl. H H H H P P sl. H H P P P P sl. H H H H P P sl. H H P P P P

^ ^
V V V V V V V V V V V V V V
Example 13
V
28
I
V V V V V V V V V V V V V V V V V

T
14 16 17 16 14 12 14 16 14 12 10 12 14 12 10 9 10 12 10 9
A 14 15 17 15 14 12 10 12 14 12 10 9
B
H H H H P P sl. H H P P P P sl. H H H H P P sl. H H P P P P sl.

^ ^
V V V V V V V V V V V
30
I V V V V V V
V V V V V V V V V V V V V V V

T
7 9 10 9 7 5 7 9 7 5 4 5 7 5 4 2 4 5 4 2
A 7 9 10 9 7 5 3 5 7 5 3 2
B
sl. H H H H P P sl. H H P P P P sl. H H H H P P sl. H H P P P P

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 VERTICAL ROLLING SHIFTS - Derryl Gabel Page 5 of 6

Example 14
^ ^
Bm7add4

V V V V V V V V V V V V V V V
I V
V V V V V V V V V V V V V V V V
32

T
A 2 3 5 3 2 3 5 7 5 3 5 7 9 7 5 7 9 10 9 7
B 2 3 5 7 5 3 5 7 8 10 8 7
H H H H P P sl. H H P P P P sl. H H H H P P sl. H H P P P P sl.

^ ^
V V V V V V V V V
34
I V V V V V V V V V V V V V V V V V V V V V V V

T
A 9 10 12 10 9 10 12 14 12 10 12 14 15 14 12 14 15 17 15 14
B 8 10 12 14 12 10 12 14 15 17 15 14
sl. H H H H P P sl. H H P P P P sl. H H H H P P sl. H H P P P P

^ Example 15 ^
V V V V V V V V V V V V V V
36
I V V V V V V V V V V V V V V V V V V

T
A 14 15 17 15 14 12 14 15 14 12 10 12 14 12 10 9 10 12 10 9
B 14 15 17 15 14 12 10 12 14 12 10 8
H H H H P P sl. H H P P P P sl. H H H H P P sl. H H P P P P sl.

^ ^
38
I V V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V

T
A 7 9 10 9 7 5 7 9 7 5 3 5 7 5 3 2 3 5 3 2
B 7 8 10 8 7 5 3 5 7 5 3 2
sl. H H H H P P sl. H H P P P P sl. H H H H P P sl. H H P P P P

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 `
VERTICAL ROLLING SHIFTS - Derryl Gabel Page 6 of 6

Example 16
^ ^
Fmaj7 5

I V V V V V V V V V V V V V V V
V
V V V V V V V V V V V V V V V V
40

T
A
B 1 3 5
2 3 5 3 2 3 5 7 5 3
7 5 3 5 7 8
5 7 8 7 5 7 8 10 8 7
10 8 7
H H P P sl. H H P P H H P P sl. H H P P
H H P P sl. H H P P sl.

^ ^

I V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V
V
42

T
A
B 8 10 12
8 10 12 10 8 10 12 14 12 10
13 12 10 12 13 15
12 14 15 14 12 14 15 17 15 14
17 15 13
H H P P sl. H H P P H H P P sl. H H P P
sl. H H P P sl. H H P P

^ Example 17 ^
44
I V V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V

T
A
B 13 15 17
14 15 17 15 14 12 14 15 14 12
15 13 12 10 12 13
10 12 14 12 10 8 10 12 10 8
12 10 8
H H P P sl. H H P P H H P P sl. H H P P
H H P P sl. H H P P sl.

^ ^
I V
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V
46

T
A
B 7 8 10
7 8 10 8 7 5 7 8 7 5
8 7 5 3 5 7
3 5 7 5 3 2 3 5 3 2
5 3 1
H H P P sl. H H P P H H P P sl. H H P P
sl. H H P P sl. H H P P

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 ZIGZAG ROLLING SHIFTS
As recorded by Derryl Gabel
Transcribed by Derryl Gabel Music by Derryl Gabel
Arranged by Derryl Gabel
Performance Notes

Examples 1 - 14 are exercises designed to help you see both scale patterns side by side using a series of shifts creating a zigzag motion.
These patterns are based on the C major scale.

Rules for Descending

Not counting the pickup roll, after a roll go to the next string.
After a 3 note descending phrase, shift down or up depending on last shift.

Rules for Ascending

After a roll, shift down or up depending on last shift.

` `
After a 3 note ascending phrase, go to the next string.

G9 Am9 Bm7 9 3 fr. Cmaj9 5 fr. Dm9 6 fr. Em7 9 8 fr. Fmaj9 10 fr.
x x x x x x x x x x x x x x

^ ^
G9 Example 1
Gtr I

4 V V V V V V V V V V V V V V V V V V V
1
I4 V V V V V V V V V V V V V
Gtr II

3 5 7 5 3 5 7 8 7 5
T 8 6 5 3 5 6 5 3
5 4 2 4 5 7 5 4
A 7 5 3 2 3 5
B
H H P P sl. H H P P H P sl. H P P H P sl. H H P P H P sl. H H P

^ ^
I V V V V V V V V V j
V V V V V V V
3

V
T
A 3 2
B 5 3 2 3 5 7 5 3
7 5 3 1 3 5 3
P H P sl. H H P P
H P P H H

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 ZIGZAG ROLLING SHIFTS - Derryl Gabel Page 2 of 8

^ Example 2 ^
V V V V V V V V V V V
5
I
V V V V V V V V V V V V V V V V V V
V V V
T 5 6 8 6 5
2 4 5 4 2 4 5 7
A 3 5 7 5 3 2 3 5
B 1 3 5
2 3 5 3 2 3 5 7
H H P P sl. H H H H P P sl. H H H H P P sl. H H H H P P P
H H

^
V
V V V V V V V V V V V V
7
I
3 5 7 5 3 5 7 8 7
T 3 5 6
A
B
H H H H P P sl. H H

^ ^
Am9 Example 3

V V V V V V V V V V V V V V V V V V V V V V V V V V V
8
I V V V V V

5 7 8 7 5 7 8 10 8 7
T 10 8 6 5 6 8 6 5
7 5 4 5 7 9 7 5
A 9 7 5 3 5 7
B
H H P P sl. H H P P H P sl. H H P P H P sl. H H P P H P sl. H H P

^ ^
I V V V V V V V V V V V j
V V V V V
10

V
T
A 5 3
B 7 5 3 5 7 8 7 5
8 7 5 3 5 7 5
P H P sl. H H P P
H P sl. H H P

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 ZIGZAG ROLLING SHIFTS - Derryl Gabel Page 3 of 8

^ Example 4 ^
V V V V V V V V V V V
I V V V V V V V V V V V V V V V V V V
V V V
12

T 6 8 10 8 6
4 5 7 5 4 5 7 9
A 5 7 9 7 5 3 5 7
B 3 5 7
3 5 7 5 3 5 7 8
H H P P sl. H H H sl. H H H P P sl. H H H H P P P
H H

^
V V V V V
V V V V V V V V
14
I
5 7 8 7 5 7 8 10 8
T 5 6 8
A
B
H H H H P P sl. H H

`
^ ^
Bm7 9 Example 5

V V V V V V V V V V V V V V V V V V V V V V V V V V V
15
I V V V V V

7 8 10 8 7 8 10 12 10 8
T 12 10 8 6 8 10 8 6
9 7 5 7 9 10 9 7
A 10 9 7 5 7 9
B
H H P P sl. H H P P H P sl. H P P H P sl. H H P P H P sl. H H P

^ ^
I V V V V V V V V V V V V j
V V V V V
17

T
A 7 5
B 8 7 5 7 8 10 8 7
10 8 7 5 7 8 7
P H P sl. H H P P
H P P H H P

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 ZIGZAG ROLLING SHIFTS - Derryl Gabel Page 4 of 8

^ Example 6 ^
V V V V V V V V V V V
I V V V V V V V V V V V V V V V V
V V V V V
19

T 8 10 12 10 8
5 7 9 7 5 7 9 10
A 7 9 10 9 7 5 7 9
B 5 7 8
5 7 8 7 5 7 8 10
H H P P sl. H H H H P P sl. H H H H P P sl. H H H H P P P
H H

^
V V V V V
V V V V V V V V
21
I
7 8 10 8 7 8 10 12 10
T 6 8 10
A
B
H H H H P P sl. H

^ ^
Cmaj9 Example 7

V V V V V V V V V V V V V V V V V V V V V V V V V V V
22
I V V V V V

8 10 12 10 8 10 12 13 12 10
T 13 12 10 8 10 12 10 8
10 9 7 9 10 12 10 9
A 12 10 9 7 9 10
B
H H P P sl. H H P P H P sl. H H P P H P sl. H H P P P P sl. H H P

^ ^

I V V V V V V V V V V V V V V V j
V V
24

T
A 9 7
B 10 8 7 8 10 12 10 8
12 10 8 7 8 10 8
P H sl. P sl. H H P P
H P P H P

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 ZIGZAG ROLLING SHIFTS - Derryl Gabel Page 5 of 8

^ ^
V V V V V V
Example 8

V V V V V
I V V V V V V V V V V V V V V V V V V V V
V
26

T 10 12 13 12 10
7 9 10 9 7 9 10 12
A 9 10 12 10 9 7 9 10
B 7 8 10
7 8 10 8 7 8 10 12
H H P P sl. H H H H P sl. H H H H P P sl. H H H P P
H H

^
V V V V V
V V V V V V V V
28
I
8 10 12 10 8 10 12 13 12
T 8 10 12
A
B
H H H H P P sl. H H

^ ^
Dm9 Example 9

V V V V V V V V V V V V V V V V V V V V V V V V V V V
29
I V V V V V

10 12 13 12 10 12 13 15 13 12
T 15 13 12 10 12 13 12 10
12 10 9 10 12 14 12 10
A 14 12 10 9 10 12
B
H H P P sl. H H P P H P sl. H H P P H P sl. H H P P H P sl. H H P

^ ^

I V V V V V V V V V V V V V V V V j
V
31

T
A 10 9
B 12 10 8 10 12 14 12 10
13 12 10 8 10 12 10
P H P sl. H H P P
H P sl. H H

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 ZIGZAG ROLLING SHIFTS - Derryl Gabel Page 6 of 8

^ Example 10 ^
V V V V V V V V V V V
V V V V V V
33
I V V V V V V V V V V V V V V V

T 12 13 15 13 12
9 10 12 10 9 10 12 14
A 10 12 14 12 10 9 10 12
B 8 10 12
8 10 12 10 8 10 12 14
H H P P sl. H H H H P P sl. H H H H P P sl. H H H P P
H H

^
V V V V V
V V V V V V V V
35
I
10 12 13 12 10 12 13 15 13
T 10 12 13
A
B
H H H H P P sl. H

`
^ ^
Em7 9 Example 11

V V V V V V V V V V V V V V V V V V V V V V V V V V V
V V V V V
36
I
12 13 15 13 12 13 15 17 15 13
T 17 15 13 12 13 15 13 12
14 12 10 12 14 16 14 12
A 15 14 12 10 12 14
B
H H P P sl. H H P P H P sl. H H P P H P sl. H H P P H P sl. H H P

^ ^
38
I V V V V V V V V V V V V V V V V V
j

T
A 12 10
B 14 12 10 12 14 15 14 12
15 13 12 10 12 13 12
P H P sl. H P P
H P P H H P

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 ZIGZAG ROLLING SHIFTS - Derryl Gabel Page 7 of 8

^ Example 12 ^
V V V V V V V V V V V
V V V V V V V V V
40
I V V V V V V V V V V V V

T 13 15 17 15 13
10 12 14 12 10 12 14 16
A 12 14 15 14 12 10 12 14
B 10 12 13
10 12 14 12 10 12 14 15
H H P P sl. H H H H P P sl. H H H H P P sl. H H H H P P P
H H

^
V V V V V
V V V V V V V V
42
I
12 13 15 13 12 13 15 17 15
T 12 13 15
A
B
H H H H P P sl. H H

^ ^
Fmaj9 Example 13

V V V V V V V V V V V V V V V V V V V V V V V V V V V
V V V V V
43
I
13 15 17 15 13 15 17 19 17 15
T 18 17 15 13 15 17 15 13
16 14 12 14 16 17 16 14
A 17 15 14 12 14 15
B
H H P P sl. H H P P H P sl. H H P P H P sl. H H P P H P sl. H H P

^ ^
V V V V V V V V V V V j
45
I V V V V V V

T
A 14 12
B 15 14 12 14 15 17 15 14
17 15 13 12 13 15 13
P H P sl. H H P P
H P P H H P

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 ZIGZAG ROLLING SHIFTS - Derryl Gabel Page 8 of 8

^ ^
V V V V V
Example 14
V V V V V V
V V V V V V V V V V V V V V V V V V
47
I V V V

T 15 17 18 17 15
12 14 16 14 12 14 16 17
A 14 15 17 15 14 12 14 15
B 12 13 15
12 14 15 14 12 14 15 17
H H P P sl. H H H H P P sl. H H H H P P sl. H H H H P P P
H H

^
V V V V V
V V V V V V V V
49
I
13 15 17 15 13 15 17 19 17
T 13 15 17
A
B
H H H H P P sl. H H

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 DIAGONAL ROLLING SHIFTS HELE
As recorded by Derryl Gabel
Transcribed by Derryl Gabel Music by Derryl Gabel
Arranged by Derryl Gabel
Performance Notes

Here we have examples of vertical diagonal shifting for each position.

Rules for Descending

After a roll go to the next string
After a 3 note descending phrase, shift up to the next note and then roll.

Rules for Ascending

After a 3 note ascending phrase, go to the next string.
After a roll, shift down to the next note.

Fmaj7+117 fr. F/G Am11 3 fr. Bm11 5 fr. Cmaj7 3 fr. Dm11 3 fr. Em11 5 fr.
x x x x x x x x x x x x x x

^ ^
F/G Example 1
Gtr I

V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V
1
I V V
Gtr II

3 5 7 5 3
T 6 5 3 5 6 8 6 5
7 5 4 5 7 9 7 5
A 9 7 5 7 9 10 9 7
B 10 8 7
H H P P H P sl. H H P H P sl. H H P P H P sl. H H P H P

^
I V V V j
3
V V V V V V V V V

T
A
B 8 10 12 10 8
12 10 8 10 12
H H P P
H P H H

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 DIAGONAL ROLLING SHIFTS HELE - Derryl Gabel Page 2 of 8

^ Example 2 ^
V V V V V V V V V V V V
4
I V V V V V V V V V V V V V V V V V V V V

T 5 6 8 6 5
5 7 9 7 5 4 5 7
A 7 9 10 9 7 5 7 9
B 8 10 12
8 10 12 10 8 7 8 10
H H P P sl. H H H H P P H H H H P P sl. H H H H P P
H H

^
V V V V V V V V V V V
6
I 44 V j

3 5 7 5 3 5 7
T 3 5 6
A
B
H H H H P P H H

^ ^
Am11 Example 3

V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V
7
I V V
5 7 8 7 5
T 8 6 5 6 8 10 8 6
9 7 5 7 9 10 9 7
A 10 9 7 9 10 12 10 9
B 12 10 8
H H P P H P sl. H P P H P sl. H H P P H P sl. H H P H P

I V V V V V j
9
V V V V V V V

T
A
B 10 12 14 12 10
13 12 10 12 13
H H P P
H P H H

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 DIAGONAL ROLLING SHIFTS HELE - Derryl Gabel Page 3 of 8

^ Example 4 ^
V V V V V V V V V V V V
10
I V V V V V V V V V V V V V V V V V V V V

T 6 8 10 8 6
7 9 10 9 7 5 7 9
A 9 10 12 10 9 7 9 10
B 10 12 13
10 12 14 12 10 8 10 12
H H P P sl. H H H H P P H H H H P P sl. H H H H P P
H H

^
V V V V V V V V V V V
V j
12
I
5 7 8 7 5 7 8
T 5 6 8
A
B
H H H H P P H H

^ ^
Bm11 Example 5

V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V
13
I V V
7 8 10 8 7
T 10 8 6 8 10 12 10 8
10 9 7 9 10 12 10 9
A 12 10 9 10 12 14 12 10
B 14 12 10
H H P P H P sl. H H P P H P sl. H H P P H P sl. H H P H P

^
I V V V V V V V V V j
15
V V V

T
A
B 12 14 15 14 12
15 13 12 13 15
H H P P
H P H H

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 DIAGONAL ROLLING SHIFTS HELE - Derryl Gabel Page 4 of 8

^ Example 6 ^
V V V V V V
16
V
I V V V V V V V V V V V V V V V V V V V V V V V V V

T 8 10 12 10 8
9 10 12 10 9 7 9 10
A 10 12 14 12 10 9 10 12
B 12 13 15
12 14 15 14 12 10 12 14
H H P P sl. H H H H P P sl. H H H H P P sl. H H H H P P
H H

^
V V V V V V V V V V V
V j
18
I
7 8 10 8 7 8 10
T 6 8 10
A
B
H H H H P P H H

^ ^
Cmaj7 Example 7

V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V
V V
19
I
8 10 12 10 8
T 12 10 8 10 12 13 12 10
12 10 9 10 12 14 12 10
A 14 12 10 12 14 15 14 12
B 15 14 12
H H P P H P sl. H P P H P sl. H H P P P P sl. H H P H P

^ Example 8

I V V V V V V V V V V V j
21
V

T
A
B 14 15 17 15 14
17 15 13 15 17
H H P P
H P H H

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 DIAGONAL ROLLING SHIFTS HELE - Derryl Gabel Page 5 of 8

^ ^
V V V V V V V V V V V
Example 9
V V V V V V V
22
I V V V V V V V V V V V V V V

T 10 12 13 12 10
10 12 14 12 10 9 10 12
A 12 14 15 14 12 10 12 14
B 13 15 17
14 15 17 15 14 12 14 15
H H P P sl. H H H H P P sl. H H H H P P sl. H H H H P P
H H

^
V V V V V V V V V V V
V j
24
I
8 10 12 10 8 10 12
T 8 10 12
A
B
H H H H P P H H

^ ^
Dm11

V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V
V V
25
I
10 12 13 12 10
T 13 12 10 12 13 15 13 12
14 12 10 12 14 16 14 12
A 15 14 12 14 15 17 15 14
B 17 15 14
H H P P H P sl. H H P P H P sl. H H P P P P sl. H H P H P

^
V V V V V V V V V V V j
27
I V

T
A
B 15 17 19 17 15
19 17 15 17 19
H H P P
H P H H

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 DIAGONAL ROLLING SHIFTS HELE - Derryl Gabel Page 6 of 8

^ ^
V V V V V V V V V V V
Example 10

V V V V V V V V V V V V V V
28
I V V V V V V V

T 12 13 15 13 12
12 14 16 14 12 10 12 14
A 14 15 17 15 14 12 14 15
B 15 17 19
15 17 19 17 15 14 15 17
H H P P sl. H H H H P P sl. H H H H P P sl. H H H H P P
H H

^
V V V V V V V V V V V
V j
30
I
10 12 13 12 10 12 13
T 10 12 13
A
B
H H H H P P H H

^ ^
Em11 Example 11

V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V
V V
31
I
12 13 15 13 12
T 15 13 12 13 15 17 15 13
16 14 12 14 16 17 16 14
A 17 15 14 15 17 19 17 15
B 19 17 15
H H P P H P sl. H H P P H P sl. H H P P H P sl. H H P H P

^
V V V V V V V V V V V j
33
I V

T
A
B 17 19 20 19 17
20 19 17 19 20
H H P P
H P H H

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 DIAGONAL ROLLING SHIFTS HELE - Derryl Gabel Page 7 of 8

^ ^
V V V V V V V V V V V
Example 12

V V V V V V V V V V V V V V V V V
34
I V V V V

T 13 15 17 15 13
14 16 17 16 14 12 14 16
A 15 17 19 17 15 14 15 17
B 17 19 20
17 19 20 19 17 15 17 19
H H P P sl. H H H H P P sl. H H H H P P sl. H H H H P P
H H

^
V V V V V V V V V V V
V
36
I j
12 13 15 13 12 13 15
T 12 13 15
A
B
H H H H P P H H

^ ^
Fmaj7+11 Example 13

V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V
V V
37
I
13 15 17 15 13
T 17 15 13 15 17 18 17 15
17 16 14 16 17 19 17 16
A 19 17 15 17 19 21 19 17
B 20 19 17
H H P P H P sl. H H P H P sl. H H P P H P sl. H H P H P

^
V V V V V V V V V V V j
39
I V

T
A
B 19 20 22 20 19
22 20 19 20 22
H H P P
H P H H

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 DIAGONAL ROLLING SHIFTS HELE - Derryl Gabel Page 8 of 8

^ ^
V V V V V V V V V V V
Example 14

V V V V V V V V V V V V V V V V V
V V V
40
I V

T 15 17 18 17 15
16 17 19 17 16 14 16 17
A 17 19 21 19 17 15 17 19
B 19 20 22
19 20 22 20 19 17 19 20
H H P P sl. H H H H P P sl. H H H H P P sl. H H H H P P

^
H H

V V V V V V V V V V V
V
42
I j
13 15 17 15 13 15 17
T 13 15 17
A
B
H H H H P P H H

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 DIAGNAL ROLLING SHIFTS 2
As recorded by Derryl Gabel
Transcribed by Derryl Gabel Music by Derryl Gabel
Arranged by Derryl Gabel
Performance Notes

Here is another diagonal exercise that you should find very useful.

Rules for Descending

After a roll go to the next string
After a 3 note descending phrase, shift down to the next note and then roll.

Rules for Ascending

After a roll, shift up to the next note.

` `
After a 3 note ascending phrase, go to the next string.

G9 Am9 Bm7 9 3 fr. Cmaj9 5 fr. Dm9 6 fr. Em7 9 8 fr. Fmaj9 10 fr.
x x x x x x x x x x x x x x

P = 120
^
Example 1
G9
Gtr I

V V V V V V V V V V V V V
4 V V V V V V V V V V V V V V V V
1
I4 V V V
Gtr II

10 12 13 12 10
T 13 12 10 8 10 12 10 8
10 9 7 5 7 9 7 5
A 9 7 5 3 5 7 5 3
B 7 5 3
H H P P H P sl. H H P P H P sl. H H P P H P sl. H H P P H P sl.

^
I V V V
V V
3

V V V V V V V V
T
A
B 2 3 5 3 2
5 3 1 3 5 3
sl. H H P P
H P H H P

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 DIAGNAL ROLLING SHIFTS 2 - Derryl Gabel Page 2 of 8

^ ^
V V V V V
Example 2

V V V V V V V V
I V V V V V V V V V V V V V V
V V V V V
4

T 8 10 12 10 8
5 7 9 7 5 7 9 10
A 3 5 7 5 3 5 7 9
B 1 3 5
2 3 5 3 2 3 5 7
H H P P sl. H H H H P P sl. H H H H P P sl. H H H H P P sl.
H H

^
V V V V V V V V
V j
6
I
10 12 13 12
T 10 12 13
A
B
sl. H H H H P

^ ^
Am9 Example 3

V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
7
I V V V
12 13 15 13 12
T 15 13 12 10 12 13 12 10
12 10 9 7 9 10 9 7
A 10 9 7 5 7 9 7 5
B 8 7 5
H H P P H P sl. H H P P H P sl. H H P P H P sl. H H P P H P sl.

^
I V V V V V V V
9

V V V V V V
T
A
B 3 5 7 5 3
7 5 3 5 7 5
sl. H H P P
H P H H P

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 DIAGNAL ROLLING SHIFTS 2 - Derryl Gabel Page 3 of 8

^ ^
V V V V
Example 4
V V V V V V V
I V V V V V gV V V V V V V V V V V
V V V V V
10

T 10 12 13 12 10
7 9 10 9 7 9 10 12
A 5 7 9 7 5 7 9 10
B 3 5 7
3 5 7 5 3 5 7 9
H H P P sl. H H H H P P sl. H H H H P P sl. H H H H P P sl.
H H

^
V V V V V V V V
V
12
I j
12 13 15 13
T 12 13 15
A
B
sl. H H H H P

`
^ ^
Bm7 9 Example 5

V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
13
I V V V
13 15 17 15 13
T 17 15 13 12 13 15 13 12
14 12 10 9 10 12 10 9
A 12 10 9 7 9 10 9 7
B 10 8 7
H H P P H P sl. H H P P H P sl. H H P P H P sl. H H P P H P sl.

^
I V V V V V V V
V V V V V
15

V
T
A
B 5 7 8 7 5
8 7 5 7 8 7
sl. H H P P
H P H H P

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 DIAGNAL ROLLING SHIFTS 2 - Derryl Gabel Page 4 of 8

^ ^
V V V V
Example 6
V V V V V V V
I V V V V V V V V V V V V V V V V
V V V V V
16

T 12 13 15 13 12
9 10 12 10 9 10 12 14
A 7 9 10 9 7 9 10 12
B 5 7 8
5 7 8 7 5 7 8 10
H H P P sl. H H H H P P sl. H H H H P P sl. H H H H P P sl.
H H

^
V V V V V V V V
V
18
I
13 15 17 15
T 13 15 17
A
B
sl. H H H H P

^ ^
Cmaj9 Example 7

V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
19
I V V V
15 17 19 17 15
T 18 17 15 13 15 17 15 13
16 14 12 10 12 14 12 10
A 14 12 10 9 10 12 10 9
B 12 10 8
H H P P H P sl. H H P P H P sl. H H P P H P sl. H H P P H P sl.

^
I V V V V V V V V V V V V
V
21

T
A
B 7 8 10 8 7
10 8 7 8 10 8
sl. H H P P
H P H H P

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 DIAGNAL ROLLING SHIFTS 2 - Derryl Gabel Page 5 of 8

^ ^
V V V V
Example 8

V V V V V V V
I V V V V V V V V V V V V V V V V
V V V V V
22

T 13 15 17 15 13
10 12 14 12 10 12 14 16
A 9 10 12 10 9 10 12 14
B 7 8 10
7 8 10 8 7 8 10 12
H H P P sl. H H H H P P sl. H H H H P P sl. H H H H P P sl.
H H

^
V V V V V V V V
V
24
I
15 17 19 17
T 15 17 18
A
B
sl. H H H H P

^ ^
Dm9 Example 9

V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
25
I V V V
17 19 20 19 17
T 20 18 17 15 17 18 17 15
17 16 14 12 14 16 14 12
A 15 14 12 10 12 14 12 10
B 14 12 10
H H P P H P sl. H H P P H P sl. H H P P H P sl. H H P P H P sl.

^
I V V V V V V V V V V V V
V
27

T
A
B 8 10 12 10 8
12 10 8 10 12 10
sl. H H P P
H P H H P

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 DIAGNAL ROLLING SHIFTS 2 - Derryl Gabel Page 6 of 8

^ ^
V V V V V
Example 10

V V V V V V V V
I V V V V V V V V V V V V V V
V V V V V
28

T 13 15 17 15 13
10 12 14 12 10 12 14 16
A 9 10 12 10 9 10 12 14
B 7 8 10
7 8 10 8 7 8 10 12
H H P P sl. H H H H P P sl. H H H H P P sl. H H H H P P sl.
H H

^
V V V V V V V V
V
30
I
15 17 19 17
T 15 17 18
A
B

`
sl. H H H H P

^ ^
Em7 9 Example 11

V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
31
I V V V

19 20 22 20 19
T 22 20 18 17 18 20 18 17
19 17 16 14 16 17 16 14
A 17 15 14 12 14 15 14 12
B 15 14 12
H H P P H P sl. H H P P H P sl. H H P P H P sl. H H P P H P sl.

I V V V V V V V V V V V V
V
33

T
A
B 10 12 14 12 10
13 12 10 12 13 12
sl. H H P P
H P H H P

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 DIAGNAL ROLLING SHIFTS 2 - Derryl Gabel Page 7 of 8

^ ^
V V V V V
Example 12

V V V V V V V V
34
V
I V V V V V V V V V V V V V V V V V V

T 15 17 18 17 15
12 14 16 14 12 14 16 17
A 10 12 14 12 10 12 14 15
B 8 10 12
8 10 12 10 8 10 12 14
H H P P sl. H H H H P P sl. H H H H P P sl. H H H H P P sl.
H H

^
V V V V V V V V
V
36
I
17 19 20 19
T 17 18 20
A
B
sl. H H H H P

^ ^
Fmaj9 Example 13

V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
37
I V V V

19 20 22 20 19
T 22 20 18 17 18 20 18 17
19 17 16 14 16 17 16 14
A 17 15 14 12 14 15 14 12
B 15 14 12
H H P P H P sl. H H P P H P sl. H H P P H P sl. H H P P H P sl.

I V V V V V V V V V V V V
V
39

T
A
B 10 12 14 12 10
13 12 10 12 13 12
sl. H H P P
H P H H P

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 DIAGNAL ROLLING SHIFTS 2 - Derryl Gabel Page 8 of 8

^ ^
V V V V V
Example 14
V V V V V V
V V V V V V V V V V V V V V V V V V
40
I V V V

T 15 17 18 17 15
12 14 16 14 12 14 16 17
A 14 15 17 15 14 12 14 15
B 12 13 15
12 14 15 14 12 14 15 17
H H P P sl. H H H H P P sl. H H H H P P sl. H H H H P P P
H H

^
V V V V V V V V V V V
V V
42
I
13 15 17 15 13 15 17 19 17
T 13 15 17
A
B
H H H H P P sl. H H

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 FOUR NOTES PER STRING
As recorded by Derryl Gabel
Transcribed by Derryl Gabel Music by Derryl Gabel
Arranged by Derryl Gabel
Performance Notes

This is an example of playing the C major scale using four notes per string. Pay close attention to the patterns formed. These patterns will
always stay the same and be in the same order.

A numonic sequence that will help you memorize the four note per string patterns is RRCCLLS which will be discussed in the video.

Example 1 - 7 are all the modes of the major scale played ascending and descending starting on the A note.

Alternate picking is used for all examples but you can also experiment with half picking and hybrid picking as well.

For the scale diagrams I highlighted the root of the parent key. Using the Neck Diagram software you can change this to highlight the
mode's root or even show all the intervals. Of coarse this will only work on the .fbd files not the PDFs.

Amaj7 5 fr.
x x x x xx x x
`
A13 5 fr. Am7add65 fr. Am7 5 4 fr. Fsus4/A 5 fr. Amaj7+114 fr. Am7+5 5 fr.
xx x x x

^ ^ ^
Amaj7 Example 1: A Ionian
Gtr I

V gV gV V V gV
gV V V gV V
I 44 V gV gV V V gV V V gV
V gV V
1

V
Gtr II

16 17 19 21
T 14 15 17 19
11 13 14 16
A 9 11 12 14
B 5 7 9 10
7 9 11 12

^ ^ ^
Amaj7

gV V V gV gV
V V gV V V gV gV V
I V gV V V gV gV V V
gV V V
4

21 19 17 16
T 19 17 15 14
16 14 13 11
A 14 12 11 9
B 12 11 9 7
10 9 7 5

Gabelvision ASCAP 2011

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 FOUR NOTES PER STRING - Derryl Gabel Page 2 of 5

^ ^ ^
Am7add6 Example 2: A Dorian

V V gV V V V V
gV V V V V
V V V V
I gV V V
V V V V V
7

15 17 19 20
T 13 15 17 19
11 12 14 16
A 9 10 12 14
B 5 7 8 10
7 9 10 12

^ ^ ^
Am7add6

V V V V gV
V V V V V V gV V
I V V V V V gV V V
V V V
10

20 19 17 15
T 19 17 15 13
16 14 12 11
A 14 12 10 9
B 12 10 9 7
10 8 7 5

^ ^ ^
Fsus4/A Example 3: A Phrygian

V V V V eV V
V V eV V V
I V V V V V V V V V
e V V V
13

V
15 17 18 20
T 13 15 17 18
10 12 14 15
A 9 10 12 14
B 5 6 8 10
7 8 10 12

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 FOUR NOTES PER STRING - Derryl Gabel Page 3 of 5

^ ^ ^
Fsus4/A

V eV V V V
V V V eV V V V V
I V V V V V V V V
V eV V
16

20 18 17 15
T 18 17 15 13
15 14 12 10
A 14 12 10 9
B 12 10 8 7
10 8 6 5

^ ^ ^
Amaj7+11 Example 4: A Lydian

V V gV
gV gV V V gV gV V gV gV
V gV gV V
I gV gV V gV gV V
V V
19

16 17 19 21
T 14 16 17 19
11 13 14 16
A 9 11 13 14
B 5 7 9 11
7 9 11 12

^ ^ ^
Amaj7+11

gV V V gV gV
V gV gV V V gV gV V
I gV gV V V gV gV V gV
gV V V
22

21 19 17 16
T 19 17 16 14
16 14 13 11
A 14 13 11 9
B 12 11 9 7
11 9 7 5

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 FOUR NOTES PER STRING - Derryl Gabel Page 4 of 5

^ ^ ^
A13 Example 5: A Mixolydian

V V gV V V V gV
gV V V V gV
V gV V V
I gV V V
V V gV V V
25

15 17 19 21
T 14 15 17 19
11 12 14 16
A 9 11 12 14
B 5 7 9 10
7 9 10 12

^ ^ ^
A13

gV V V V gV
V V gV V V V gV V
I V gV V V V gV V V
gV V V
28

21 19 17 15
T 19 17 15 14
16 14 12 11
A 14 12 11 9
B 12 10 9 7
10 9 7 5

^ ^ ^
Am7+5 Example : A Aeolian

V V V V V V
V V V V V
I V V V V V V V V V
V V V
31

V
15 17 19 20
T 13 15 17 18
10 12 14 16
A 9 10 12 14
B 5 7 8 10
7 8 10 12

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 FOUR NOTES PER STRING - Derryl Gabel Page 5 of 5

^ ^ ^
Am7+5

V V V V V
V V V V V V V V
I V V V V V V V V
V V V
34

20 19 17 15
T 18 17 15 13
16 14 12 10
A 14 12 10 9
B 12 10 8 7
10 8 7 5

`
^ ^ ^
Am7 5 Example 7: A Locrian

V eV V
ee V f V V V eV V V ee V f V V
I V V eV V V
V V ee V f V
V eV
37

15 17 18 20
T 13 15 16 18
10 12 14 15
A 8 10 12 13
B 5 6 8 10
6 8 10 12

`
^ ^ ^
Am7 5

V e V V V V ee V
V V e V V V V ee V
I V V eV V V V ee V V
V eV V
40

20 18 17 15
T 18 16 15 13
15 14 12 10
A 13 12 10 8
B 12 10 8 6
10 8 6 5

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