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WAA.;~IN' -. Any dlJ[JimClil.uon, d.a'tH unn at" l.I!1"anI!!.!-lIH!.rit of' le:' c;nmprHiI tkms eorllkil!ur:tl ,I this c;olJ 'Uan Vl'!iWoll't me' ",TiU~~ CDI!t:I· ent ul the owner, 15 bln t!liI'rLr.Jt menloJ: U S. rnp.y-rtgh'l' JiilW .. Ll,lILIi ~'l-bhJ] ~,(!l W ttJi! nenalues I . d btiLUe$ pil"OVid~·C: '-:,:in,

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Jtrruny Ht::ts·Up ,is aJoWlding rnember oj YEEsnWJ4CKBT9.

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acttuely Wrifingl reJcording and tOwing wtth the group sirlce .1979 ..

SlnC€' relDcating to Los Angeles,

he hns worked on tour and fn the: studia wlth these artists.~

Crosby. S,tillS, an, Nash Dave Mason

Joe C·o[!ker

Rod Stewart

Gary Wrl.ght

Cher

Diana Ross

Ron Wood

-Jon Anderson

Tomm " Y' B01~'.-

I.. . - .. :- . , .'. JL.1I.JI

.AI -Jarreau Anita Baker Herb iUpcrt Lee Ritenour Bobby Caldwe.U Larry Carlton

Flora Purtm '& Atrto Rosie Vela

Carl Anderson.

'Roy I .. yers

Betty Wright

'rom Scot

Randy era wfort

Ned Doheny

J ohn Klemmer B'~-', G·able·

"Micha.el Penn J1mnly Barnes 0"·:1 0 Vannelli Chaka Khan. Lalah Hathawav

....

Mick' Fleetwood David Sanborn. Michael Sernbello Harvey Manldel Steve Khan Sadao Watanabe R ibben Ford. Ri,cardo Snviera M'aril:yn Scott

The Rtpptn .ons Vonda Sheppa . d Brenda RU8seU

Donald Fagan

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Thts' book is dedLcared

CJ tlu: rnerno .Y oj-

,JACO PASTORIUS and JAMES JAMERSON, S;R,.

I

Special ihantcs; I oes. IheJallol ing peop; . uiho helped mai(e lhis book Cl realiuj.

My Mom :- ad Dad Rene' Crcwe-Itasup Yellow] .. kets ' Ca sey SLlteLler-eU Russell. -'I' ;rrante 'Susan Mard r Mike ' c bias.

SViIR Dean Marklev ~{OT.E.

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{amaha Int rriational

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5

'Cha ·ter 1: DIATONIC S'CAl.ES

Cha.ptem- 2:' MOD,~ S('..AIJES i~, (lUi 0".

12

Chapter i : PENl A'-rrJNIC SC ~Gen.evar~

Ch.ap:er tt: WHL1LETONE, SCALES

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Cllit'-,C 5~ " [r~lIINISHErJ S,CALES "Dark Horses"

Ch "~,_e:, 6: 20, Sr" f,rES FOR'YOURLm -A.Rl'

, I] ( -J n i C' Minor' Scales

ill Dtmints }I d Scales rish Seals

1_ .\rIll CI.d ic M i no r Scales

54 Lvdk .1 Augmented SICal~S 6. L vdi, - .1Il Dorninarr S, ales



7. Super Locrtan S,-',a[i~S

8w Jt1a' r Blues Seales

H_ vl inur Blue.s, S·, ales O~ ,,-~1 ~r~d Blues Scale·s.

l 1 ~ L" .tcr ed Locrtai J Scales 1""-'0 \t cia die Mmor 2 Scales

I ~1_ vdtai Dominant-6, S L' Ir-s 14~ Mtxolyrltun Augm ~n,' ed Seal .... ~ 15~ E'nl.ql11aUr Seales

16. I n 111 ~6 Scales,

~ _\II· j r ';51 Sc 1. .

'R. lxr: lydtan ~2 S,'·· J s

19. ,'I ~J blan Seale _',

20. Bali] ~~SL Seale ~

,9 RO' 82 84 AG,

. iO 92 94 g5

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Sho\\tn ui LJ'~ j rJlkn:.\l iu dt aram

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basso as J~'f,: uld ':--tf- pt 'j IT on tl. nano. Th - ~H~~ no rs an easy ~.~. dj I fj 1~1CVl - he

relatlor Ish ips fJ[ "ljl r ., nr 1I1.LcLYo..... calc patterns. L J J!lrrl ',tru +urcs. and ,HllPgglo .

As you can -'e. U14- ·':nit eys ~Ir~" .rll ilu- natural J10 cs. nnd r ]I~ slack keys ar

the sJ mrps and t .'.5 deperi II Jg- <I b sale p -1 er n "I' chord 11<.1 yo U IJ av be

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SCALES

Diatoln e Seall are the fou_[u:laUoD 0" e mclod' c Ilbrnrv. Th y are the mos. commonly 'used scares lor' the c nstrucuon a. melodies. _, ITUlJor,' ue and ns' J I:J ve minor share the same key ~ugnatu:re, which simply means" at bo h sc, ,1 S cot taln the s me notes,

Di,atonic pertatns I o any standard major rir mtnor scale of eigh' ones la eornple e oetavel The major and rnmor scales are related, each major- scale h s a relative minor scale.

There are 12 major scales and 12 relatr Po! minor scal~s in me .• tonic SY5t,· :-. The major and rulnor scales are made of e'lghl notes Jncludtng 'the 'octave.

E,X'JI.mp, e I.

1

The Root or Tonic

.ne Majnr 2"nd The MajOT 3rd, The Perfect 4th The Perfect 5t11. 'The Ma or 6tlb The M tor 7 h T, e Octave.

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F

5 fi i 4

A B C

ino,r'Seal: I no sl ,IUrpS, or nat, 1

[tile" Ja~ tve mmor to the C Ma ~,ur Scale]

e Rclatt re Root or Tnruc A
'J IiI • MHJor nd B,
......
3. MtnQI 3f C
eP rteci - D
- '11 Perfec 5" E
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15 Tl~e M1naJ~ 6th F"
- he Mmor 7th ~
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8 l'he Octa e i\ -

- --- -- - _--- ---- _-

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TIl,e ·.OU1o"\Ving charts wiU demonstrate th,e relatlonahfp between an 12 relative major and mtnor t

scales and are arranged In a configuration lmovm as the' Cycle of·4th.~s'

TIle Cycle of4rt,h~s is ,a I1ElI.IJral movement or progression 1:0 muate, and It rs also afast and strnple way to learn all the key signa.' ure.s.

II A J 10 R SeA L ,E 'S

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I re ar : 1'1 rna j tJ,1 L~f'{J les nnts [-f i or you tn the same irrier a tl e previous chart. This. again ts .alled the ClIct,e' oj' ths, t:. .. nd IJI 3Clif~ir.H~ t, he rna] r seal s Ln U,li~ ~~l.u.y will. bel.p you to learn how nany sharps and ats re in. a. h ale. This an llf rnes in handy when VOLi. have to modulate

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uickly to nether ~{CV ~;'iguatliTe. Irs .lso helpful when :.1.rdnin,g over Dlany different -ehord

I han es. \1] In all, 1_ will (!.lV"", vo u that ruucl [ more t onfidcnce as a knowledgeable musk-ian.

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OR SCALE

F MAJOR,'CALE

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'~' ~ MAJOR SCM~E

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As you can see from the previous chart there is a method to tills madness. The m~Jor and minor scales are related)

The root of the maj·or scale' Is the minor 3rd of it's relative mtnor seale, Th.c 2nd. of the major scale is ' he 4th. of it's relattve ltdllOr scale and so on,

You Call se how worktng W1.tll these scales can open up your sense ofmelo!dy :md enhance yOUI' uwn. work. You '\V1ll,S, that this, 15 only the b,c,gmning as we 'plI"ogressr to the' next examples - the Relative Millor Scales. and the Il.eX1 chapter '....... the ~,Jodal Scales.

Now', to r "I ake my' point even clearer, turn to the next page and check out the: mdnor seal'" in detail .. Practice these major and relative rnmnr scales Vl1th. a metrcnome, Practice until you're blue in, the face and then, practice some mare, This kind of d tsclpllne helps to [n,[Cf,",' se your dexterity and strength. It wiU help you tn buUd a strong technical founda ",OIl as, we 1 as open up ynur ears and bull, ' your melodic lfbrary, The stronger yo ir hands are, the [easier it becomes to play for a long pertod of time '~rithO'Ul g,c't ~ g tired ~ I have found that strong hands, allow you to relax more! and that Is art i.1portan:t a_spe'~t in playing technique, Relaxi.n.g lets you express yuur music as. opposed to tensing up 'in the mil:'; dle of ,a perfol~n'l.ance and then struggtt:n,g VJ1.tb tile rnr ste, You '''Will p,~a Y' better if you relax.

i US,I! these scales IlUI only 'to tmprove my melodic ideas and, my concepts. in harmony but alSOI as exerclses to strengthei 1 my hands. Practlelng '\1Tfrth a metronome will build your confidence in keeping time, The abliltv to keep time IS

J ust as tmportant fo H 'bass player as it is ,[01"' ~' drummer, A.. the 'bass player you arr an essentialuart of the tlme keep'ing team, :Being able' 0 keep gr,e,at time VIiIl give you the freedom, .0 play without havl to think about anythtng other than 11stenlr1g to [he other musictans and. contrfbuttng to the music a hand" These rare, all UIlportanl~,Uru.S in beoommg a. graod musician ai I,d I offer you these practice

if .. hniq ues t,f"i h";;;;;':~p' y. ru aehieve th c::!ii!:Ii dio'F,'IJEI'

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I, 0 R. :8 CAL E 61

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···~OR. - .'C_ALE TONES ? b3 4 5, kfj, ~7 8
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A B C D f G, .1\
[) E F G A E:I~ C D
A 8~ C 0 E~ G
C D Et F G A D~ C
F G A~ B C D7 :E F
Bb C D·' Ei. F ~' A~ I3~
........
E~ F Gb JL~~ B·~ C~ E~
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Goo A, D C D E F~ C
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C1' D~, E f; G' 1\ B Cl'
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F~ ~ A B C D E F~
B C .. D [C; F'~, G A B
E 'F G A 13 C D E
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I Mlu:o' , SCALE, TONES 6 '7 1 2 3 ·4 5 6
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,LA, TO

Here are all 12 ,minoT scales wrttten out in music notatton, J\gam I used the ICgeJe oj' 4'£lts In help YOiU learn how many sharps and flats there are in (!';:i.C_,'.C m.ill0:t' Bcale_ All this ull[]rmation V1.IJl help you become a better muslelan. Studying the chapter on tne Dia.tonic' systeni, will help you "0 understand the nt'!xt. chapter on the ,Modal SJlstem~ These two systems 'are related. and tOle:ther! will bufld a strong' meledlc foun','atioD~ Soun you will 'be on your w,ay to buJld,i'llg yo.m melodse ,library I

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A MINoR 8cALE B Illl
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D MINOR BCALE --...L~ ....: L_I ~ I
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'TB'E MODAL S,CALES

TIle ,MCKlaI Sco:les are derived from the D1:aJ(Jr. scale. 'There are s yen fingenn,gs (0[' [leek pesitions] for' the major seale i'n a Ilnear pattern (up the neckl orming sev .n tndlvtdual scales or modes. Eat c:h mode has its O'\VD eharacteristf , sound~ btr all seven modes .re rela t-.d to one

. nether;

, The mndes are formed, by,taltlng a prtmary 'major scale (t.e. the C ,5C' leJ and huil ling a new scale from each IH l e of that ,Pri1DaI:Y scale, using o,nly tile notes of that scale.

: [I'.' i~ ·L, l' ., .. ~ C'- '1 '_.I. "8'-:-" 'al'-' C n C"I -F G A' 8' ,.-~

, . U ",: 110 J ;II' !!!!.tI" m 1'!1;..8 SiIij,,., t, ,DJI:U,aD, ,ee~ ~ _ ""~, . ~ ,t:J ~ '" . ~ '. I' ',~ 'v

Th,e Re ative Chord (I) would be' a C Major 7 til, - C 'E G B

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B "l'''''''_ 't'l..,ft d - ..;I' ",'liD' , D' -....ill' IScaI- '" 'D" E' , r,;'" IG ABC D-

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The Rei,ativ'e 'Chord Ui) would be a ,D MInor 7th =- U F 1\ C

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B ne ~. -,' "'h.' :- ~..,_,J E' Pb' '- . ' ft,'II'I, S' e ,.- -, 'F ~ B-' .-' D '1':'-

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1 he Relative Chord (iii) would be. an E Minor 7", II E~ IG B, D

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~,uiUfrom'h' 4'th: FL,.dlBD 8:: -I,e -- F~ IG"I A B. c~ D, E~ F Th~, Relative Ch'ord U1I) would be an F Majo, 7'· h ~"';o~ C E

And so en, US1Wg all s'even notes, Th~~e. seven modes all share COlll11JOn notes and can be us' d , 'to cnnstruet melodto 'patterns w.er one 'common tOlna] center, In thts case. the ha~y- of C: M-aJo",

0'1" e· "a,ch m' Fi d e nO,'"1 b j!!Ii; .. ~""""rIIlJil- " i' . al'n li'lii'i" ..:1,,1 • ..;11...::11- ,,":..:1 tona iii ,I tv rela ted ,;1-'0' '"'1 IlG!pP if'i~,r,;..... C" h- or d' ,

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Her are · he names ut ~ he Mod.···· I Soillies and examples of the hltl!!lVal conf1gutatiOllil. wlrl:ch fortn each SC~lle r

:1."

,M· jo'/Iodj,uo Ie

,1 2, :3 ·4 51

8

11"1 ,n'DODD M,odle

2 3. 4

5

.

6 ~7 8

m, PhrygJan Mode

1 ~2 ~3 4:

5

I t

rv~ LydllUl Mode.

1 i} 8 ~4 5



...., I'

8

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VI.·.··... Pure 10 ..... 'N··· '8' ··'t-!l'IiI~- ~- iII .... i ..... ol'/·'Ae~· .' -:-,-. - ··D'· 'd,

'- ~. ....; ~. .' ,I, ._ 'Y4'~".'

1 ~, ~3' ,4 5 B: ~7 Si

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VII... ,LQcDan Mold_ .. ·

-'2 3

....

As YIJ .. v •. I 2f! ~ in . he followln examples, all til . se modes are built rom the major seale, but they each hay a: v erv dUferen char .a' · ensue soun 0(" colora , ton, 'n . e scales Will provide you .'mth endless ~ombinationl:i nf notes to create dtf er nt sDundln, phrases and melodic patterns.

1\' the e 'fIi!",. 'ou \'-'111 . I: us ng the same co. _ rnon r otes ofa major seale, and. Us relative

medal ,group!n s, [echnieaUy speakn IZ. - OU can solo 1lVer- a major chord and by using, le"s sav - Dorian U-. i1 Locrts .. scale, ~ [Jill an build. a melodic phrase Wilth., mtnor texture cur sound over this rna] rr. hord whlc .. ' tve ' t he haste ma or cl 0.· a.more mteresl"g cq·o, or mood.

IJs- elodir- I 0!11 ~L a ist m helpn .. you to create more (JpUous tn your approaches to l5(Jlo1g,

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You 'CcLl1, build 'm.an Y' different melodic, parte rns nV'~T' J L~5i one key or tonal center by usmg all the 'relative scales which are shartng the same CO.n.1TniJn, notes, OIl" you. can treat each scale a 15, all Indlvtdual. separate trmal center to build melodle patterns ave r l hE se parate corresponding chords whtch are conss "[11 cted from. the mdrvidual modes,

Nnw 'W~ uari s~,a:rl arldin.g, onto your Melcdic Ubral'Y" by studying and, practicing

, hese modes. in each key and the currespond.mg chords related to each .. This lesson viil.1 become a valuable tool when onstructing melodtes or composing. Also. for creatmg complementary bass lines, [or Qutlln1n,g chords used in the uccompamment O,~, at soloist 'and in the performance of music in, general. This material is. also Impurtarrt in creauns a strang; foundatton tor soloing and for '\~T1t1ng ortgmal music,

The fbllo\1t"L1j;g seven pages are {iev,oted to teachin the movab.lelingerings for' each of the M iven modes derived from. the majo seaJe,. Although these fmg;erings are shown in, the' key of [! major. and 1.'5 dertvauve modes, I hey can be used for any key

'The d.iag:rams show ear.h scale fingered, :U1 ftve different pus'i:'-ifJ' ::J 'l,ln the riugerboar,d. The squares indicate th e root of each scale. Practice each ,[inge.r1J.1.g starting and ending on the, Toot. This "vilI help Y(lU to hear the: sound of the mode. To transpose th,t!se fuLge:rln,gs to an,;Q11J1er key strnply start the ,fi'ngertng~ on the a,pp.,ropriau: root note. For example" tile nl""~:~ fingering shown rs a C major scale tn

econd po s "Uo-n with ]t'!~~ TO at on the 5th sa tringl J rd Irel ~ If you begin this same n.[1~Frin:g at the 5th string. 4th filet you wtll be playing a (;~ major SCa1I~" at the 6th fret would ~,VE: you. a :0 ma.Jor scale, and so on.

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Here' Me the,II--,~,al Scales'ln aD, 12 k~ BlgDah1res starting With the 'Key orc f "bleb Nu; 'no

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7

6

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A

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4- • C·UAPTER 2



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Here are some ,~p;les, o,f'h,o."~ might use modal 'patterns £'Ot solomg or Vlriting melodies. These paLrtJ!cu~ar' 'eDBlples 31"'e 10* from the MOdal Seoles In the K~y of C. ,As, a ,gnod exercise V'Oi'U eari transpose these lexamp:~,e8 to any' ke,Y" Ybu em also play these patterris and corresponding, scales in str,a1;gbt ,8th nates Dr tn 8th, note trtplet :O~ures. This will ,g~ve' your

phrasing a, Jazz, ,app,fO_ ,n. ..

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"ISDOM

p~ . c ice the modes 111 all keys. ai d you wlll ~. UL 1 now every note on your eon' ire Ire ~ board. r is im or ' .. ,t to re . ember thai memortzma he. terrtunulu 1] sed to

~

dcsc:nibe these ' cales ]8 nut _j~ impC"'~Tj urH · ~~ the knowlcd e ofthe scales

themselves and their corresponding riotcs .. The knowledge oi theory In general, and IrS [u nurmrt. is }U~· Important pa (, of 1 lesson, Stu dv this ' 001 until il b~'oIn~g a

uid part of your l nconscious '\ oca LJuliJ rv This wlll en ble you .. 0 speak . ree v on "0 IT Instrument. )"OU will ther be ab te to Iorrn melcdlc phrus .M I hot express your thou .·h[5 and hJ:~li.n.gs ~1 thout . truggle, The names of the scales ,aJ€ jU5t a. [orrnaUty . so trv not to get cau ht up in !J_r~nHuiz]ng the terminology.

.. .

On e vall. achieve ,. Jrel~l::dnn 1... , la, in " the ,. cale Sri' - 1,et omtor able with this

~ .

technique ~ 1",,")' nO,I' -0 think abou ~ it anY111Ure . .1.1 tih nu] d be orne 9·C· .O'nd nature, a

stream uf !-hought and at tha point you will be able to relax mentally. Combine this mental relaxation with t.he ph} su.:ai relaxation and you \wlll be able to achieve a .Ii~h~r level 0 mustcians nip,

The next chap tcr wtll provide "i nforrnati on that wtl l_fUl in the crrUC Jcs, 0, 't he .Di Q,rofti·c and MO'd,tll relatlurushtps. glvin11 you another strong melodt too], which works in conj u nc tion wt th ~ro ur gr avril n g J\jI lodtc r j t ;rr: 1_ .

~

,PEINTATO:NIC

SeA L i' S

The Pentatonic Scale 'is, a common and simple melodic tool, It is ' __ .}. prototype of the Dla.w1nic scale. It shares common tones wtth both the .. major and relative minor scales.

Major P: a:tatonlc ,S-cale

1 Root orTome

,2 Major 2lE.ld

3 Major 31rd

4: The Perfec 5th

5 Th .. ' Major loth

MIDUlr P1entatoide lea'lle

1 The 'Root or Tome

2 Minor 3ird.

3 4 5

11u~ Perfect 4th Tl'lf: "Perfect 5th, The, Min,or 7th

Tbe,se are the JV1f!Hng,errngs which fcrm the major and rnmor ,Pent,otonic Sco.leslo 1bey can be traed to form many baste rne1.odlc patterns. The tones of the Pen~ta.tonic' SCales form :rve' diffe-~--'l1:t scales "IItthin an octave, By repeating .'. - e eycl ~_ for all fhe other oetavea you can develop an uz:ay lof me odte phrases. [('TIl,e square shows the majlot" tonic note.l

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Here are some eXc"1IDp':E~S 1.1 phrase'. from th _ .P1eftt,aton'ic-'~al· in the l~ey of E, .. , I frequently use this melodie too]. whet'! improvising wttrnn a SOl1.g 8trur~·Lure., Because of it's close relaticnshtp ~ n th.~ Blu ~s Seales, ir lend .'tself easily' ',0 creattng melodic patterns In almos[~ any piece of music .

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CnAPTE.R. 3

Here \ a son that /as composed 'Usil'lg a Psn,tatonic Sci ale. Yo'u 'Uli11 _ .-'0 ce that in the IA] rnelodv secuons. I 'used the B flat minor pl·-·nta·~fJni.c Scale over a simple n flat suspended chord. but kep changing tt, ~ bass notes to give this or e tonalny several different shapes ~ YOI] can see how rnovm anyone: elern mt of the harmony will. change the: 'whole complexton ofthe musl .. This ~hnu Id give ynu further proof of how important i IS Q Iearn all til . parts of a song; the melcdv, the chords, the-baas lmes .. .It is important to, know what they all are .. T11:e more

In brmanon mat you possess on the harmony of a SOIlg., tile better quali fled you w.Ul be . 01

ei '- J _! .e i L

So learn this melody, the corresponding chords, and the bass part, and you \VJlI have aood ex .mple 0 f ·1(]\, yuu can us· I h Penta:' -onic ,S,cal:·.

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~:uw [..l-ull you h.i.lv~ completed working on the previous three chapters, extensive stLLdY'lI'l,g of these 5(: ale- systems \111j1 g:t.VE: 1i_jOU, a very strong melodic awareness, and as J rnenttened before .. allow y'ou to bU'Ud any1:.rung from an tnterestmg bass Ilne Lu a simple or elaborate melody. KIlt}'wblg these melodic concepts l:lllte the 'back of your hand 1N1ll allow' you to solo, or complement a solotst etther on. ju~j nne chard change or over all ,~di.lhnm.1 f; grnlJ p of chord changes withou t any' problems.

The goal here is. to work MI.h. this theory u.ntn you can develop your own sound or voice, ,\Ve are all Indivtduals. and. 'W: rh ink and do thmg,s 'in our O\Vn special w.a.y~ We all have different. b aekgro u nd s and. dtff erent mfluencea. W~ llate rio 'j' 0 different ~Yrres ulrrruaie, and therefore: by expanding our vocabulary and ideas. we carl perform musi1c with 'O'U r own indl vidual expres ston, This melodic theory will 0 pen rnanv doors en the \v,ay' toward. 'pmpoint[ng- that expression.

The po,ssib ilitLes here are inflnl te, and iF Y01.i, practice hard, you \Vl]j be rewarded, {\Jways remember that dedlcatton to your instrument and learning €:fverything that you po asibly can about tha [ i'ns'~ rurnent 'will, without a doubt, make you, a better rnustetan.

. I

..



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P T" R

4



SCALES

'.'

The 1V1Io,Istone Seale is ldi~e of ~ I group 0' "scales known as the Hexaion.iC Scales. These ar sta:J· cu:mtrucf,ed,,' -,th siX 'no' es. no Inclu"ling rhe octave, n1er-,· n only i vo different 'WlUJ;letone: Scilles,~ T._,e.· : two scales, -wm, cover ill 12 key eigna ures, 1 chose the keys. or C aud C sbarp~ Ea~h 0" tllese t\fiD scales 51 are the tntervals that construct 6 WhaIB'. one' SClala '\iVlithn d,lflru-en:t blnw c~ntcr-slo'

'T-:-' HB- -. 'IlI'n!::!I',O' '. LE, - . TO" .' N·· E· ~,. "-" ' E' I~

-','=--1 .. ~ ", '.:__ ,J. . ~. I .1

1 2 ,3, ~4 ~5 ~6

--: .•. TIlE KEY OF C

o E F~ G,

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"liiMi "'iI"'i:HE'- . c· "

11.111 ,.II. J - '. ' ~-

D: E~

.6

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A



I,:

PAGE 8a • rClllAPTER

'.

I'~~LZ e "'D"''I' ,1M.~r'V' "~ID-"'I' ""'0' .,~ 'S-,,,, A 11" 'D'S T -:-- IC" I,H,', iJI ~~JI...~ W _'--'.~~_._., '",,' .. '.t"LD' I _ f~Ei· .' '. '.-

Each .. of the following ,6 wholetone seales eorrtain th .• S:aJl1'C notes as the C wholetone seale,

,i

·'O"Q

I Jl.n. -9- .n.

~=9: ••. : .... :~.::;-. =~-':;o~,=-. :.~: :- ~~=--~=""""ill:'iii""~=!iii:"· =.~-:=':~j:I:>e=' ':.:>F-':=..". =:= .... -j~.l-l:1 1::: ..... ' ~ .... J= .... -:= .... ~~=~~~. ··~':.::-:..~-=-:..~-=-:..=-=-:..~-=-:.._-=-:.._-=-:.::-:._-:-:._-=-:._-n.tll

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C Ii ~ r T E R .oL~ • W I' t n I ~ T 0 "~' S I' ALE S, " P ,A, Ci:H; [6.

THE RB,LA;TIVB 'WH'OLETO'NE SCAL,ES - :0 C~

Each or the b.lloVMWg.5 wholetoru -c ues cnrrtam 'the same notes us the C'~ wholelnne seale .

..,

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~ m.J 1"'7' In ,. r ,I", • 0 I" 5 '.

I J\ ~ K j U _ _ ,

- T E R 15
I ,- •

~MINISHE

SCALES

'.

Tne Dlm,\n.ishe ~~' Sea,", ~' iJ rr- r 'nnsrnJ c .cd in patterns 0 nine not estncluding the octave .. There - t: If n_y '3, "I 'ie-rent rJ mir .- heel scales, The kevs of 1\ .. B .. and B w 11 over all ':1 pr' stble note" In I he dtmi ,IS ed ~f:Ll.l~.

o

lh eru arr I wn wa y~ (!f "vi ~ w, nl.! lh dL .'1l11 i511~U ~~I ~r-de: /\,. a series - f whole steps ollowed by half

ieps ftL1holel1 aU, r G S rJ. ~- rtes of h . f eps followed bv whole sL.1JS (haU/tvhote).. Elther

-I',~ ~En1 nutln - - a '] .mru h ··d char I and ul m~ours:~ th :lai-/wh-l pattern is the aarru ;r 5 the

whole /Iral putt I rn II nl y' r~ tar tng on differ nt not '. I'll Vi! lolr=/half pattern is usually used will dlrmrushed chords -rnd t h,t-! hi d~ / whole pattern works best over aJt{~r~d. rlorrunan chorda

THE DIMINISImD :SCALE lihalflwho,le}

OJ 03 • I ~4 .r5 6 b l' 8

.....

-! 4iI!iI

.\ B- e C~' E F~ G "-
!I ;! .i-'i..
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THE" 7: KE.:'V' O-"F-':- 'D.

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Nnw ynu will see that the Dirnlnlshed scale in the key 0 reo itains the same notes as the diminished scales 'in' he keys of A. E~ anu G~

c

.,_.

! ,(E, C DllaDNISHED SCALE

113 3 }[j 5 6

EGG

1 1\

il'lHE' ,:, A D' 'F'I.,M"rNl·S-:- 'I~T"I; SC" ALE

• " _[ I _'. _. " __ '-_l'I'U_-' .. ~~I;-~ '~, [ , ... ;.'

~3 J 'n, 5, 6

~2 B

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THE E,~ DIM1NlS:Hira:n S·.'

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C~ G. II, B
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T·' . G~ DIMINISHED Be,

.~ 3 r5 5

C

2

, '

~7 B,b

8 C

~7 G

8 ,A

8

- ,

~ ~\. sUl1JJi'" I~l" av 0 11 .ure OU" whl .irni ishc , scales ahare I,· S2l_- n ,"es is '0 lean 1 I h~ notes In

- p' -

.r :H:: .- Ii. ~p dimnus _ ~d arpe. nos.

I

~ or example: 1\. ~~C:.' dlminl.s.hed chord iurualri the notes C, E>, G~ and 1'\ .. ,!.\.s shown .;; bove the

!""".. t II

ulrnlntshcd scales built frlJm the :C [bur notes - aeh coruatn he same notes. Likewise, (r e

mJlrusi ed ::a.!tJ.les built from D'~ E~ G und B~" ,r' - all . qual, . is are the dtmmrshed ~caJes butl

from D. r , i\,'b and Ha_ . .

DIMlNISRf.:D SCi\LEI!i



.

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"~' ,-,~-,'DfV;2D ~j"'AT~

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The foll,o~ solo section fro m "'Dark Hersee" incorporates chnrds in the Diminished Mode',~ I wante i la ilhrstrate the Dtminished Tonality.

T~h]s ptece ofmusic is all example ofhow .you can go In and 'Out of-the Modal Scal,.es and Di:miftish.'ed Scales~i and b,Y combtnlng Lhe two tonalities. form trrrcresnng phrases of music, Thts Is also a goo,d ~ray 'to practice. You can think <Dr a progresstou 1n which you use different chord ton!) lilies and then by using a, metronome to kepi the time. you, can prac ice pla;y1Ilg over these chord changes, All In'~ eresting addttion to that would, be to' r'~' "ord yourself and llsten back when vcu'r fuushed, If there 15 anythtng that you like~ wrtte 'It out and PI", ctic,.- your tl\;I~'TI phrastng as an. ,-': '"' reise, You'll be surprtsed how mucll ynu can learn from .

. _

vOUJr own playing. This Vllll also allow you to edt _ your-self if there are things that you hear in your-playing that you don't lntt~ All in all, It's a good lesson in

dis~ ~iplme and a good way to enhance your skills .

. •

"7 6

D',

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A

,'-, OLC' sECTJONl

bv dfM.MY HLA..!Sl lP

R.l1SSE,]"I~ rE~rE and B",~Y 'CO'ATES

Madlum, fast (dab"!e t1m., Iii = 13,2

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" '..,.... "';"~.'I!

(Play 3 runes)

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Cupyrt,rh.t C£I. 19D1 TEE1H MUSIC. ~~ VlERA .. N11JS·C. r~n"mI:"Mt-"IA M'TJ3 C. unci rV,iR~l}; UU,\ .\~ sic

In't.ernEitlon:Ed ~apy.1!"jJ~hT ·~ured ; .. a if! In U.S.A_ PtUijl;hlS R£""iIi!'n'''D.

17

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\iWiI"~ &;I

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t(BASa SoUl) by ,JIMMY HASLIP

:RU'SSELL F,l~RRANTE and BAllRY C'OAlES

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UJ1IBt,.~,,:....anu'Mr1ste., LA vf~ MUSIC, C9'ATESMAN1A MUSN:~. and BAlfAACUD:, ~'U:~He

U:W!Dlol~1IIIU CIl)P-'yri , " ~:,.!tI, Matl.- tn U.SA. 111' 'Eilg11U. Rtstnr~

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A, P

E

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6-

,



,

S
2 0
F Y' 'L
, c A L, E S 0 'R , 0 U R. I ]3, R Ai R, Y
,
, Here 'are snrne scales that ,I have [OU id I .seful in composing melodic patterns, bass 11nes,~ and melodies. It's helpful havmg 'many tOO~5 at hand when soloing over chord changes especially when sololni over a one I 'nord vamp'. E:y'llav1rJg a wide selection or scales to choose from, you \V1l111ave IJtJ1 abundance of melodic tdeas .. ·5'0 ~ ie of th'~se scale's have interesUng colors to them, S·j.ttlnQ down and pracuctngjust one of Itllese seales can spa' k many more unusual melodte pos6ibHiLiES and ideas.

It is a good idea to practice playing these scales melodically over th.eilr correspondmg chord changes. There are dozens of poaslble chords that 11irUI work with each scale. FOF nUT purposes I am selecting jus one prtmary chord vOici.llg ill the key of' E which can then be modulated to the . .emai n] 'fl!! 11 kevs,

- ~

r have' inci UI', ed a melodtc phrase composed from leach scale. grouI' in thekey of E and a correspondtng chord, These VlU.] gi¥e you some examples of 'how )l"O'U can take these scales and. use them -, s melodic tools or solos arid melodies, and also give you Ideas for rnelodte counterpoint, Basically. learning hese scales t-'lliJl open your ears tu Home more unusual

onalltles. think these scales wlll add dlmension to V(~'11r lfbrarv .

....f ~

You shoul know that learntng and sLud,}ring these [tools is Just the' tip of ~ he tcebera, Llstenina "01 tnus ir , studying songs, 5tudyiIl1. Indrvidual musu tans who are considered the masters of hetr "Instruments" [musictans like: Charlie Parker. -John Coltrane, MIles Davis, Duke Elli glun.

Count B;Jt- ie, Keith J rrett, nJi.L.d Hendrix. JaC,Q Pas' uriua, Jame' JamerSOl1. Charles '- i I;US .

• I

Charlie c~ .. nsttanscn. Robert -Johrrson' .. B .. B. King" \V Hie Dixnrt. HankWilliams, Mozart. J .. S.

Mal:·h. S!:: _ vi . Wand'er ,~.retha~ Franklm ,E' 'C CEapl 'un, J ,e'k Dedchnette. 'I auy wnUams Ron Caner and Thelonius Monk tOI riarne a lew] ts 'the essenc o[ Learning all this i:nforma'"on., These are some r ( tile people Ihat brtn these notes 0 ill ,. And that is I JI nhjec' vt: - LO brtng all oi these nnr,=~ and scales and melodic OlO~S QI 1 ,: e. ,Fltld ynur own x alee as all <of l'hese 'sts have. r l all cernes ~ lth dedication and knuwledi e. Study this book and others practice hard and

-ve n 1Ll all v . ou will a U if: , eeed .

~I ..

B:,ARII,ON'IC

I .N' 0 R

6, c .~' L E S

1

2

S,rtli I' iC'!J 'l:t"Ionl.,.;I'U---1 iii 1~C1:: V'Z"Ui1, ~)

~3 5 ~6

,8

7

E, !}" Ie II I
HARMONIC 'MlnDR
- _,,":", ,'- 1,-'
IV 1,1 o·
B ", e-
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I'
m" a, m
~.' ""'9
A IlAB.uOblc MINOR fa '1-:1
:'" J;,., ,_' ,- ',::-'!il Q 1:. " ,
'II

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=,: [I '~ g
I a
D IIARM'O,IRC MINoR. 0 I
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f)= i'a ~I"I 1:0- II I
G - 'ONIC MJ:N'OR e
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0 II"

hi. \~'O D .....
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C IIA.ltMONIC OR 0
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PAOE BiZ • C ,. porm

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B ' 2 10. S C; A L IE is, F (.j R 'a u n l I a R It ~t r

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1 Jl J -.

SCALES

E D

The L . dian Diminish,ed Scale' 18, a mode' of the harrnuruc mtnor scale. . ... Ivdlan dtrmnlshen

. . -.. . -

seale contains the same notes · 'S a 'harmontc minor seal starting ori t he 4[h~ In ther words, an

E lvdtan dln Irrl . bed com atns the same notes as a 13, harrncntc miner seal .

....

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AMPLE C~ :ORD V'OJ:CING

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, e spani£: SCa~e 3, "l mode oJ tilt. barrr.H"Jlnl-f rntnor calc, J\ . 'panu;h scale DonJFJjnB thp. same nolt~s HS H lU]ITn me minor seal . starting on the 5th. In other words, Em, E spanrsh S,CalC'

'or tams te aI·· me Il 0 tes as a 1 A ]1; rrmonlc rrunor seale.

B

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