J 8003233870 | 184.94) JOHN SCOFIELD | P80 wmeumamniyromeina fp SCO} | {Coe denn ths ead layegand nvenoteeronsion egy) + livret He has toured and recorded with Miles Davis, the Cobham- i : Duke Band and Charles Mingus, to name a few. John can be / heard on Miles’ Decoy and Star People albums. He Is currently leading his own fine band and has recorded several solo il) i aes | ON IMPROVISATION shows critically acclaimed Scofield WA inaciinic format covering such topics as the use of seventeen | major modes and scales, chromatics, passing tones, solo- ‘ng, picking techniques, and various approaches to improvi- sation—all demonstrated with ample playing. This tape con- tains & wealth of information for the sesious guitarist. Running Time: 60 minutes Level: intermediate to Advanced | crammed with «-great deal of intermediate to advanced ! level information.” i —Downbeat, November 1985 ©1983 BCI Music Video Productions, inc a8 OssSYMETRICAL DIMINISHED SCALES 1. (vz ster, 1 ster) cr (b9 #9 #11 13) T 82 to fo 5 6 OF be) #0) CN) 0a) 2. (1 STEP, 112 STEP) Co? ( Nat7 11613) T 2 bs 4 bs te AS OT @ ay 19) (br) C7 @ #1) T 2 9 ST ®) aon fit jedan Vicles pie Jes THE FOUR Stes 1, MAJOR 2, MELODIC MINOR = 3 == 3. SYMETRICAL DIMINISHED 4, WHOLE TONE opt oo NEYRAT Oo Semon Vines %003249370CHORD SUBSTITUTION 1. DIATONIC SERIES - ORIGINAL V7 SUB. G7 alt, = Db7(9/13) ORIGINAL, 3.1/V SUB. - D-7 G7 = Ab7 Db7 ORIGINAL, 4 RULE: Try NOT to pick more than 2 notes ina row; use pull offs, hammer ons, and finger slides. MAJOR = RIGHT HAND. SoHE SCALE CONNECTION eX.1 Cmai7 Ebmaj7 Dmai7 Dbmaj7 Ex2 0 v Dmin7 e719) DORIAN-- “SYM. DIM. maiz ~---LYDIAN-> PASSING TONES Any scale tone may be approached by achromatic note 1/2 step above or below. DOUBLE V2 a CHROMATIC ABOVE BELOW PROACHSCOFIELD MAJOR SCALE MODES 1. MAJOR (ST DEGREE) Cmaj7 @ 1113) 1 2 4 5 6 o oy (3) 2, DORIAN(2NO DEGREE), cm? @ 11 13) 1 2 4 8 6 OF 6 ay 19) 2. PHRYGIAN (9AD DEGREE) cm? {b9 11 b13) + be m4 5 le 20) oy 209) 4: LYDIAN (TH DEGREE) Cmaj7 (9 #11 13) 7 2 9 5 6 7 ° a0) (9) 5. MIKOLYDIAN (STH DEGREE) a @ 1113) + 2 8 4 5 6 ® ay 03) 6, AEOLIAN (TH DEGREE) cal (9 11 b13) + 2 4 So i wn ee) 7.LOGRUN (7TH DEGREE) neers E (9 11 B13) 7 ew 4 ste 0) on oe) MELODIC MINOR SCALE MODES seiooe non aaa mtn tbe 2 ponn(a oct man? de s..yows aro sane , 2 sm se 7 i Sama * te .tvousy roesneey 7 oe oe te a a siseanmisensceed 7 3 os es we ar er) ps tocru Tuna 2 oH OEGREE & oe 7 oe ee A? fy ay ALTERED SOALE (THOR) a 5 a te bis) (a9) any) ba33) Cm(maj7) 9 11 13) Cm7 (09 11 13) Cmaj7#5 9 #11 13) cr @ #11 13) cr (9 11 bI3) Cm7(b5) 9 11 b13) CTalt (b9 #9#11b13)SCALE USAGE CHORD TONES C LYDIAN ant 13] ARPEGGIATED LYDIAN SCALE Cmaj7 (9 13) 6 9) Cimaj7 (9) Cmaj7 (#11) Cmaj7 (#11 13) Cmaj7 (13) Cmaj6 Cmaj7 (9 #11) Cmaj 6 CLLYDIAN SCALE HARMONIZED IN 4THS G DORIAN (2NDS, STHS) PENTATONICS MAJOR PENTATONIC. 2 3 5 6 MINOR PENTATONIC 1 ts 4 5 br DOMINANT PENTATONIC e st at ~ 1 2 3 5 br MAJ7CHORD — Maj. Pent From Chord Root Min. Pent From Chord 6th Maj. Pent From Chord 2nd Dom. Pent From Chord 7th MIN 7CHORD — Min. Pent From Chord Root Min. Pent From Chord Sth Min. Pent From Chord 2nd DOM 7 CHORD —Maj. Pent From Chord Root (Tonic or 117) Dom, Pent From Chord Root Maj. Pent From Chord 2nd Min. Pent From Chord Sth Dom. Pent From Chord 2nd DOM 7CHORD —Min. Pent A b3 (alt. - V7 alt.) Above Chord Root MIN. 7b5 Chord — Dom. Pent From Chord b6 A-PENT BB-PENT B-PENT —C-PENT