rovisation Course for Intermedia to Advanced Guitarists EXAMPLES VER 50 CD TRACKS * TWO CDs * STANDARD NOTATION AND TABLATURE = THE MOST USEFUL SCALES AND MODES ( \~ FRANK GAMBALE 'MPROVISATION MADE EASIER __ AN IMPROVISATION COURSE FOR INTERMEDIATE TO ADVANCED GUITARISTS COVER DESIGN: JORGE PAREDES COVER PHOTOGRAPHS COURTESY OF MICHELLE MORTON MUSIC TYPESETTING AND PAGE COMPOSITION BY CHELSEA MUSIC ENGRAVING Published by Manhattan Music, Inc.™ ‘© 1997 MANHATTAN MUSIC, Inc.™ All Rights Controlled and Administered by Wamer Bros. Publications All Rights Reserved. International Copyright Secured, Made in U.S.A, Distributed by Warmer Bros, Publications 18800 N.W. 48th Avenue Miami, FL 33014 ‘Any copying of this material in whole or in part without the written permission of Warmer Bros. Publications Ine. isa violation of copyright law.TABLE OF CONTENTS INTRODUCTION. —cunprer 7 —————THEMIXOLYDIAN MODE (DIE, E7sus. GIA.) 5 Lesson 1 Scale Fingerings for E Mixolydian 6 Lesson 2 Scale Fingorings for A Mixolydian 7 Lesson3 Chord Voicings for D/E and G/A 8 Lesson 4 Licks in E Miolyian (Examples 1-3) 9 Lesson Licks in A Minalydian (Examples 4-6) 10 Lesson 6 Combination Licks in E and A Mixolydian (Examples 7-8) 41 Lesson 7 Song Example Using 11th Chords (Example &: “Mixotune") 12 —cnprer-y7———THEANDIAN MODE (EE, Emaj7iIL A) yp Lesson 1 Scale Fingerings for E Lydian 14 Lesson 2 Scale Fingerings for A Lydian 15 Lesson 3 Chord Voicings for FYE and B/A 16 Lesson 4 Licks in E Lydian (Examples 10-12) 17° Lesson Licks in A Lydian Examples 13-15) 18 Lesson 6 Combination Licks in E and A Lydian (Exemples 18-18) 19 Lesson 7 Song Example Using the Lydian Chord Example 19) 20 —caprew-3 HE DORIAN MODE (Emin7. Emin®, Emini.) 2) Lesson 1 Scale Fingerings for € Dorian 22 Lesson 2 Scale Fingerings for A Dorian 23 Lesson 3 Chord Voicings for E and A Dorian Chords 24 Lesson 4 Licks in E Dorian (Examples 20-22) 25 Lesson 5 Licks in A Dorian (Examples 23-25) 26 Lesson 6 Combination Licks in € and A Dorian (Examples 28-28) 27 Lesson 7 Song Example Using the Dorian Minor 7 Chords (Example 23) 28 errr ——THELONIAM MODE (EmajZ.E(Q)..) 29 Lesson 1 Scale Fingerings for Elonian 30 Lesson 2 Scale Fingerings for Alonian 31 Lesson 3 Chord Voicings for E and A lonian Chords 32 Lesson 4 Licks in E lonian (Examples 30-32) 33 Lesson 5 Licks in A lonian (Examples 33-35) 34 Lesson 6 Combination Licks in € and A lonian (Examples 36-38) 35 Lesson 7 Song Example Using the Major 7 Chord {Example 39) 36 ——carerers-—————THELOCRIAN MODE (Emin?s5.BVE,Bomaj7S/E..) 37 Lesson 1 Scale Fingerings for ELocrian 38 Lesson 2 Seale Fingerings for A Locrian 39 Lesson 3 Chord Voicngs for € and A Locrian Chords 40 Lesson 4 Licks in E Lorian (Examples 40-42) 41 Lesson & Licks in A Locrian (Examples 43-46) 42 Lesson Combination Licks in Eand A Locrian (Examples 48-48) 43 Lesson 7 Song Example Using the Lorian Minor 7 Chords (Example 43) 44 Lesson 1 Scale Fingerings for E Phrygian 46 Lesson 2 — Scale Fingerings for A Phrygian 47 Lesson 3 Chord Voicings for€ and A Phrygian Chords 48 Lesson 4 Licks in Phrygian (Examples 50-52) 49 Lesson Licks in A Phrygian (Examples 63-85) 50 Lesson 6 Combination Licks in E and A Phrygian (Examples 86-58) $1 Lesson 7 Song Example Using the Phrygian Chord Example 59) 52Lesson 1 Lesson 2 Lesson 3 Lesson 4 Lesson 5 Lesson 6 Lesson 7 tessan 1 Lesson § Lesson 6 Lesson 7 ~~ CHAPTER-7 THE AEQLIAN MODE (Emin7#5, Emin U#5/E. Fmaj7/A..) $3 00 Scale Fingerings for E Aeolian 54 Scale Fingerings for A Aeolian 58 Chord Voicings for E and A Aeolian Chords 6 Licks in E Aeolian (Examples 60-62) 57 Licks in A Aeolian (Examples 63-65) 58 Combination Licks in € and A Aeolian (Examples 66-68) 59 Song Example Using Minor 716 Chords (Examples 69) 60 ‘Scale Fingerings for Etydion }7 62 Scale Fingerings for A Lydian}? 63 Chord Voicings for E and A Lydian 57 Chords 64 Licks in E Lydian}? (Examples 70-72) 68 Licks in A Lydian (Exempies 73-75) 66 Combination Licks in E and A Lydian 9 (Examples 76-7) 67 ‘Song Example Using Lydian 57 Cards (Example 79) 68 —canprery IME SUPER _LOCRIAN SCALE (E719, E7159, E759..) 69 00 Lesson 1 Lesson 2 Lesson 3 Lesson 4 Lesson 5 Lesson 6 Lesson 7 Scale Fingerings for E Super Locrian 70 Soale Fingering for A Super tocrian 74 Chord Voicings for € and & Super Locrian Chords 72. lcks in Super Locrian (Examples 80-82) 73 Licks in A Super Locrian (Examples 83-85) 74 Combination Licks in E and A Sune Locrian Examples 86-88) 78 Song Examole Using 768 Chords (Example 89) 76 rnp ty THE HALE:WHOLE DIMINISHED SCALE (612.9, EL291N1. E710.) 77 Lesson 1 Lesson 2 Lesson 3 Lesson 4 Lesson 5 Lesson 6 Lesson 7 Lesson 2 Lesson 3 Lesson 4 ‘Scale Fingerings for E Half-Whole Diminishad 78 Scale Fingerings for A Hall-Whole Diminished 79 ‘Chord Voicings for £1348, 41318, and Other Half-Whole Diminished Chords 80 Licks in E Helf-Whole Diminished (Examples 90-92) 81 Licks in A Half-Whole Diminished (Examples 93-95) 82 Combination Licks in E and A Half-Whole Diminished (Examples 96-98) 63 ‘Song Example Using 13-9 Chords (Example 99) 84 pee ee Lesson 1 Lesson 2 Lesson 3 Lesson 4 Lesson 5 Lesson 6 Lesson 7 ‘Scale Fingorings for E Phrygian Major 86 Scale Fingerings for A Phrygian Major 87. Chord Voicings for E and A Phrygian Major Chords 88 LUcks in E Phaygian Major {Examples 100-102) 89 Licks in A Pheyaian Major (Examples 103-105) 90 Combination Licks in E and A Phrygian Major (Exampies 106-108) 91 ‘Song Example Using Harmonic Minor V Chords (Example 109) 92 ——cHnpren THE AEQUAN:5 SCALE (EminiS, Emin9:5,AminIS.) 93 Lesson 1 Lesson 2 Lesson 3 Lesson 4 Lesson 5 Lesson 6 Lesson 7 Scale Fingerings for E Aeolian i 94 Scale Fingerings for A Aeolian» 95 Chord Voicings for E and A Aeolian '5 Chords 96 Licks in E Aeolian 5 (Cxamples 110-112) 97 Licks in A Azolian #5 (Examples 113-115} 98 Combination Licks in E and A Aeolian i (Examples 116-118) 99 Sang Example Using Aeolian 45 Chords (Example 119) 100 —eprcesore ———PAIINGIE-ALL TOGETHER oy ‘Song Example Using All the Chord Types Used (Examole 120: “Modalawn") 102this twelve-chapter course we'll be looking in-depth at the twelve most important scale sounds you'll need to become a well-rounded guitarist. Of course we'll be looking not only at scales, but also at the chords and voicings derived from these scales, and licks that will keep you learning and challenged. be presenting you with seven lessons per chapter. ll be using only the keys of “E” ‘and “A” throughout all of the examples. | believe that its an unnecessary waste of time to lea everything in twalve keys on the guitar, mainly because every scale will look the same and incorporate the seme fingerings. So “E” and “A” are sufficient to give you a good idea of how the scale shapes overlap on the guitar. At the and of each chord chapter there is a song stucy of al the information we'll have leammed in the chapter. There's lots to learn, but take your time, there’s no tush. This is a serious course here and I've attempted to make learning fun and easier. So, on that note (By e's dive right in to Chapter 1, Lesson 1 — good luck.! Wess to the Frank Gambale Improvisation Made Easier course. Over FRANK GAMBALETHE MIXOLYDIAN MODE ‘would have the same notes as the A major scale (A B C1 D E Ft Gt) because E is the 5th scale degree of A. Therefore, E mixolydian is the notes of A ‘major beginning on the note E: E Fé Gt A B Cé D. An understanding of the interval- lic retationship between each of these notes is necessary in order to understand ‘the character of the mixolydian scale. To do that we must compare these notes to the standard scale from which all music theory is derived: THE MAJOR SCALE. If \we compare E mixolydian to the notes of E major we han T: ‘mixolydian mode is built on the 5th note of a major scale. E mixolydian E Major: EMG AB CHO E AGA BG 12345 67 8 9 1011 12 13 E Mixolydian: Ef GA B CHD E GA B GF 123456689 011213 Now you can see that the only difference is that the 7th degree is flat (lowered 1/2 step) in the mixolydian scale. By numbering the degrees we get a scale formula we ‘can use which will be consistent with every mixalydian scale in every key, Mixolydian: 123 45 67 (1) (13) ‘You can see by this scale’s interval content that the chords possible from mixoly- dian are dominant 7th chord characters: E7 (1 3 5 ¥7), E9 (1.3.5 17 9), E11 or D/E (157 91), and E13 (1 357 13) These are just a few of the possibilities for chords available using the mixolydian interval structure: 1 29) 3 4(11) 5 6{13)87. The most popular mixolyéian chord is undoubtedly the 11th chord, which is more commonly referred to a8 a major triad over a bass note which is one-whole-step higher. For E11, that would be the same as D/E (verbalized: “D over E”). Here, the D major triad is borrowing three notes from E mixolydian (D7), Fe{9) and A(11)) with the E below it functioning as the bass note or root of the chord. Visualizing this chord as a triad over a bass note makes it easier to find these chord voicings. ‘on the guitar. Now its time to start puting all this information for mixolydian together, EERE EEE EEE eH Eee ece eee eeeee eer Seere ee Pee reer eeeeeee et IMPROVISING MADE EASIER 5Pott __LESSON | SCALE FINGERINGS FOR E MIXOLYDIAN —___ ‘Lear all seven scale fingerings for E mixolydian. Notice that the scales are writ- ten out, numbered in one-octave intervals:1 2 3 4 5 6 57.Ithinkits bet- ter for you to learn each scale by intervals rather than by the note names at fist ‘The reason is that all the different keys would involve learning many different notes. But since the guitar shapes will remain the same for all keys, the relation- ship between all those notes remains the same — that is, the intervals from the oot will always be 1 2 3 4 5 6 $7. Eventualy it will be a good idea to learn the notes too, but for now just get familiar with the intervals. Practice these scale fingerings at a medium tempo. Remember, its better to play accurately at a ‘medium tempo than it is to play inaccurately at a fast tempo. Fingering 1 E B G D Fingering 2 . 4 E Fingering 3 EE Fingering 4 at ig 5 Te Fingering 6 ot Fingering 7 7 tote 6 FRANK GAMBALE| don't think it's necessary to learn all 12 keys, but to get used to key changes its important to see how the scale fingerings overlap on the guitar. In Lesson two we'll learn the scale fingerings for A mixolydian, Once you've played all seven fingerings, combine Lessons 1 and 2 by playing the first fingering of E mixolydian, then the first fingering of A mixolydian, then the second fingering of E mixolydian, etc. This will help you get familiar with the concept of playing key changes in one fretboard location Fingering 1 E B G D. Fingering 2 A E 2 Fingering 3 Fingering 4 Fingering 5 The cee Fingering 6 of Fingering 7 Hu___LESSON 3___ CHORD VOICINGS FOR D/E AND G/A {tis vital to have a strong chord vocabulary for soloing. Having lots of voicings for the D/E and G/A chords will certainly help. This is 2 particularly pleasing chord. as, is the mixolydian scale over it, but we'll get to that little later because now its voicing time. Lear these voicings thoroughly. Be able to grab them without missing a beat. Some of the voicings require @ bit of stretch; you may be able to use these voic- ings to warm up your hand muscles lke a warm-up exercise. i DIE DIE DIE Seer reer Te 10fr a 3 4211 4211 DE DIE , DIE 2333 312 11121 GIA am 2 341 3 4211 GIA GIA ee 12 fr cat's 4211 3214 2333 GIA GIA KX 7 ft 4231 1121 3211 FRANK GAMBALE——LESSON 4 __LICKS INE MIXOLYDIAN Now it's time to get some licks under your fingers. These licks will go fram easy to hard and will be over the D/E chord. Remember, be patient, You can always slow any of the licks down or even stop them. Have fun! Aoaarera 2i4ri14 2t4rttaaraarrae MVAVAYRY VAVRVAVY VAVAVAVAYAVeVAY * Key sgnature denotes E mixin eee ee ee AY AVAV AYA AVY AVAVAVAV AVA * Koy nature donoios E mixin 5 3 -xample te £ arrears err are2ere 2527427314 1 4 AVY VAV VV RY AVY AV OV AV AV AV AVA VA S134 * Key signature denotes E mioydlan 7 = = 7 7 Prat 2r+gt 1224 2rarerr2grs VVAAVVVO A VVV¥R ARAVA VR IMPROVISING MADE EASIER 9More licks, this time in A mixolydian. These licks will go from easy to hard and will all be over the mixolydian G/A chord. Plav them as accurately as possible and ‘at your own pace. Example 4 39323129 43941 312 T18 18 taragan AVVV AVR ovVAR oven VaVAVAVAVAVAVVY "ey gnaiedenates Armaan Example § + GA 2274312313191 41 AMAVAVARV VAY g9o14913 818132 ‘ momavavaAnVvV Aa Key signature dence A mixin Example 6 + GA 2142 Hr SA AGG2V1s4t124 AVVAVVARVVVVoAnVAAn 14979297 2g9221S ATI BET AVVAVYARVVV Vemma a * Key satire denotes Arinoilan 7 = z y Pe ee AVVVAVVV AV VV RV VV AV VV VY Aviv FRANK GAMBALE——LESSON 6 __COMBINATION LICKS IN E AND A MIXOLYDIAN 7 Even more licks. This time we combine the two scales and chords. Study the notes carefully and try to get a feel for licks that have a smooth transition between keys through chord changes. THIS IS THE VERY ESSENCE OF IMPROVISING THROUGH CHANGES! 12413412 3 46 38 6 21462413 4774 1 VnVAVVVY mv 4244238214213 431 4344312312143 468 MVYMVAV AV AV AV AVR AV AV AV AVAVAVAE 1 3491 81314257 ere mVvYmVv VAVAV AVA IMPROVISING MADE EASIER "__LESSON 7 __MIXOLYDIAN SONG EXAMPLE USING LTH CHORDS n Example 9 Ga ‘The last lesson in this first chapter will demonstrate the use of the 11th chord {usually indicated as a triad over a bass note. for example G/A\ in @ song context. Every chord will be an 11th chord so the corresponding scale for each chord will be mixolydian, relating to the chord root. This way the melody will make perfect sense to you. I'll be using other keys as Well as the two we've learned, but as | said before, it will be no problem because you already know the scale shapes from the earlier lessons. Enjoy the song. Be FRANK GAMBALETHE LYDIAN MODE IMPROVISING MADE EASIER (FE, Emaj7#il, B/A...) he Iydian mode is bult on the 4th note of a major scale. E iydian has the same notes as the B major scale (B C4 Dt E Ft Gt Af) because E is the 4th scale degree of B. Therefore, Elydian is the notes of B major beginning on the note E: E Ft Gt At B Ct Di. An understanding of the intervalic relationship between each of these notes is necessary in order to understand the character of the Iydian scale. To do that we must compare these notes to the standard scale ‘which all music theory is derived: THE MAJOR SCALE. if we compare E lydian to the notes of E major we have: E Major: ER GHA BCH OLE ff Gt A B Ct 1234567 8 9 1011 12 13 E Lydian: E ft Gr At B Ce Ot E Ft Gt At B Ct 123 45 6 7 8 9 101 12 13 Now you can see thatthe only difference is that the 4th degree is sharp (raised 1/2 step) inthe lygian scale. By numbering the degrees we get a scale formula we can use which will be consistent with every iydian scale in every key. Lydian: 12345 67 {9} 41) (13) You can see by this scale’ interval content that the chords that are possible from Iydian are major chord characters: Emaj7 (1 3.5 7), EmajQ (1 3.5 7 9), Emaj7#11 (1.37411), and FYE(1 #4 69 ). These are just a few of the possibilities for chords available using the lydian interval structure: 1 ~ 2{9) ~ 3 ~#4(¢11) ~ 5 ~ B13) - 7. The most popular Iydian chord is undoubtedly the 8111 chord, which is more com- ‘monly referred to as a major triad over a bass note which is one-whole-step lower. For B11), that would be the same as FYE (verbalized: “Ft over E”). Here, the Fd ‘major triad is borrowing three notes from EIydian (F8= 9, At= #11, C¥= 6) withthe E below it functioning as the bass note or root of the chord. Visualizing this chord as a triad over a bass note makes it easier to find these chord voicings on the gui- ‘Tar. Now it's time to start putting all this information for lydian together. 1BLear all seven scale fingerings for E lydian. Notice that the scales ara written out, ‘numbered in one-octave intervals: 1 2 3 #4 5 6 7. Practice these scale fingerings at a medium tempo, Remember better to play it accurately at a medium tempo than itis to play inaccurately at a fast tempo. Fingering 1 mProuowm Fingering 3 Fingering 2 ofr Fingering 5 / Fingering 4 Fingering 6 1 Fingering 7 f Mfr FRANK GAMBALE—LESSON 2__SCALE FINGERINGS FORA LYDIAN Once again, | don't think i's necessary to learn all 12 keys, but to get you used to key changes its important to see how the scale fingerings overlap on the guitar, so in this lesson we'll learn the scale fingerings for A lydian. Once you've played all seven fingerings for A Wydian, combine Lessons 1 and 2 by playing the fist fin- ering of Elydian, then the fist fingering of A iydian, then the sacond fingering of E lydian, etc. This will help you get familiar with the concept of playing key IMPROVISING MADE EASIER changes in one fretboard location Fingering 1 mPrPoownm Fingering 2 "of Fingering 3 : a Fingering 4 ste Fingering 5 te Fingering 6 of Fingering 7 ss 1 leItis vital to have a strong chord vocabulary. Having lots of voicings for the F¥/E and B/A chords will certainly help. This is 8 particularly pleasing chord as isthe lydian scale over it Lear these voicings thoroughly. Be able to grab them without miss- ing a beat. FH/E FR/E FE/E x x fi x x — 6 fF ! ie Life ; 2111 21131 FH/E Emaj7#11 FH/E Ox x x lf 2 341 24111 B/A B/A x x ee 2 1444 2 111 B/A Amaj7#11 x x x 4fr 2 131 1 432 2 341 B/A Amaj7#11 Amaj9#11 xo Soest xO Off 1341 4311 2143 FRANK GAMBALELESSON 4 LICKS IN E LYDIAN asnaanaat Now it's time again to get some licks under your fingers. These licks will go from easy to hard and will be over the F¥E chord. Remember, be patient. You can always slow any of the licks down or even stop them. Have fun! Example 10 ce VOVAAVAVAV VV AA * Key sgnature dertes Ean Example 11 FRE * Key signature doretes Ean + re too a2 grea 241341 184 trazrise2errgat VROMVAnnVAR AVA VAR Avvo * Key sgrature denotes E Wan 213341 3241243213 F149 411 821194422 VVRVAVAVAVAVAVAYV AVAVAVAVAvAe Vv IMPROVISING MADE EASIER 7LESSON 5 ___LICKS IN A LYDIAN More licks, ths ime in A lydian, These licks wl go from easy to hard and will ll be ‘over the lydian B/A chord, Play them as accurately as possible and at your own pace Example 13 BA ara 4 3431 3134 S$ 1331313 SI1atTS mAVvAVv VAVA AVAY VAVAVAVYRVvY VARVARA * Key signature denotes Ayaan Example 16 eoaor gr e2s14r 2221 Ft 4 i ae22te21a4 aaa? AVVVRAVVY RV AV VR VV AV Kay snare denotes Ayan Example 15 BA 2121421241214 212 63t 2st 4 stra eregis MVAVAVAYRVAVVAVV AVA VV kay spre denies Ayaan ar4 dre 21 arte ert e2 49s eregraetreeany NMVVAVVAVVAVVYAVYAVY AVA VY RAV V VA 18 FRANK GAMBALE——LESSON 6 __ COMBINATION LICKS INE AND A LYDIAN Even more licks. Tis time we combine the two scales and chords. Study the notes carefully and try to get a feel for licks that have a smooth transition between keys through chord chenges Example 16 Fue BA Example 17 @ Fue BA 49244291432 411238421941 9194 NMAVVVVRAR AVV VV ARAVA great 4 2743431439 B14 startisssraeat MVVAVVYAVAVV AVY VY AV MV VAV VA VV Saas g212214 31431421 1539121413731 2485 MOAVAAAVAVV AV VARY AV V RV VV VV IMPROVISING MADE EASTER 920 Fe Example 19 This lesson will demonstrate the use of the Iydian chord in a song context. Every ‘chord will be a lydian chord, so the corresponding seale for each chord will be !ydian, relating to the choru'’s root. This way the melody will make perfect sense to you. I'll be using other keys as well as the two we've leamed, but as | said before, it will be no problem because you already know the scale shapes from the earlier lessons. Enjoy the song. FRAMIC GAMBALEIMPROVISING MADE EASIER THE DORIAN MODE have the same nates as the D major scale (D E F#G A B Cf) because Eis the 2nd scale degree of D. Therefore, E dorian isthe notes of D major beginning on the note E = EF GABCsD (E dorian). An understanding of the intevallc rela- tionship between these notes is necessary in order to understand the character of the dorian scale. To do that we must compare these notes to the standard scale which all music theory is derived: THE MAJOR SCALE. f we compare E dorian to the notes of E major we have: T: dorian mode is built on the 2nd note of a major scale. E dorian would E Major: BERGA BOD A EGA 8 oO 12345678901 1213 E Dorian: ERGABCGDERGABG 12534 5 67 8 9 MON 12 13 ‘Now you can see that the only difference is that the 3rd and 7th degrees are fat {lowered 1/2 step) in the dorian scale. By numbering the degrees we get a scale formula we can use which will be consistent with every dorian scele in every key. Dorian: 126845 6 7 @ (1) 13) You can see by ths scale’ interval content that the chords possible from dorian are minor chord characters: Emin? (1 +3 5 $7), Eming (1 $3 5 47 9), and Emint1 (11347 11), These are just a few of the possibilities for chords available using the dorian interval structure: 1 2{9) +3 4{11) 5 6(13) 47. The most popular dorian chord is undoubtedly the minor 7 chard. 21——LESSON | _ SCALE FINGERINGS FOR E DORIAN Leam all seven scale fingerings for E dorian. Notice that the scales are written out, numbered in one-octave intervals: 1 2 #2 4 5 6 57. Practice these scale fingerings at a medium tempo. Remember, its better to play it accurately at a ‘medium tempo than it is to play inaccurately at a fast tempo. Fingering 1 Fingering 2 HH fr Ea Fingering 4 Fingering 5 f Fingering 6 ot Fingering 7 FFE r 12 n FRANK GAMBALE mrovoom——LESSON 2___SCALE FINGERINGS FORA DORIAN, IMPROVISING MADE EASIER Once again, | don’ think it necessary to leam all 12 keys. Once you've played all seven fingerings for A dorian, combine Lessons 1 and 2 by playing the first finger- ing of E dorian, then the fist fingering of A dorian, then the second fingering of E dorian, ote. Fingering 1 E 2 B G D. Fingering 2 A E - 5 2 Fingering 3 af Fingering 4 st Fingering 5 a Fingering 7___LESSON 3 CHORD VOICINGS FOR E AND A DORIAN CHORDS It is vital to have a strong chord vocabulary. Having lots of voicings for the Em? ‘and Am7 chords will be useful. Learn these voicings thoroughly, Be able to grab ‘them without missing a beat. Emin7 Emin7 Emin11 Q n xx x x 3 fr Te] 10fr e 43211 2 341 Emin9 Emin11 ox a] [ Hel Sir Hes 2413 13 24 Amin7 t 18 fr Sfr + retee c 2134 43211 Amin9 Aming x x (0) it + 10 fr a 213 2143 or2331 Amin11 Amin13 Amin7 xo ZS ae (O) (0) ot (0) ) Tfr 4121 1 224 4 Sfr 2 333 FRANK GAMBALENow it's time again to get some licks under your fingers. These licks will go from easy to hard and will be over the Em7 chord. Remember, be patient. You can always slow any ofthe licks down or even stop them. Have fun! "Koy signature denotes E dorian Example 21 en aresad roar e2t1g4g aan 22421242 12 AVVVAVV VAY AVY VV Rom VY * * Key slonature denotes E dovan Example 22 a wT? s 124 128 124461431 eter eaad sv mM MYA AVR AVA AV AV AVA AV AVA g40 4023 1291 624 413 T1394494 337 VAVV¥AVVYVYAVAR VV mM VV nvnaAnnyv nov IMPROVISING MADE EASIER 2s__LESSON'S LICKS IN. A DORIAN Mare licks, this time in A dorian. These licks will go from easy to hard and will all be over the Am7 chord. Play them as accurately as possible and at your own pace. * Key signature denotes dovian Example 24 nVVVAVV AVVVAVVY AV VV Av vv VV 7 * Koy snare danctes A coran Example 25 + an? pratt et oe tat at aa te? Rt agar arr+1 sr e2gr ss RVAVAVAVAVAVAVAY AVA Ave Key satire dnote A dorian 1303gars t 1st aatratr 1a 1 tet 248 218 RVAVAVVAVVAVAVV Avan vA % FRANK GAMBALEEven more licks. This time we combine the two scales and chords. Study the notes ‘carefully and try to get a feel for licks that have a smooth transition between keys through chord changes. En? Ant 192413242231 27 ho13 31433161249 2 VVV 9A AAVAV AAV IMPROVISING MADE EASIER unThis lesson will demonstrate the use of the dorian chord in @ song context. Every chord will be a dorian chord. Enjoy the song. Example 29 er on ett tape ary, . ee tit tp te te t2tae2 915992 1 121439 Fe Rata? B ARVAVA VVAVV AVY AP oAVAVA vv Av vv En? cn 121462 4349 39392 1 VvnAvVVAVvoA oe mvavo 943 6213433 44 4 413 431314 1213 vVVV VaVAVY av 6 FRANK GAMBALE— CHAPTER @—LHEIONIAN MODE (Emaj7, E(9)...) 'ajor would obviously have the same notes as the E major scale. Therefore, the notes of E major are: E Ff Gt A B Ct Dt. The intarvallic relationship between each of these notes reveals the character of the major scale. E Major: ERGABGOE RGA BO 123456783 0n122B By numbering the degrees we get a scale formula we can use witich will be con- sistent with every major scale in every key. lonian 1234567 (3) (11) (13) You can see by this scale’ interval content that the chords possible from major are ‘major chord characters: Emaj? (1 3 5 7), Eladd9) { 1 3 5 9), Emaja (1.35 7 9), and Emaj13 (1 3 7 13). These are just @ few of the possibilities for chords available Using the major interval structure: 1 29} 3. 4{11) 5 6(13) 7. The most pop- lar major chords are undoubtedly the major 7 chord and the majorfadd). IMPROVISING MADE EASIER 2Leam all seven scale fingerings for the E major scale. Once again the scales are written out, numbered in one-octave intervals 1 2 3 4 5 6 7. Practice these scale fingerings at a medium tempo. Fingering 1 E B G + D Fingering 2 A E a Fingering 3 af 4 SE Fingering 4 sme Fingering 5 ate | 4. EE rey of Fingering 7 e 12 30 FRANK GAMBALE——LESSON 2__SCALE FINGERINGS FORAJONIAN = In tis lesson we'll learn the scale fingerings for A major. Once you've played all seven fingerings for A major, combine Lessons 1 and 2 by playing the first finger- ing of E majot, then the first fingering of A major, then the second fingering of E major, et. Fingering 1 Fingering 2 Fingering 3 at Fingering 4 str Fingering 5 2 1 Fingering 6 of Fingering 7 ee ; ate IMPROVISING MADE EASIER 3——LESSON 3___ CHORD VOICINGS FOR E AND AJONIAN ‘Now it's time to look at the most useful voicings derived from the major scale. It will be mostly major 7 chords and some other variations. Have fun! 2 Emaj7 Emaj7 Emaj7 ox ~ ° 11 fr 19} fr re 43111 Emaj9 Emaj9 E(9) oO ° ° 00 fat ddr 21433 13211 241 or3 1422 E(9) —_—_— [ety Te) fr . 12431 3214 4231 1333 4321 A(9) — Sfr 134211 3214 FRANK GAMBALE—LESSON 4 LICKS INE JONIAN, ‘Now it’s time egain to get some more licks under your fingars. These licks will go from easy to hard and will be over the Emaj7 and E19) chords. Remember, have fun! Example 20 Ena 234 Pat gatt 142 181 941 vn«v vnvv vnmava van Example 31 @® mai ea srr rae ear rere saeri tra aaarriss VVVYAVVVYAVVVY AVY VA VV VRV VV RV VV VV Example 32 IMPROVISING MADE EASTER nLESSON 5 LICKS IN. A TONIAN, ‘More licks, this time in A major, These licks will go from easy to hard and will all be over the Amaj? chord. Play them as accurately as possible and at your own pace. Example 33 Example 34 ana tagger sagt aaera aero ast Gr straere VARAAAVVVAVVV AV VY AAV AAV AV ‘Anal? rr re VAOMAVAAAVAVVV AVY AVA VA ARV 4 PRANK GAMBALEEven more licks. This time we combine the two scales and chords. Study the notes Carefully and try to get a feel for licks that have a smooth transition between keys through chord changes. Example 36 Example 37 nai? avai? Omai7 Example 38 Ena Daj i 7 - “, 1 1 seater ar saartag g14gi4ata 242462 14 VAVAV AVYAVAVAV AV ARAVA 134124 AVVAVVYAV AV AVA Ss 7 ee : eee ee ee ee ee) RV VANVOVAAAVVANRVAAR VY AVY VAVVAVAVAVVVAV oA IMPROVISING MADE EASIER 35LESSON 7 _ SONG EXAMPLE USING THE MAJOR 7 CHORD This lesson will demonstrate the use ofthe major chord in @ song context, Every chord will be e major-type chord so the corresponding scale far each chord will be major, relating to the chord’s root. This way the melody will make perfect sense to you. Enjoy the song Example 39 (9) ‘mel? Boal? eae te er1e2tor sets 414 12are1a1e2e8 VOVVVAVVARVAVYAN VAVAV VV AVY VA FRANK GAMBALE cv"THE LOCRIAN MODE —cHAPTER-5——EmninZ:5, BomajZi5/E...) he locrian mode is built on the 7th note of a major scale. E locrian would have the same notes as the F major scale (F G A BC D E) because E is the 7th scale degree of F. Therefore, Elocrian is the notes of F major baginning on the note E: EF G AB» C D. An understanding of the intervalic relationship between these notes is necessary in order to understand the character of the locrian scale. To do that we must compare these notes to the major scale, If we compare E locrian to the notes of E major we have: Major: ER GA BGO ER GA BO 123 45 67 8 9 1011 12 13 E Locrian: EFGABCDEFGABC 15243 4 15 6 17 8 19 sO 11 213, Now you can see that the differences are that the 2nd, 3rd, 5th, 6th, and 7th degrees are flat (lowered 1/2 step) in the locrian scale. By numibering the degrees ‘we get a scale formula we can use which will be consistent with every locrian scale in every key. Locrian: 12 13 4 18 b6 87 098) (11) 13) You can see by this scale's interval content that the chords possible from locrian ‘are minor chord characters: Emin7+5 (1 '3 4587) and Emint1 (15357 11), These are just a few of the possibilities for chords available using the locrian interval struc- ture: 1 $269) 43 4(11) 45 46613) $7. The most popular locrian chord is undoubtedly the minor 7(>5) chord. eee Ee eee IMPROYISING MADE EASIER 37Learn all seven scale fingerings for E locrian. Notice that the scales are written ‘out, numbered in one-octave intervals:1 $2 63 4 45 ¥6 17. Practice these scale fingerings at 2 medium tempo. Fingering 1 Fingering 3 fe Fingering 5 mrpooonm dat 38 Hah Fingering 7 Fingering 2 Fingering 4 Fingering 6 10% FRANK GAMBALEIMPROVISING MADE EASIER Once you've played all seven fingerings for A locrian, combine Lessons 1 and 2 by Playing the fist fingering of € locrian, then the first fingering of A locrian, then the second fingering of E focrian, etc Fingering 1 E B G DI Fingering 2 A E if Fingering 3 3 4 Ste Fingering 4 of Fingering 6 10% 39__ LESSON 3 CHORD VOICINGS FOR E AND A LOCRIAN CHORDS Having lots of voicings for the Emin7+5 and Amin7*6 chords will be useful. Learn these voicings thoroughly. Be able to grab them quickly. Emin75 Emin7b5 Bb/E xx ox x fe i 10 1222 2 341 3 4121 or 1333 Emin7b5 Emin7>5 Bb/E a BO), 6. x x ex Tf 6fr 4211 1324 2 311 Bbmaj7b5/E = Amin7b5 Amin7b5 Ox xo x_x a Sfr whi li fr 4311 1222 2 341 or 1333 Eb/A Amin7>5 Amin7b5 (0) x Ax xx 8fr 3 fr 3 4121 Amin7>5 Eb/A xx xO Sfr rre 2 341 1 444 3124 40 FRANK GAMBALE——LESSON 4 __LICKS INE LOCRIAN "Now it's time again to get some more licks under your fingers. Once again the licks Will go from easy to hard and will be over the Emin7i6 chord, Remember, have fun! Example 40 + ens) see sear erat eat s2e25g 14 1214624 nmV¥VmM VV AVY RV ARV RV VR VV AV * Key snare denote ocien Example 41 ® 1 ENTS) e2ar oar eer ar r2are steer rer erat srage MVVYOVVAV AVY VAY VY RV AV VV AV VV VARY =a “Key signature denoes Elian Example 42 + Emmis) g1a4 ota Peianreas 1 218 43424 2 PYAVAVY VY OV AY AVY AV AV VV On Se IMPROVISING MADE EASIER 41___ LESSONS LICKS INA LOCRIAN More licks, this time in A locrian. These licks will go from easy to hard and will ll be over the Amin7#5 chord, Play them as accurately as possible. ome “Key grate denles A sin Example 44 + ars) * Kay spanie denctes Aooran Example 45 ‘nttb5) key Sra Genctes Aton a FRANK GAMBALEEven more licks. This time we combine the two scales and chords. Study the notes Carefully and try to get a feel for licks that have a smooth transition between keys. through chord changes. Example 46 Entb5) 435231912912 9121 4312313713912 3424 VAVV AVY AV VY RV AV VA VV AV V AV VV Example 47 Envi65) Ani) vnnVv voanvavVAy ns Em7(b5) ‘ IMPROVISING MADE EASIER 43_—_LESSON 7 __SONG EXAMPLE USING THE LOCRIAN MINOR 7 CHORDS. This lesson will demonstrate the use ofthe locrian chord ina song context. {will also use some other chord types to make the example more musical end realistic. Enjoy! — canis) FAmTibs) AB Ent camibs) 44 FRANK GAMBALEIMPROVISING MADE EASIER THE PHRYGIAN MODE have the same notes asthe C major scale (C O EF G A B) bacause Eis the 3d scale degree of C. Therefore, E phyygian is the notes of C major begin- ning on the note E:E F G AB C D. An understanding of the itorvallic relationship between these notes is necessary inorder to understand the character af the phry gian scale. Todo that we must compare these notes tothe mejor scale If we com> pare E phrygian to the notes of E major we have: T: phrygian mode is buift on the 3rd note of a major scale. € phrygian would E Major: EA GA B CHD E GA 8 CE 1239456789 011213 E Phrygian: EFGABCDEFGABEC 1213 4 5 6 7 8 19 O11 IZ M3 ‘Now you can see that the differences are that the 2nd, 3rd, 6th, and 7th degrees flat lowered 1/2 step] in the phrygian scale. By numbering the degrees we get a scale formula we can use which will be consistent with every phrygian scale in every key. Phrygian: 1123 4 5 be Ww 69) (11) 13) ‘You can see by this scale’s interval content that the chords possible from phrygian ‘are minor chord characters: Emin’ (1 $3 5 19) and Fmaj/5/E (1 4 559). These are just a few of the possibilities for chords available using the phrygian interval structure: 1 $269) $3 4(11) 5 $613) 57. The most popular E phrygian chord is undoubtedly the Fmaj7+5/E chord. 45Leam all seven scale fingerings for E phrygian. Notice that the scales are written ‘out, numbered in one-octave intervals: 1 62 13 4 5 $6 $7. Practice these scale fingerings at a medium tempo. Fingering 1 E B Gi D A E LJ If Fingering 3 aa Fingering 4 se Fingering 5 af Fingering 6 She Fingering 7 De % FRANK GAMBALE——LESSON 2__SCALE FINGERINGS FORA PHRYGIAN, Once you've played all seven fingerings for A phrygian, combine Lessons 1 and 2 by playing the first fingering of € phrygian, then the first fingering of A phrygian, then the second fingering of € phrygian et. Fingering 1 Fingering 2 HE bd pop: Fingering 3 Be Fingering 4 Str |_4 Fingering 5 i Fingering 6 fe Fingering 7 3 FH De i ‘ IMPROVISING MADE EASIER 7Here are some voicings for the Fmaj7#11/E, Bhmaj7#11/A, and other chords avail able to us from the intervals unique to the phrygian scale. 48 FIE ° oot 1444 E5b9 Peer of 1244 B/E oO oS ff 3421 Bb/A x +5 fr 1 432 E°/A 4121 DminS/E E569 Ter lof rf 2 3144 1234 Fmaj7>5/E Fmaj7b 5/E Ba aay te 132 3412 Bb/A Gmins/A x x Opens (O) ferry) 12fr som 1444 2 3144 Bbmaj7/A Bb maj7>5/A xo xO ~ Sfr 5 fr 4321 4311 C1I3/A Gmin(add9)/A eee xo 4 8fr Sfr feito 41231 3241 FRANK GAMBALE——LESSON 4 __LICKS INE PHRYGIAN, Now it's time again to get some more licks under your fingers. Once again the licks will go from easy to hard and will be over the Fmaj7#11/E chord, Have fun! Example 50 + Fmaiib5ye 1241 aaraesragay 4914914212424 AvYmMAVvAAV AVA AvYnmVAVAVAVAAY * Key sna denotes E prygan cme * Foaribsye 1e1 ate ere rt arte 51342124 tt 8 VAV AVY AAA VAY VY AV VV AV RV Av “Key SgratureconoasE phgian Example 52 | FmaTb NE . ——— ffir. tp ip npn Aap es 3143449443134 21 9423513912431 3918 aVVAVVOVAV AYA AV AV VV VV VA oe - * Kay signature Gectes E phygan SMPROVISING MADE EASIER 49More licks, this time in A ohrygian. These licks will go from easy to hard and will all be over the Brmaj7#11/A chord, Play them as accurately as possible. Example 53 + BbmarbsyA 1242713 14213944938 1 F475 EH THOS VOVAVVVAVAVYV VY VAY mR vA * Key sgrature donoes A pbryian Example 54 att * Bhmaibsya * Kay signature denotes A phygian Example 55 + Borar(osya 3443 14821444144 2ERETT A112 421 4d RVVM VAVOVVAVYVYR AV¥AVAY AV AVA 7) ~ Key signature denotes A phrygian £ 13439142 73948161 BTR 2H aR gt 24 mVVAVVAR AVVAVV A mv VV 50 FRANK GAMBALE—_LESSON 6 __ COMBINATION LICKS IN F AND A PHRYGIAN More licks. This time we combine the two scales and chords. Study the notes carefully, being sure to read the notes accurately. Good luck! Example 56 FratbSvE Bbmni7 654 12ersaraegrr rs £8 1241384148531 42313 AV AAVARVYAY VY AVY Mv nv OAV ARAVA Example 57 rua newrinn ul Example 58 Frabsve BbmaitbSVA IMPROVISING MADE EASIER 51LESSON 7 __SONG EXAMPLE USING THE PHRYGIAN CHORD This lesson will demonstrate the use of the phrygian chord in a song context. I've docided to use only the chords we've learned so far in this musical example. Have fun! Example 59 Bomar abe Fai? 19.2 t nVA AAA Ava Boab 5VA Bbc Bat Bhai? PRANK GAMBALEIMPROVISING MADE EASIER THE AEOLIAN MODE have the same notes 2s the G major scale (G A B C D E F¥) because E is the {th scale degree of G. Therefore, E aeolian is the notes of G major begin- ning on the note E: 1G A BC D. An understanding of the intevallc relationship between these notes is necessary in order to understand the character af the aeo- lian scale. To do that we must compare these notes to the major scale. If we com- Pare E aeolian tothe notes of E major we have, E Major: Ef GHA BCH OE FG A B Gr 1 45 67 8 9 011 12 13 ABCDERGABEC 45 167 8 9 MO 11 12413 T: BbC DE. If we begin these notes on E (the 7th note) we have the notes for the E super locrian scale: E F G Ab Bb C.D. To understand the character of the super locrian scale we must compare these notes to the major scale. If we compare E super locrian to the notes of E major we have: A ‘super locrian scale is built on the 7th note of a melodic minor scale. E super E Major: Ef GFA B CHO E Ft Gt A BC 12394567 8 9 1 12:13 E Super Locrian: EFG@BCDEFGGBC 11213 3 5 7 8 9 9 10 11413 ‘Now you can see that the differences are that the 2nd, 3rd, 4th, Sth, 6th. and 7th are flat lowered 1/2 step) inthe super locrian scale. This scale has some peculiar intervals which I'd fike to take a moment to explain. The 62 and b3 are the same ‘notes as the 19 and 19, the latter of which you'll see occurring the most in chord symbols. You've no doubt seen a 7-9) chord more often than a Tladd #2). So remember that point. Another thing to remember is that this scale also has a '5 ‘and 6. The #8 should be regarded as a #5 which is the way you'l see it appear the ‘most. You'll never see a m7 46 chord. So be aware of this point also. One more thing: this scale also has @ natural 3rd as wall as a 3rd. In a 7449) chord both notes are used, but remember that the 43 in this case is ragarded as a #9. The formula for this chord is 1 3 47 49, By numbering the degrees we get a scale formula we can use which will be consistent with every super locrian scale in every key. Super Locrian: 12303 6 5 7 8) G11) 613) You can see by this scale's interval content that the chords possible from super locrian are dominant 7 chords with a #5 and/or 6, #9 and/or #9 (and any combina- tion thereof}: E749 (1 347 #9) £79 (1 347 49), and £74589 (1 34547 49). These are Just a few of the possibilities for chords available using the super loctian interval structure: 1 4269) +3 43) 68 613) 67. The most popular super locrian chord is undoubtedly the 7(9). 6___LESSON | __ SCALE FINGERINGS FOR E SUPER LOCRIAN, Leam all seven scale fingerings for E super lorian. Notice thatthe scales are writ- ten out, numbered in one-octave intervals: 1 b2 $3 3{b4) bS $5(6) 57. Practice these scale fingerings ata medium tempo, then gradually play them faster. Fingering 1 ee EL ir mryuowm Fingering 3 Fingering 4 Fingering 5 ‘i Fingering 6 St Fingering 7 cena! ft 70 FRANK GAMBALE——LESSON 2__SCALE FINGERINGS FORA SUPER LOCRIAN Once you've played all seven fingerings for A super locrian, combine Lessons 1 ‘and 2 by playing the first fingering of E super locrian, then the first fingering of A super locrian, then the second fingering of E super locrian etc. Fingering 1 Fingering 2 m>vuowm Fingering 7 uf IMPROVISING MADE EASIER n___LESSON 3 __—_—CCHORD VOICINGS FOR E AND A SUPER LOCRIAN CHORDS ___ Here are some voicings for the £719, A749, and other chords available to us from the intervals unique to the super locrian scale. E729 E7#9 E7#9 xx Q x a fr 6fr ¢ 2133 2134 2144 E7#9 E7#549 E7#549 x x ° ~ fi x 12 fr oft 3 fr 3 221 43211 1 2334 E7#5#9 E7b5#9 A7#9 o ° x xx be A 11 tr Wir 6h 13234 1342 2144 A7#9 A7#5b9 A7#5b9 xo x xO Sfr 1 2444 4321 n FRANK GAMBALE——LESSON 4 _LICKS INE SUPER LOCRIAN, Now its time to get some more licks under your fingers. Once again the licks will 90 from easy to hard and will be over the E749 chord, Have fun! Example 80 E7189) 13442431 6 ere sree 1 e2eragrtrt aga VVAVAVAVAVVV AV VV aR VA VV Example 62 e749) 31421 42a eer teers 4t9e21 24 eet 44 MV AVY AVY AVY AV MV AVA mvVAVA Vamvavea v n ere) be IMPROVISING MADE EASIER Beee ___ LESSONS LICKS INA SUPER LOCRIAN: ___________—- ‘More licks, this time in A super locrian. These licks will go from easy to hard and will all be over the A7I9 chord, Play them as accurately as possible. Example 83 ® aig) 1 pig pp EE Pp ty Example 64 Example 65 amas) SPE Ee ea eear teeta a ere n-teneeia ee tStO ett ett aL aE Cees ee Herat AVVAVVYAVAVYAVVAVY AVYV AV VA VV * : ————— wre? 14h 2ae tor at gd toeei 3 41241 1 nvaVvVAaVeAVAVAAVaAVA VA VO 4 FRANK GAMBALEMore licks. This time we combine the two scales and chords. Study the notes Carefully, being sure to read the notes accurately. Good luck! Example 86 arias) by 31312133 443 6 es ota atrztae q1ao38 44 vVavVVVY AVYAVAVAV VY VaVVVY AV AVA mcs ® E7189) 8718549) ® Example 68 eas) mYAVAVv VaAVvAVeRY VV¥NVYAV AVAVV VR ov arasés) IMPROVISING MADE EASIER 7sThis lesson will demonstrate the use of the super locrian chord in a song context. ‘Once again you'll see mixed chord types. Have fun! on? ont 7149) FRANK GAMBALE 6IMPROVISING MADE EASIER THE HALF-WHOLE DIMINISHED SCALE ‘whole diminished scale is a completely symmetrical scale constructed from the note arrangement of 1/2 step, then whole step, then 1/2 step, etc. £ half-whole diminished would have the notes E F G Gt A¥8 Ct D. To under- stand the character of the half-whole diminished scale we must compare these Notes to the major scale. If we compare E half-whole diminished to the notes of the E major scale we have: E Major: ERG ABGDER GABG 123 456789 10111213 Ehalf-whole diminished: E F G@ Gi ANB CHD € F G GEA B CE 11253 345 6 17 8 9 9 104112 13 ‘Now you can see that the differences are the !2nd, rd, 44th, and #7th in the half= whole diminished scale. This scale has some peculiar intervals which Id like to ‘take 2 moment to explain. The 12 is the same note as the 49 and the $3 is the same 4s the #9 (see below), the latter of which (8 and £9) you'll see occurring the most in chord symbols. This scale has a natural 3rd as wall as a iSrd. In a 7(89) chord both notes are used, but remember that the }3 is regarded as a $9. The formula for this chord is 1 3 47 #9. If we number the degrees we get a scale formula we can Use which will be consistent with every half-whole diminished scale in every key. 1/2-Whole Diminished: 1 121243 3 455 6 17 68) 9) 1) (13) You can see by this scale's interval content that the chords possible from half- whole diminished are dominant 7 chords with a #9 and/or 48, and a natural Bth {usually shown in the chord as a 13th): E1349 (1 357 69 13 ), E79 (1 35719), and £71649 (1 31567 8). These are just some of the possibilities for chords available using the half-whole diminished interval structur 42068) #2/03{19) 3 Hpbi) 5 6{13) $7. The most popular half-whole diminished chord is undoubtedly the 130).__LESSON | SCALE FINGFRINGS FOR E HALF-WHOLE DIMINISHED __ Leam all four scale fingerings for Ehalf-whole diminished. Notice that the scales are written out, numbered in one-octave intervals: 1 '2 13(42) 3 +6(84) 5 6 47. Practice these scale fingerings at a medium tempo, then gradually play them faster. Fingering 1 E B G D Fingering 2 A E st Fingering 3 ‘fe Fingering 4 of 12 ® FRANK GAMBALE——LESSON 2___SCALE FINGERINGS FOR A HALF-WHOLE DIMINISHED Gnce you've played all four fingerings for A half-whole diminished, combine Lessons 1 and 2 by playing the fist fingering of E half-whoie diminished, then the frst fingering of A half-whole diminished, then the second fingering of E half- whole diminished, etc. Fingering 1 Fingering 2 Fingering 3 IMPROVISING MADE EASIER 9CHORD VOICINGS FOR E1319, A13}9, —LESSON 3__AND OTHER HALF-WHOLE DIMINISHED CHORDS Here are some voicings for the E139, A1389, and other chords available to us from the intervals unique to the half-whole diminished scale. E13b9 E13b9#11 E13#9 x Ox Ox 9 fr 9 fr 6 fr 3 4211 4231 1234 E13b9 E139 E7#9 eae 6fr oO x Ox 3 fr rp 21314 1333 3421 A13b9 A13b9#11 A13#9 i xo x Sfr Sfr 3 4211 4231 1 1234 A13b9 A7#9 A13#9 x xo x x 8 fr aT] 10fr 2) 1 1243 4211 1224 A13b9 A13b9 x sy) of te 1312 2 341 FRANK GAMBALE——LESSON 4 _LICKS IN E HALF-WHOLE DIMINISHED Now it's time again for some more licks. These licks will go from easy to hard and will be over the E13}9411 chord. Have fun! Example 90 Erabe4n) 2919442444442 114 124 9938 FHaat VY¥VAVAVAVAV AVA AAV VV VV Example 91 Esab9¢ts) errr aar eer area se 41245272124 r ee MmVVVM VVVAVYOVV VR VAY VV VV RVR Example 92 ersibat11) er grr ee grrr eer arre + 2212642977374 VAV AV AVY AVAVAVAVA VAV AV AVA wo erre21r1 2a mV¥YVVAVY VA IMPROVISING MADE EASIER 8hESSON 5. LICKS IN A HALF-WHOLE DIMINISHED. eee More licks, this time in A half-whole diminished. These licks will go from easy to hard and will all be over the A1318#11 chord. Play them as accurately as possible. Example 93 asb9815) Example 94 arg9611) Arar eater arse et +t at aaeat rar VAVAVVVYAVAVAVVY VA VA Example 95 -avacp94t) aay e621 424431469146 2ECR1 ESTA VAR ART VAVAVAVAVAVAVAVA VAVRV AVA AVA 2142727 ert ee2 re gt 1241 eee rs are2gt VAVAVAVAVYAVAVAV A VOVAVAV AVA 2 FRANK GAMBALE—LESSON 6 __COMBINATION LICKS IN E AND A HALF-WHOLE DIMINISHED More licks. This time we combine the two scales and chords. Study the notes carefully, being sure to read the notes accurately. Good fuck! Example 96 E1569) Atyb9) rraert garrsaresarrarag VYNVVVRVVVY AVY VV AV AV AV RV AV VV Da Example 97 E160) saga) te err eer rez etree rr e 2414 er ranrrerrane AVVVAVVV AV VV AV VV RV RV el Example 98 E1968) te. — ed 4 4 74 VVARVY VR AVV RAV rant rr rr VY mMAVYVANVVAAVV AA a a. sort m4 7 4rt AHS) te. IMPROVISING MADE EASIER 33eee LESSON 7 __ SONG EXAMPLE USING 13(/9) CHORDS J _____—__—— This lesson will demonstrate the use of the half-whole diminished chord in a song context. Once again you'll see mixed chord types. Have funt Example 99 OE cams) Fa13(69) Enh) a3) Dit Enitbs) A138) bey ‘om7(55) 1919} onal? BA FRANK GAMBALEIMPROVISING MADE EASIER THE PHRYGIAN MAJOR MODE The scale formula for harmonic minor is: 12 43 4 5 6 7. Ephy- gian major would have the same nates as A harmonic minor because E is the 5th scale degree of A harmonic minor. The notes of A harmonic minor are AB CDE F Gt, so the notes for E phrygian major would be EF G¥ A BC D. To under- stand the character of the phrygian major scale we must compare these notes to the major scale, f we compare E phrygian major to the notes of E major we have: E Major: EA GA B OCHO E AGH A BOGE T he phrygian major scale is built on the Sth note of a harmonic minor scale. 1234567890112 13 Phrygian Major: EFGABCDEFGABC 132304 5 67 8 8 10:11 12 M3 ‘Now you can see that the only differences are the b2nd, 66th, and 67th in the phry- tian major scale. By numbering the degrees we get a scale formula we can use ‘which will be consistent with every phrygian major scale in every key. Phrygian Major: 1323 4 5 6 Ww 09) (11) 613) ‘You can see by this scale's interval content that the chords possible from phrygian ‘major are dominant 7 chords with a 69 and a $5th and/or natural 5th: E(9}(1 3 5 69), ‘and E769 (1 357 }9), Thasa are just a few of the possibilities for chords available using the phrygian major interval structure: 1 $269) 3 4{11) 5 s6\l13) 17, ‘The most popular phrygian major chord is undoubtedly the major (+8) or 7(9). aLESSON | __ SCALE FINGERINGS FOR E PHRYGIAN MAJOR Leam all seven scale fingerings for € phrygian major. You'll notice that the scales are written out, numbered in one-cctave intervals: 1 $2 3 4 5 16 7. Practice these scale fingerings at a medium tempo, then gradually play them faster. Fingering 1 E B G D Fingering 2 A Es: Me Fingering 3 te Fingering 4 Fingering 5 i Fingering 6 8h Fingering 7 Hee ' 12h 86. FRANK GAMBALE——LESSON 2___SCALE FINGERINGS FORA PHRYGIAN MAJOR Once you've played all seven fingerings for A phrygian major, combine Lessons 1 ‘and 2 by playing the frst fingering of E phrygian major, then the first fingering of AA phrygian major, then the second fingering of E phrygian major ec. Fe aa eee eee eae ee ee eee eee eee reer Fingering 1 Fingering 2 m™>Ppuowm Fingering 3 i 04 Fingering Fingering 5 ee Fingering 7 = IMPROVISING MADE EASIER 7CHORD VOICINGS FOR Here are some voicings for the El), AP9), and other chords available to us from ‘the intervals unique to the phrygian major scale. i) OO 231 E(b9) 8fr 1333 re 1214 A(b9) ‘So wes fr 4211 A7b9 11 fr 1314 Esus4(b9) El 9) 1243 E7b9 E7sus4(b 9) ox 6fr 10fr 23144 2214 A(b9) 1 1243 134211 A(b9) AT69 li fr 3412 3214 A79 Gmins/A irre ir 2314 2 3144 FRANK GAMBALE‘Now it’s time again for some more licks. These licks will go from easy to hard and will be over the E744 chard, Have fun! Example 100 E769) Example 101 SSS SS EES sss AVVAVY VY OV AV RV VR VV VV VV AA Example 102 En69) MV VVYANM AVY OV VV RV VV VV Av Av IMPROVISING MADE EASIER aMore licks, this time in A phrygian major. These licks will go from easy to hard and will all be over the A7I9 chord, Play them as accurately as possible. Example 103 ® A716 2 . - a cs 413473921 2391291211 3 194TER 1 FEtHZIG? AVVAVVAY VAVVAVVA VY V AVVRVVA VY VAR Example 104 A169) 4440204444132 ere rete teat ae mVAVAVVY AV VA nVAVAVY AV Vm Example 105 Aiba) be. Bote et estar ears a 2st arr esragragr2ad VARMVAVVAVAAVY AVY A VR AV AVY AV 2346212381 819 £1 4 242 442314 3124 VAVVAVV RAV AVY mv mR AV Vv VA 90 FRANK GAMBALE—— LESSON 6 ____COMBINATION LICKS IN E AND A PHRYGIAN MAJOR More licks. This time we combine the two scales and chords. Study the notes carefully, baing sure to read the notes accurately. Good luck! E769) 79) ms 2122262 32124313 Fiteaidg MVAVAVR VAVAV AVA Vavavave mAvaAVvAnA Example 108 Erba) 312421394214 MVVV¥AVVVAVY 4254 mnivy D314 2r1324614 AVvyOmVAnVVAVAY A798) 2141421 ae214t ears St 242raatar2zr1raa4 PY AVARVY AV AV AAV VY AVY VAV VV AVA VA IMPROVISING MADE EASIER aSONG EXAMPLE USING _LESSON 7 __—HARMONIC MINOR V(5) CHORDS This lesson will demonstrate the use of the phrygian major chord in @ song con- text. Once again you'll see mixed chord types. Have fun! & Fai? 32 3 1492 421 4994 P24 4 2142 1422 Farry movVnAn VV¥AnM vVV¥VR V¥R Vv omvYYR VAM vv VV FRANK GAMBALE 2IMPROVISING MADE EASIER THE AEOLIAN }5 SCALE ie zeolian b5 mode is built on the 6th note of a melodic minor scale. E aeo- ian b5 would have the same notes as the G melodic minor scale because E is the 6th scale degree of 6 melodic minor. The notes of G melodic minor = GA BCD EF. If we begin these notes on E we have the E aeolian 15 scale (E Ft GABSCD). To understand the character of the aeolian 5 scale we must compare these notes to the major scale. If we compare E aeolian #5 to the notes of the E major scale we have: E Major: ER GHA B CHO E AGA B Ct 123456768 9 011 1213 E Aeolian #5: ERGABCDERGABC 12:53 4 5 6 W7 8 9 HOTT HTS Now you can see that the differences are the b3rd, 45th, 6th, and 47th in the aeo- lian 4 scale. By numbering the degrees we get a scale formula we can use which will be consistent with every aeolian 55 scale in every key. Aeolian 48: 1233 4 15 6 (9) (11) (613) You can see by this scale’s interval content that the chords possible from aeolian 45 are minor 7(66) chords with a natural 9: Emin9#5 (1 53 55 67 59) and Emin1 145 (1539559 9 11), These are just a few of the possibilities for chords available using the aeolian b5 interval structure: 1 2(9) 13 4(11) $5 ¥6(+13) 47. The most Popular aeolian +5 chord is undoubtedly the minor 9(5). ee eee HE EEE EEE EE EE CeCe Ceo ee eeeet eee eee teen terre Eee cat——LESSON | ___SCALF FINGERINGS FORE AEOLIAN }5 Leamn all seven scale fingerings for E aeolian #5. You'l notice that the scales are ‘written out, numbered in one-octave intervals: 1 2 43 4 $5 $6 $7. Practice these scale fingerings at @ medium tempo, then gradually play them faster. Fingering 1 m>oaom Fingering 2 Fingering 3 a Fingering 4 st Fingering 5 ot Fingering 6 8 Fingering 7 lof : 4 FRANK GAMBALEbs Once you've played all seven fingerings for A aeolian '5, combine Lessons 1 and 2 by playing the first fingering of E aeolian s5, then the firs fingering of A aeolian $5, then the second fingering of E aeolian 5, etc. Fingering 1 maroon Fingering 2 ie Fingering 3 af Fingering 4 Sh Fingering 5 of Fingering 6 Fingering 7 e IMPROVISING MADE EASIER 8LESSON 3 __ CHORD YOICINGS FOR E AND A AEOLIAN $5 CHORDS _ Here are some voicings for the Eming#5, AminS5, and other chords available to us from the intervals unique to the aeolian 55 scale. Emini1b5 ai 3fr 2143 Emint1b5 t Sir 24331 Emini1b5 Toes fr 4231 Amin9>5 x * ofr 2314 Amin9b5 xo iggt”* $ 4231 Emin9b5 ° 9 3 fir 2314 Emin9b5 Oe re 4211 Emin9b5 Ox 8fr 1413 Amin9b5 % 4fr 2 3314 Amin11>5 xO Bfr 3141 Emin9b5 * Ufr 2 3314 Emint1b5 ° Oo f 10 fr “et 4321 Amint1b5 xo 8fr 2143 Amini1b5 t 10 fr ele! t 24331 Amini1b5 a 4 ° 2314 FRANK GAMBALI; a ‘Now it's time again for some more licks. These licks will o from easy to hard and will be over the Emin965 chord. Have fun! Example 110 Emayes) Example 111 Ena) ar4.P 2 13 Example 112 fa s1 asta 4 3123121 BFtR2at mvVAVVVY mV¥V AVY a4 2t eat at mvvmavVV AvVV AV 7 2124 Pere s2¢242126 4123123412495 32 MV AVAVAVAVAVAVA VY AVY AV VV MV VV AVY ee IMPROVISING MADE EASIER 7——LESSON 5 ___LICKS INA AEOLIAN $5 ‘More licks, this time in A aeolian $5. These licks will go from easy to hard and will all be over the Amin9!5 chord. Play them as accurately as possible, Example 113 Arai) Reeser Hae eatery Vavvvnnavry Example 115 ‘anab5) Tarerareretaer si 4 2814123442172 2198 VAVAVYAVYAVYAVY AV AVA VR VAY VA AV VY 0 ee2yr gr arr gt sents 4637374378459 54 VOVVAVVYAVVY AV AV RV VV VR AV AV 8 FRANK GAMBALELESSON 6 COMBINATION LICKS INE AND AAFOLIAN 5 ‘More licks. This time we combine the two scales and chords. Study the notes Carefully, being sure to read the notes accurately. Good luck! Example 116 Emibs) ‘asT(b5) Example 117 Enb5) ‘Atb5) NCES ETE ets ea See ate a tea et 4 mvmvnavy movVARAVV RM VA moVAAVV A Example 118 en71b5) 2 42n 2422 4208 vnovVV vavvY 2 2 42123 2israetria vavVY vo o¥AVVVY mVYmVvAnny 4 43142422 4415 vavvy vnvv vy vnvvy VnVvVVAVAVOAY IMPROVISING MADE EASIER 9This lesson will demonstrate the use of tha aeolian $6 chord in a song context Once again you'll see mixed chord types. Have fun! Example 119 Arai? Gamr5) 878) Fanribs) 79) Engi? DE mai LETS) Famribs) 79) Emai? De 100 FRANK GAMBALEInthis last section | wrote a pretty challenging piace entitled, “Modalawn,” which incorporates all that we have learned throughout the entire improvising Course. {f you made it this far you must be ripping up that fretboard by now! There's @ great deal of information in this book to digest, but if you follow the procedure of inputting each lesson in each of the chapters, you can really accelerate asa player ‘and overcome those ruts that we fall into from not knowing exactly what to prac- tice or which direction to goin to become a better player. Stick with ths intense improvisational course and | guarantee you'll come out ahead of the pack. Good luck and happy picking to all! Frank Gambale MODALAWN (d = 125) + fa GIA (mayan) Fring (dan) IMPROVISING MADE EASIER forDbmarb5ic (Cptngian) 2331132321 1338 29 291 914 12214 MVYmMVVAV VAY VAY VAY YA Vv av VAY Ebmin7bs (Eb aeolian bs) Ab 1969 (Ab hall-wtote dished — —— — 102 FRANK GAMBALEFir (Faootan) Bb1OH11 (Bb idan 67) mint (€ dorian) [A789 (A super ocr) 233 1 s1299124 VmmvAAveva E78 (Epigian mar) ‘Brin? SE (E prygian mater) : IMPROVISING MADE EASIER 103The Ultimate Guitar Workout (REH859) Modes: No More Mystery (VH0100) Monster Licks & Speed Picking (VHO41 ceases MI