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    Tomo Fujita More Accelerate Your Guitar Playing 2007pdf PDF

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    ctransoccer

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    © All Rights Reserved
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    of 44
    Mediatheque sca de Pris MORE ACCELERATE se | OUR Featuring 77 estonia exercise and 7 ecing demo perforones! ‘This DVD wl lp tke you plying to he net eve. Proeter Tao Fuji shares it Proven mathod for improving he euanl hls eared to ploy wih thor musicons and to rely express yourslf onthe guitar, Prfeor Fue hs been leaching at Barkne Callege of Masi nce 1993 one contest be one of the mos sought for ‘nd effective guitar and ensenbl teachers. He har played ui wih the Tony Aver ond Pulizer Prize wining musi Ret, and as shared he stoge wi etl sch 2 Phil Clin, Reon of Sus, end Dery Jones ad he Satrdby Nigh ive Bond, 1 name afew Ationaly, Tomo is he winner of Boss Bas Guiorit Compaition, aed hols wom erica acclaim in Guar Payer and Guta Shap mogeines. This OVD oles eomytounderstnd oxercizas ene domonsations tht con be opp! to al levels nd sips, These inlade: + SCALE EXERCISES + CLASSICAL, BLUES, ‘AND JAZZ ETUDES + EAR TRAINING » READING EXERCISES # WAIKING BASS. & (COMPING + ROCK, JAZZ AND BLUES DEMONSTRATIONS ‘ler cnd dead nsrcin i gen bah onscreen and inthe accompanying book Laity Produced and Directed by Hiroshi Noguchi and Sam Kove —_————— — — Contents _ INTRODUCTION. 4 Scale Exeris Exercisela 5 "In position"/ C Mojor Scale. 6 Bxercisolb 5 "in Postion"/ G mojorscole 10 Exercise2a in Position / 2 noes fin rds sequencing 12 Exercise2b In Position / 4 noes sequencing 13 Exerciso2e In Position / 3 notes (riads) sequencing 15 Exerciso2d In Postion / 8 noes sequencing 16 Exercise 7 "Broken Position" 18 Exerciseda "Broken Poston” / Sequence of nds intervals... 20 Exercised "Broken Poston’ / Sequence of Sd intervals oo-21 Exercivode "Broken Posiion” / Sequence of dh intervals.....22 Exercised "Broken Posion* / Sequence of Sth interval un 23 Exercisede "Broken Poston” / Sequence of th inter nso 24 Exercisodf "Broken Postion” / Sequence of 7th interval oxo 25 Exercisodg "Broken Posiion* / Sequence of Bh intervals... 26 Exercise5 "Single Shing" 27 Exerciseba "Single Sing" / 2 notes (in Sr] sequencing... 28 Exercise6b "Single Sing” / 3 notes sequencing... 2 Exercise6e. "Single String" / Snotes sequencing with "Bending®... 30 Exercise6d "Single Sing” / 4 notes sequencing. 32 Exereise7a strings / 6 notes sequencing 33 Exercise7b strings / 3 note triads sequencing . 34 Exercise7e strings / 4 notes (7th chords) sequencing 35 Exereise8 Sequences of some notes in ciferent postions... 97 pam, _ Classical Etudes. one 3B Exercise? Kreutzer / Etude #5. 39 Exercise10 Kreutzer / A port ofthe Etude #7 ¥ 42 Exercise] Rode / From Caprice #2. “4 parts Reading Exercises... Blues Etudes... Exercsel7 Blues Scale I Brorcise18 sles scala wih "Bending? 82 Exercise]? Callan response FA Exercise20 Harmony in of Side = 55 Exercise2] Harmony in of hs 58 Exercise22 —Mivolydion phraze. 58 parte Jazz Eudes so Exercise23 BS jazz blves | Exercse24 Bo jazz blues 2 Exercse25 Cm jazz blues 1 Exercise26 Cm jozz blues 2 Exercise27 —_Be-Bop changes. partz Welking Boss Line & Comping Exorcise28af 17 -IV7 Exercise2%arg lm? - V7 Ini? coca 2 ExerciseQ00-b ll 7P5] - V7 = m7. . 74 Exercise orb lim? ~ 7 - Vie? = V7 « Imai 75 Exercise20f 1+ VI-II-V-I - 76 Exercie33 Bs jazz blues - 7a Exercise34 —Fjazz blues 79 Exarcise35 Cm jazz blues 80 Exercise36 Bebop Change: 81 ‘ABOUT EACH DEMONSTRATION, cnn 4 CONCLUSION... so or) PROFILE, ‘he poople ot Ror Music asked me make this Volume ll DVD as © result of many requests from guitar players who enjoyed Volume | of Accelerate Your Guitar Paying. So, before we begin, | would like to ‘honk those guitar players for their support. | always appreciate the ‘pportuity to present new material fo folks who love music Like the exercises in Volume I of AYGP, the exercises prosented hore are the same exercises that | use with my students in private lessons and in classes that | teach ot Berklee Colloge of Music. However, unlike Volume |, the exercises here are geared much more foword soloing and improvisational ideas. Demonstrations appear on the DVD, and the explanations appear inthis booklet ‘This Volume I includes many nbre exercises than Volume | of AYGR. IF you ty to move through these motrals too fas, you may become frusrated. 1 recommend that you use a jus! a few ofthe exercises at 0 time, and that you practice thom corel, slowly and steady. You moy find that this approach will help to dovelop your playing abiliy, spice ‘up your performances, ond mos! impertonly, make guitar playing more fun, Good luck, Tomo Summer 2007 PARTI Scale Exercises A first lets start with basic scale exereses using major scales In order to improve your improvisation, is very important that you cam ply the phrase, which you imagine in your mind in various fingering patterns. Here, | introduce three difforent types of useful fingering patterns. Haring choices is important, thus do no iit yoursllo only one way of learning but keep wel balanced what you have learned, ee Te es MEE CERES ELEGY LEE LNT 1. In Position (position playing) This is a Fingering pattern methed which uses o grouping of a fow frets based oround chord forms of tiods (bare chords). There ore five postions agains each chord form. This type of fingering pater les within a span of four frets In general, your firs, second, third and litle fingers each cover one fret ‘When there is @ note ouside ofthis four fret span, you have to srelch your fist or litle finger o each the noe. This called "fingor stretch (Fs! ‘A number of early jazz guitarists played in these positions and this approach has been the basic method in Berklee College of Music [Berklee Guitar Method). The advantages ofthese fingering pattems are less stretching ofthe fingers and the easy movement into other positions. There are many sitvations where you will not be able to improvise only in tis fingering pattorn but wll have fo ke an "In Fosion’ frm thai ite broken, 2. Broken Position Broken poston isthe way for hong theee noes in each sking, Thre tare seven positions starting with each degre. These fingering pattems are able lo cover wide ronges through a furher horizontal movement compared with "In Psion’ pottorns that has only vertical movement. They are preferred by mony rock quits itis easy o play a sequencing phrose, sliding and bending. Howeves, there is © disadvonlage to be created with such a mecharical phrase as 0 scale exercise 3. Single string This isthe method of using just one string to play scales. tis easy o see the ciffeence between whole notes and half noes, because the order of scale noes ore ina line jst ke « keyboard This technique has a limited range and is not good for playing fost passages. However, there is an advantage in which you can play {ree wih your feelings without having to use a fingering peter. Pat ‘Metheny, John Scofield and Mike Stem offen use this "Single String’ ‘oppcocch and develop their improvisation freely ExeriseMo Five of "In position" / C Major Scale J=55 Introduction Main Section | C form Cfom ® * wen 215 Ds WS So) “e910 1213 RoW RH Ast finger stretch Ath finger stretch Grd aod fas Ending Play 6 forms trom higher to lower position + rca Ten C mojr sal Pst. | showed isin agro frm rater thon @ zor help you vialz the ingrng pit 1 This en's explanation ive by "ht, "Wain Seon" nd "Ending Poy th C chord in Fie dill frms poitins. I you thin of th Frm eeave cove ft arn life form, ere ae forms | Whon you 2y hata chord 1s played in "A Form Tha mons that you tke the A open chord shape ad transpoce tp 0 mine Se. ‘When you ae ging up lay draton of eats ec For erry form, Then when yu regain dw, poy it vice 98 fo, That means you ploy durations of 2 beats exch For evry form, Hay he Cop chord with ling Sr ton th sing, This cero nots jut on accent, Than rove ano he "Man Secon. "Moin Sctin™ Play chords fist, ond then play the scale in the poitians areurd the chords Centnue doing some hing and moving ito nex poston Tho the scare ofthe fst poston (C fem) inp. Pay sce afr chr and ‘xcend the sole Bis rm tho root (inthe ogra! 8 the highest olen the potion and hen descend he soe 1 th lowes net aed acon hack to th rot [begining al, Do the same ting in ether Forms oo. {D frm has rect es the lowest note so stop datening on he rot) {SECS SSRN a HAR ea dng" Prey ha sme hare showin "hk" but ha higher forms + Play the sos by olrate picking down picking on the bat and up picking off the bua in thi uci * La ond ging pater aro explained en 5, A Fingers cover och & es, the notes ouside ofthe 4 et span ore covered by fs ile ge techn, (So the pico on * Think abou (fe he rlatinship betwen the chord forms ond cle sins when you play the sels. beta f you con say the nae of te ols you ae jst laying ond should undersond te nero (Sagrets) on each of th notes against the rot Also yt oo funded he connection bebaen each fhe fxs (C, AGED) Exerdse Tb _ - Five of "In Posit Section [ introduction G form Sten Re WS 7898 wie “345678 "345678 Play these forms Tn reverse C form «Thins onsposed Texto! fo ey ©, De nt aki foo any, boca ony tho ky ‘Atorm is changd, Hay he ech single noe carcl 5 + When key is ansposed, the postion will bo oboluely chonged Its very Soe ted impotent ht you know exocly where he oo son each sting, “Try th same hing in thar ay. Each ne, ry tho lowest postion in ha ey oe rie he postion up in that rd RBH 25 45 16 Caution !1! “Thre ero mory execs hat ue the Sgr fhe eh ard in he flowing Ending Play 6 forms trom higher to loner poston cerca grup. yo el any pin in yur loge eho, you mus op procing ond ret for wil, Dont getoo cary wh protic. ee Exercise 2a Exercise 2b 7 In Position / 2 notes (in 3rds) sequencing In Position / 4 notes sequencing — —| —— == + Ply al the nts evenly by alma idking. For smooh piling, donot move the idk eo mich oto dep. “Try ati up youre hand's ngerse igh rm he et boo * Dont tp up the tempo until you remorse the pte, 2 1a ee Exercise 2c In Position / 3 notes (triads) sequencing m7 sin 125 45 67 S45 67 8 ‘Arcondng and Descending —_—Aacendingand Descandng stn > a S670 5K Te owe ‘Ascending and Descending Ascending and Descandng Root > andl ew eS WS “Asconding and Descending 3rd v5 HSN 1 This eo praca fr playing he cole 7 “chen Poston’ inthe C mejor xl Same os Bx.Ta, 1b n order oval tha Frgring pores fis show iin ara frm. So P37 fr dei “This erin it mode op fhe "ein Secen® en ihe "Ending. Main Seon Fistor wih th Psion the noi sort rom i which isthe th degre of he CCiejor soe The Sat cl i which «the lowest nat, tha Ts 0 the ih Sting The mcinsacon eons going ip th highest noe which Ba tho 7th ret cn the i sting ond hen goes bak down the sal he lowe nate, De the sme ng on oar pions. Descending ony Ascenging ony > andl is wis 6 1 "os HS Root > mn) ‘aos 78 oie Descnnaing ony Tcenaing onl, 6th > sin sera 90 SHS OTR ‘Gouptosatetonsisting ath) > tn T2545 67 Tess 67 dng Poy all 7 potions a the hight pion Ploy just esconding or descending lines in evry ether postion. Far example, ‘sending in 3rd pesiton ond descending inh postion. This piace wil el faster than "Main Seaton” bacase you hove ploy tiple agin he Bt nes you Pye inthe "Main Secon" AAAS eae OTD Exerdise4a Exercise 4h _ - "Broken Position” /Sequence of 2nds intervals "Broken Position” /Sequence of 3rds intervals 1 Esercs dag re segue * Sh Broken Psion inthe C moor ela * This isos poplar saienes of Sener Practice the content i ises evenly. You wll be ob to ploy ony cembination of notes ate You most his orci. + Exec da is. sequence of 2d nero “There are some cific pors oven though tok ke on easy sequence phase Fererorple, when you hovel ple sarees on he Zn and sings, you may ‘henge the Bngaring peril it. Think cout » Exercise 4c " Broken Position” /Sequence of 4th intervals Tht sequence of th interval + Yur picking mation becomes rely buy because you have 0 pick every nate on fern sings, ht mokeitsound sna + In order play 4th ine, You have ote he sore Sger on th sea fo hol he ret sting, Be coe not hl 2 noes che sme ine (ay inviol roe ‘This is saqunce of heh inkl, + There ore fingering yes tiho powar cher no Sin he ving, commonly sed in Rack msi and yea pping th ns sting 0 och he nes. vy % + Ths exis comprised of laying he se 3 note vias in al positon inthe © rojo sale +1 played tha "CE sare on the BD, bt yal che ec blow {CO fot, 2nd, 3rd / whoo co + whole not) DEF (2nd, Sd th whole oe +h re) FG Crh, Sh hl vote + whole oe) EGA lth Sth, th / whee + whale oe) GAB (GI, 7h cle rote + whale oe) ‘BI 7h, Reo / whale nate al nl) {C0 17h, ot, Zr / Hal note + whol oe) 11 inpacnt to mameriz th nels ofeach in si which ove “We eto + Whole na, "Whole not-+ Hel naa "Hal role + Whale al, hare isthe pcr of thm cbos. You con play any ies oF 3 noe in moor sale by ang on of hem. And af core th rlatonsip of ae 3 es wal er be argo 9 mar the poston orang, Thi simple wey yl of inking ery «fico for ngrvisg, + Protcng Hes kins of eerie hsp you tobe leo py any phe, which yo imaged in yur min, oy poston, insorily Adina posilons rd ing his in your playing will hp mui your choices atone cites tat can be iad, This ao fat meos your mised sxpretion range wll pane, ” SS EE PART2 Classical Etudes | picked up the pieces for the violin composed by Kreutzer and Rode {Both ore 18h canury classical musicions), | used the metronom inthis exercise on DND. But you do not have to 120i for the fist fime through. Use © metronome to kee the time when you se the whole picture ofthe etude. It might be better ose the tempo to about "Ha notes = 50" whichis litle bit slower than se empo. You can see how much you can keep the tempo ifyou play that slow. If you feel comforlable playing this piece as i is, ry to play it with dynamics and change the nuance of picking. Try to ploy this piece with rnuch feeing and without thinking of tos an etude. Exerise9 Kreutzer / Etude #5 Pee re ellinmipinige | Ota Tithe aes ao ie rater es It ioe pe hr ess eR CRSA ee TR be tag A pe, ge eet lerees terse ssi 5. ee campos by Kt Tey in . ‘Play by the C form and the A form in hey of Eb majoe. “9 il inary rc wi «sw pu hs cis reson ht yo la herp oH ke = 50 ih soar thon th gud ng you con hy sy wi mp up he emp. bi ge sep ow don be wr. + ako hd ge od ba ot i eo igh +s ar ping lh wy eth, Do sche pick wie Le yur picking rane ma * Thi cbot ening a of or ach ming a come omg eto sei 00 play with ch ss Do not forget about mute withthe polm of your right hand when you mave to other ‘gs fais er Saah 1 ARTS a A nen ReaD Exercise 10 Kreutzer / A port of the Etude #7 "Ti find your ann fingering pats thle et shone by ab, 2 a Se Exercise 11 - Rode / From Caprice #2 sa gee RNS PC RES Part 3 - _ Ear Training ‘hove introduced some ear taining in my "ACCELERATE YOUR GUITAR, PLAYING 1 DVD." This Hime, | inroduce on eer-raining exercise thot i comprised of playing he guitar wih singing, "Singing natural notes practice" ae in exercises 120-124, "singing all note ofthe chromatic scale including sharps ond fl! practice is, in exorcise 13 ond "singing practice of chord tones" isin excises Vor These exercises begin with you playing low C or the C maior chord There are two kinds of singing exercise. One is playing the guitar to confirm he pitch of the noes afer you sing, another one is singing the 10 epg to [19-99 —te 8g ye harmony ofthe noles you ployed agains the quia. Both exercises are Tae eae as 6 Berets aT ing your sense of alaive pitch = Lee ‘ery god for supporting you Pi = ST) | STII Uo ent nein 1 é eek gf fe - Ce ie Etre? os Cm Cmaj? Emer cy Hye ett 345 345 345 345 345 This des the ist lof #2 in 24 Cope” comport by Sod Ther oe ary parts whee you eve ply areas of is, shiping stings end fngr seta. S here ie avery hard aging pte, Slop practicing igh may you fol ny pain’ yer ges, * Ty tind yur own ngring pters and pote dont hk he fogrng | hove shown yous the bes wy. You con lean al fom ning your own Math. es thing doi il ond ever. Yel hove more cscs + ploy hs pio in dete knw my oon ability andl et the coeion of my laying en ory gv dy. ‘art 4 eading Exercises "have introduced the reading exercises fo help you understand the thythms, in oer words, the deration of the notes, in my "ACCELERATE ‘YOUR GUTTAR PAYING 1 DvD" Vinmroduce the exercise of reading the plc ofthe notes on this DVD. ‘You have to watch ths DVD in erdr fo dal ofthese exercises, might be a bit difficult to do this exercise ot first becouse you have to play the notes, which appeared on ‘he upper right side ofthe sereen. Buti is very simple. Try to do it as f you are playing a game. The onswer [Names of pitch and numbers, for example 5:3 means the note on 3rd ‘rot by 5th string. wl be showed on sereen when | play that noo. Exercivs 150~15d are he pracices hat use only the Sh string between the O fo 12h fet. Use natural nots in 150, natural notes and lat notes in 15, natura notes and share: noes in 15e ond ll of notes which are notre notes, lat notes ed sharp noes in 15 Ifyou feel tha these exercises are too dificult, prep with this score below. Tr o play the notes witout looking at Fingerboard, you do not know abou pitches, put down your gutor fr a while and iy guessing the pitches onthe screen Fst, Ifyou feel hese exercises are easy or have alady memorized he order ofthe notes in these exercises, ink about arranging these exercises in your ovm wey. For example, play the nots in diferent positions or hide the notes end “answers by puting apiece of poper on the screen ond playing the noes by drawing on the sounds or fl | played. You con think about ll he \woys of arangeme Theve reading exercises ore erranged fortis DVD, I have my students play 4 bars of quarter note phrase tha I wrote for my private lesons. Sih ring / 0-12 fas ABCOEFGA a soe tho Th sting / 0-4 frat EFGARBCOEFGARCDEFEG Bes is made by various elements oher than jst patems.| picked some of them, which | thought fo be especially imporiont, and composed tunes a eudes tht include hese elements The only way you can learn particular feelings and chythms of blues is by listening othe real blues tunes. It does not make sense to jus study knowledge and scales before you start to play blues. For practicing bles, you can use the shortcut thot is copying these exercises that ore formed of ol music, Phrases i hese exerci ore practical soho! you ‘on vie those in actual imprvistion. Copy those and use when you improvise on blue. ‘Ty the tempo at half note = AC, 55 or 50, Ifyou tend to be rushing, set the tempo hal note = 50, ond yo be able to grcove in slow tempo. + This oxo i fine onthe Bhs soe, + eof decloing « Wo-br phe mei All odd nankars of means ae te seen yins see ba 9, + Watch he DVD corel a moke sara the yh and uc are ight W's inprtnt ply wih hight fs. 5 Exercise 19 Galland response lea pies Ee i. re A Beye Poy bbe Paper: ina a & ee igre i gig! pee is io Fae on he Ther xe 3 peso Bnd he ering Down which oe “hall i + hissy iia corr tho ich, 10 ugg hat you bagin wih a sow lp. “+ Here 88. Kings phrase inthe borer i Handi’ prose hos bending the Sh up mina 7H in he Bb *+ You hove fo bend ih note ean te rhs tht ae pls in quater ne is ‘oro hep the right syns and ples in ht par, be ae 2 re re meet ei anes i icc! Ae SS! pestle prog puviige Fern L Sets + Ths ede made up by boi Bun ina and response ae of hal * Bago ploy! the bss ine et. ye fl emfortble wih ad he response phos * One end to mak nies whan moving the pha ram boss ine. Bo nove ton your ger mach +s importa eel bth af yeurhands whan you ply Exercise 20 Harmony in of 3rd Dal — Fy Hy p19, 04 Pree B {en eng ok imogind pane whon | composed hit de ‘he poy Te eter p28 aye J ree aan Pe ee pop + You willbe ube o cay le hee hes you mate ths nec, 1 ry ply tis in ther pins and eye, Pah | foto sounds ie pine ar hams i you pay wo he this Exercise 21 + This tdi oes on voicing of Hormony in of 6ths + sed Ros M2, MD, P4, 25, Mand 7 (Macyin + lyin sow pou yo rua pling iy or psons. + Asian lye ik ta wth sare ih ony ne fr ine, OK his wy eo Jes epytt|roip * This eid is foused on phrase ie one played by Rebun Fd and Lat Calon Contin her pho, nich chord Sones ond he Micon scl oe ae, rakshis ee have bright sound sin noe You con sy het is eae ues amit af mejor nd mice pti scales, but you hu ink of in too mucha a echrcl wey. You shold el he mse ve Feeling simran = Wis very pia pater of sing ia on dominant ih (C an Ds on the cd nd bets in bor, 58 Part 6 Jazz Etudes ‘When rock or bles guilriss ry to study jazz, they rn int the problem that he chord progressions used ore compliceled and hard to copy. So found there to be a need for eudes for azz and composed these tudes. ‘These seom to be good references for my sudens. | nkrdvee some of them here. Exercise 23824 are jz blues, which use he blues scole, mixolydian, aller, and lyeion 7. Exercise 25826 are minor jazz blues which use dorian, melodic minor, harmonie minor end aed. Exercise 27 isthe etude that uses the chord progressions ofthe jazz sfondard tune “All The Things You Aro". There are elmos! all kinds of scales and expeggios of chords IF you can play the shythm guitar pattern of the jazz blues which | introduced in "Accelerate your guitar playing | DYD," then record your chord playing in half note = 55 and play the jazz blues etude along with he recording. That makes procice more fun and elective IF you think that you want fo be good at jazz but have no ides bout scales, jst ranscrbe them before you get confused by rein this ext Ihwil be helpful study jazz harmony in he fectreiFyou know how to ploy these phrases. » * Ths odes opi jazz bles, which begins wih pick phase * Ted te chor tones. a many times at posible 2 fl yu con hear the chord Progression, f you lien crcl though | played the melody wih ju he 1 Dont be if wt your ym, ty wing oot * Lode 01 sound wih chord tone ts IE? B7, C777 ‘Lam wing ain ope soured over? (31S on Bh ber). * His on ald sd on he 1b; ich iF N7. lard seals he song teon sounds, ond oe ployed atin jase To maser ose ind of see, i bate to memrie the ol phrase ound) rahe than yng ging pts licale. You should analyze th tletonship bebwece the phrase and chords Gradual hats what will make you ply the ber ieee Scale characteristic chart ited up seco sed in Port 687 Avec yin: Doron soy Mao: Wino: omni Minar toeian inl 1h 922), 3511129919), 17 8, 29,3411), 5,67 8,2,984,5,6,7 B.2.3,4,5,6.7 8.23,4,5,8,7 8, 2093,4,5.6,7 82,8, 45,9697 B26, 9,45 8613, 97 or * This ede os moe ofa bebop sand compared exon 23 * Tce on a svephone phere ich a Bid ond Somy Sit rabwr han 2 gir 120. To produce he smooth sound the sxephore, | ued a of "ling of “Homer on rd "Sing. Dot ppl fo much presen the fe alos bth of your hand en play sooth nes with load fe. 17 This is. prose sing hc 7h, You can hk ht ts changed hah degree of misaytan tot, * The phrase onthe bros rd to 4h inthe th bar ses alee scl. the noes ‘16 © 19H, DY, B Rot nd 17). yu Kelson of E7 whichis 0 ‘sbsiuion cho. The note anc er Sih 13h 1h ond * The Ypial phrases ths we chord ones and pasting fre or on sh 7h to Bh bow. Thexe ore the ios of phrase oto sxophona players such os eer ‘Young, Ben Webster, ond Caren Hawkins 1+ These proses oe LV ond HVA feud on Be Bap seophane sound anh to Vai bors os Exerdse25 minor jazz blues 1 Exercise 26 C minor jazz blues 2 ; 28 om or cnr + eee ele ESE Pe = aaa =e Ly Jharclas m7") ar [ ererper! Lertesrtes PS Ee TSS aT or om an value +I chose minor elle cls, cate tt @ minor bs, + Lund dorian or moi nor on Cn. * Tu Fhormotic miter om C7 inh br to Fn” on th br, You cans 0s © rincytan 13h, * Lud dn 7h on V7 117) on ore sale on G7 V7) in tho TO bars + Ld pay mor dial ond added mae ofa singing wot erie 25, bt | ed los he sae sas wih. «Try keep 2 sea tengo ar we obras pick eck bua sometings is very eon fe r,s re Prose baie on the rot an ying ‘cca + Fleots imagine @satophane reund whan yeu pley Hamming”, ing of ond ‘alin’. And again d nt opp ao much posure on es in ot play soa, 65 Exercise 27 Be-Bop changes Fa goog tent epeettite a rate ee cm? é a AT re pA “This td ss the chard changas of “Al The Thing You Art, Tore xe many Kin of chord sch 5 Mei, minor7 den, nr 5 eel irish, 1 o show the chad sound | sed chore tenes ond arpa: fo on the chords 4 lo. You can use these phrases when you ply improvisation in an octal Peco in fst tempos show the Ben i in sl targa you con ply these pv 6 + lf you ore na ved fe playing jase changes and TTS oth tting i Het be ff . ur mal? end flog poe. + Afar you mat plying is xr, change he postions ond Fgesing pate in fre ples. Dono Frgetto analyz the ph sin he chr hod, proce paying ‘hyn gitar on thes chord changes rt Groove of using Rot el 7th for + payed deronsaton thes chord changes in st DVD, Check PART7 Walking "Waking bassline & Comping" is the technique of ploying both the bassline on the Shi 6th srings ond comping on higher set of sings {mainly on the 3rd& Ath strings) ot same time. Joe Pass and Tuck Andress are very good at this technique IVs useful when you are playing clone, or with @ guitar due and ‘accompaniment of vocal. 1 make karaoke by using this technique to practice soles, ‘You moy find ito be very difcul ist, but you will got used fit. | want you to do ho kinds of exercises. The First one is playing just chords by quarter notes. Voicing is Rt3rd+71h, (There are good references in exercise 202~20e of he les! DVD.) The tempo is half note = 55-60, You con understond the chord chonges and memocize baxic chord forms. The second exercise is just playing the bass line and ignoring comping. Use the fingering patten writen on the score at this time. ht will be important when you add chord comping Try to fea the you ore playing the real bassline when you begin this, exercise. Do not play it like an Nnitation ofthe boss line onthe guitar" Thot sounds herd but imagine a pions! when you comp. ° a (geese pth rotefs trey] . » : + scening by heh sting ond descending by he Sh sting, rs © pop ato ded: Ch, Rt ch + Descending by eh ing onthe sted bats and ein to he Sh sing on the dh brat ond excending bck othe hing, ob + Using ipl inthe 2d bar Tha makes he ine hove more cove + Detcning nF and eacening in + + This sa wld arangenant by lng oicending ae long deeending Ins more pret pre short ond single chard changes rather han ory the ‘whole sto chord changes in hens. So, Begin price with V2, which ea at fie aze bh, Eercise 280-28d are ine bay of, 28-28 a in the ky oF Fly the bos ne on js heh sing, Play 2nd: Ch: an 87 ond ROS: Chon B. Ch means chromatic approach Think fa the nate approaching othe target ot by al ep. 7 7 Exercise 290g _ Um? = V7 = Imai aa 07 (One ofthe most poplar chard changin jazi n-¥74, Exerc 290-29 oe inthe hey 6G, 290-29 oe in he hy of "explained cout he bass in mos in enercte 28, Th tine would ke to you hou comping. 1 These ore very simple shythms and chord, which ae playing jst 3rd ond 7h ‘Simple pastes are good to conp fr ahr insmans bacase you con avid ‘ing he notes wih he eon of whatever the sos may poy n a + This i on expe of eng the 2nd sing othe guide ons (Sl and 7h on th ced ed stings Is Shon A and th om D7. this ecg, the a ad 2d sing re wed when you wot oad her chord ons o ns. + This example contin ipl in te basin. ate Ths earple ee he d ingjut h b. + Simple pater, some oF, + 1 Added he 2 sing o + laying G7 in hgh potion. ployed «mel on Ory te ne ing a vai op from G7. ” Exercise 30a-b m7 (-5) - V7 - tm7 Exercise 31a-b Wm? ~ VAT - Im? - V7 = Imaj7 emi er nbs ictemajs) ‘Ths is minor V4, You hove to ae forthe bas lin the chord because, ni? i 'in7#8) oe in minor kys. Alo the chord eal ofthis chard is ction so tha you how he Bt 2nd The eons o¥7 are bor tus, Hh, ond Hh fash ein * Thi the expo nthe kay of ‘Ake 13h on G7. Yow may fo confrele, bacoue 3h med nC, te * This she wxampl inthe ay of Gn * Paying G7 inthe Sh stings roa farm. esier olay 1h nd Mh hem 1H sed hin ths nee. Try, jt change ht dhl on hen hing + ploy chord comping wie on hs D7. On he Ist Id beats, bth or ploying the fot You dont hove te ply al fort ates bacouse it sa WALKING as le, his thn 0777 ilo popular chard peogresion in jez + This pote ssl le somthing Joe Poss woud ply + A7-Oni7 is Vill. Buin hit cor, cred tervions ore ber 6 use sano nor V7. This ie end 1.3 + | ployed comping on the best in 2nd D7. Sani i it good, Ty iin ther example too > + An example inthe bay of + ployed esen 8 on E7 an 7, You may change ito, + The at chard played Dal on G, which can be sid GM? Hall fen wed is wicng, 1 Use ony tonic chads, |stond 3d bots ofthe bss ine ae approaches, bth ae am hal op blow ‘on the Ts br The 2nd bea irom hl ap cow ane the th ba is form half sop blow inthe 2 or. * Th polo af he bas ine ting rom sing, Watch he Fingsring ps, "The pti mth ih sing. we 7 nad af Em? The ine decening val ‘An i ths 0 ha you yf francs rm be + * Used 7 instead of An7. Sounds li bit right, + Ployng only 7h chen, a see ace, * An exemple of harmonizing all nos ofthe bos line. oe Fas en loys tis ype of eround ‘isis EVM, even iit sounds ie bit ren, The chord excep Vi, V tht ore hose Aches B7, E7, 7, B7 reso to the now char by hol sep down, Ako those chars ov ll eld sbstivie ominn, exp BY. % ” Ererise33 0 Exercise 34 B> jazz blues F jazz blues Wy Ty tho whe chow os jaz his. Kea pricing you can fe he gone, J * There 6 Rots 7 onto 1 het fhe hing rte Bh et a he hing, * Hyer can play change the pan ih fen ides. ange with our ox | Sohre er pay, 0 you eon ve 0 weno fel, * ta 2 brs ae EV, but ou an change I (neansF7 fo A7 or Ana * yer can marth exerci, om you can play f ne by yous, Yu con oio foo youcanharmorze he who bos in ike nee 325 ‘roche jaz oud of Pt 6 cai is example os. a bck ground * Exercise 36 Bebop Change Exercise 35 Go juz blues Govindan te storing pe. | + Inthe ease of canouing th sane chods on wo ors you nef devise ose lhe meving by @ half note. yt tink of some ideas by youralf besides i ram. 157 is poplar in min inthe 9th Le 13th, 9th end 1 ae goo choles fr « Thote ae the chord changes of "Al he Things You Ae hare ae many pes of ds + Leo how fo apply he ideos of basin od conping you have std in execie 92. tenons + layed nafs tempo, ba you should begin pracice ine dower po ‘Yeu can cho uses the haa for aes 25,28 n Por 0 Contin om pricing page ae Fa Bhar ea) * To compore wit aher exercises, his exercie 36 has on abslate eilference in lying vrtions on och chor is much more diff improvise in hs ye of performance than ual solo comping, bli wll be me devlapmentl hon

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