a guide to

Chords, Seo es, &
Arlpeggio1s

.l~.~

b~ AL DIMEOLA & B,OB ASLANII.A'N

b~AL DI MEOLA & BOB ASLANIAN
IPr1oduoed by JOHN CERULLO Cover Art and Design .by .J.JI, FlANNERY Type Editin.g by CAROL IFLANNERY
Alii musical excerpts a re Copyril,ght .by Di Mea~a M uslc, line. An RiglhtsRooerved. My 'Use of th ls materia I without the permlsslon of DII MEOLA MUSIC., INC. or 21st ClENTURY MUSIC PRODUCTIONS. INC:.

Is a viokd:j'On o,~eepvr ig:rrt ~aws.

BooK Gopyright1985 by 211 CENTU ~y M liSle P:RODUCTIONS. liNC. st p,o, Box 1816, Wayne, NJ 01"4701 Dicstribut~d by HAl LEONARD PUBliSHING CORPORATION

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l8o~b As.lonilan FK.1S beenl ploiyiirilg QIUlitar J',)rofessiono:lly tor Tihlirty yean. pcu'it'Qifthat time teach!ingl the gu~taLos well os IPlayiingl in lbii.g band.s. smcd~ combos. and! plrasei1ttlly in solo pSlrHe has spent a good qiuently os csludle

fmman:ce. He hos reoor'(:h~dtwo recoro allb,ums 'and hcs worked~r,e~
musician. He iSlillow Ilivilng~n New Jiar.sey, play~ngl a nd teach! ng the guliT'O'r...

. I Cllnruivads a powerfll~ and. infi u:en~r:aIflO.rce Ir1. mu,siic o:r~. is own A a 'hI ferms, play~ngl (l brand of music ~hat oaflno~ be cct,ego:rized. Ihis blend lnel udes elements of rock, JOIZZ,. closslcct, and Lotilnrhy1hms woven into beo'lIrWWul melodies plailjled on clcous,iic and ,electric in~
struments.

~liI,searly '~rOl,lnllngi with jo,zzgtHfarigt Bob As~a~jaJn emphasized, rea piolkiingl ~echnique, and t&ch~ioClI profl:ciency, as well as the c I. t-o ClPprec~,at'a and play me ny Types o~ rnu ste, Sllflce 'that time, A~ has had 01 most SUOOE!ssf~! career. Besides hfs conti~U!~ng S'UCC'€lSS (J!S,ern'e' ,ftl€! worldsg r·eat 9m solo ertlsts, Allhas pl'ayed wil'lin a some o,f tr.:)t:.1ay~s od talent,ad musicians. From his '~mly deys, W·llfrn m Ba.rry Miles and: Chick Cor,sa'g. 'lR'eturn10 Forever-to hils most reoent work wm'h Th'EI' Trio,·of J'ohn McLciugihllirl, Poco, D€lI.JJCiio, ono i"nimsellf,,A~ Is stllill ,grow~ng as: on arl'~st His recent work. on solo acousticglJit,en ls proof offhat :He owes much oth Is paS] ono present success T'Ohils taidngl n~,e time and effort to deve:l.op OJ good bcse of muslool kl1ow~edge ond theory. A~ has :said., "by rld develloping good mus~calland technical prof~ciency. a glu~'hJdsts net g:livingl himself l '1he chance to lbecomet~e best Un.at ~'9'or she con lbe. So i~is my h,opa m,at peopliB wilmUsettl is booktihat Bob AslalnlQn (J!1d myself nave d8Me~oped es a iool tl"n·at illi gliy,e,a per.sont~,e c~(mca to w DEIili';Ome o good, musician. AU one needs to do liswork hard/'
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So 1hink of your-self os '0 young corpentsr II.gios necessary in becoming 01 good rnusjclon and plolyer. solos end eventua Jly he lip 'You develop lnto a more rounded gu~tarilst and musician.entlice. etc.T'ep" 'Or1®day CiT oftrne. j1ust how is a IIIthis go. scales. You can leorn these' sTep·by·s. des Ilgning. scolss.0 relative~y easy to understand approach.e. tunes. Teaching you how.earning l10w 10 use his tools.orpegglios. ond Ibuild.tyle'ond in developlngl yourself as a we. Iv .av~ng "to' work th..eaching g'uitO:r. presented In . scales.~ng t'O really help me? 10 onswer both of 1hese questions. a scole book" end an clrpeglgio book" Instead. readingl l'ips.ol wiillgiv9' you '0 complete 'education. we simply osk you to th ink of you rsellf os a co rpenter' s oppr.ther in one system.. past" twenty years of t. exercises..lp ')IIoulearn some of the chords. 'and wh'ere to use these.). the two. orpeglg los. when. soc las.ore: wl1y should II leorn 0" ttl 9S19 c no rds. but' in music ~ngeneral. leorn ing how and when to use t1'19' tools of hls trade. 'El.enits. not only in gulivor.eols and than show you how and wh. most cornman questions osked by n.ir:J g w ~. tools will help you erects 0 no bu iId better lead.atever 'y()U desl re.eating.developing vour own s.tc? And. it br'ings all of these elements toge. arpeggios.tud. Over the. Once you have learned this..I~is the intention iQft'his bookio n. then yOU! Dan apply this knowledg'Ei' in cr.jJjmlinatesyour h.chord progresions. throll'gh OU[ unique Lesson Plan Syst'sm"This Syst'em .rough a chord book.en to use them in .ew s. and supplementclry maiaril.e.IHmmded rnuslcton and player. Tt1is: s'y-5o'tern wli!l give you 'the t. and arpeg. Ine differs'lit chords. Our System doss the something by' providing you with fl1'6' necessary tools ot your trode (chords.

As you Ilook throuigh th~.g'uitar wUhthe most :soHd tJass' of technique Cllv.s book. by else liswiing some. you'll notice one very oovtous and 'oirfferent element 'thot you will not see fn ony othertechni:que book on guito".te $lcope of .clse1ly atth'9' right' ploee cU'1Id time inslde. Ttiis book has been divided lnto .octly what to shJ. o.Iindlividuall sectio~ls: Lesson PIIQU1s. . Soole Section.e be~ieve fhat no one book.9chnique book to n. .our goal is fhaf' you call eo!slllyfoliOw thls pn:lgram.guitar technique. We hove lincl'uded In the bock of this. book bel[ieve willi ne. We have devised 01 unique feature in this book.e tl1'G1 C!I lesso[nl Plla[nl program rig M infhe beglrml r1:g oft~.dy. . It .of thle-se supplemental publlications priel.or thestudern. They tend to become uncleor and out of locus f.1\8 r be Ille. So we have strucfured this t.f each ILesslonl Plain.Qv.and Tune' and Exercises Seatilon.01 Bet oil puouconons we .f: ~ most gu iter tecl1 niQue pub.e! b aOlK .llications 0 ra very ou n ot di'fficlJU to work with. con cover the complle. Arpeggio S~ctio:rn.lp enhance your fechnJca:li abiliity beccuse w. inslimple' olJ~lille 'falshion . alii the While leamli~. Chord Sectiion.a ila ble today. linclllldingthis one.g tOI ploy . book in this toshlon. Therle is a very important reason for setting up this.• 4 c:leartJylayllng out ex.

ill ~iI!I !i"'!. I I 111 I I I' I ~ i' ~ • ~ ~ • iii. 1. II I H 'I ~ ! I •• jo ~ • io ~ i " . . '.i . I' ~ • !' ~ •• " j • 11'1 i I'" if I 1 'I I I 'I' ~ ! ~ " i " . i I .~"! ~ i •• "..." SCALE. '..Ni 'NVO i!'iI ." if! .AL DI MEOLA AND BOB ASLANIAN INTRODUCTION 'WARM UPAND IDEVEL'OPING SPEED EXERC!IISES... ~ ! " i •• ~. ~ Ii I.! ~'I. " .'E:·SSON plLAiNlrONI Eli! LESS.. 'I •• I' ! ! .... i I.I.....! j i I. S IX Ii Ii ~ I.I I Ii ~ it 1 II II • ~ 'I .iI • Ii it ~ I II I I 1 ii....ES it iI h" I h" I 11'1 I I I'll I! " ~ .E 'LESSON PIlAN FO U R' LE.fI .I. I ! I! .... '! •• ~~ • ~ . "... iI Ii 'h ~. ".~ iI i ~ it • fI N I II N' I I'l'l . ~ i ~~.! ! ....!'" Ii il... ~ • II II I ..15 16i EI~! I". ! • ~~ i io •• iI Ii I..a 9 1 GOOlD P'RA'CTICE HAIBI~ITS.. ! ~ ~ . hit I "'I II ~ ~n !'!'I ~ ""'I! !. 117 iI II Ii .. '.. lilt '1'111 fl"_ • "I! !! . ~• io j'li Ii h II I Ii . •• ~j iI '. " .I ~ Ii ~ Ii ~ ~ I' ~l • i 'I i ii CHORD SECTION [Chord Voicing). it •• ~ • I 1'1 I I' • ~ .ii i i •• lillli.. ~ 'II N I ..iI I I'll! 1.'~i!.IN.! M io. ~ ~ ! ~ ~ • " . M.i." i ~!lli ill.... i • jill I' ~ I MI..~" iI~. • Ii Ii ~ • ~ ~ I ~ . ! ~ ~ .. ~H 11'11 E'I! !i'!!! ~i! ~ it II ill JLESS:ON PLAN THRE.SSON P'LAN 'FIIIVE ~ LESSON IP'LAIN.I. I HI I II N I .'''' I'I! ~'!..I i Ii .I • I I'll I 11'1 " ! ~ ~ •• '" Ii • io ~i Ii ~ ~ ! II 'I' 1 I 'I . . ~ ! • 'i • " !.. I Ii fI •• Ii N ~ ! .L.... Ii .I L.. II •• "".ilO I'~ IIIIII'I!! iii" iill. I II ~ I I! I•• I I'. ~ Ii I I.j iI I i Ii II I' I I 'II ~ I fI I' ! ! 'I ! ~ Ii • .lli'I'IIIi'I!I! j.ii Ii ilill liN II'III'I!!!'~ j. iii I I. i i " II. N 43 . iii i. !~.' i.! i Ii II II I II it I Mit.! • I ~." "'! i " II'..... ! I'! I I'! • ~" •• . i Ii I. 'I ! ! 'I. 'I!!"_. Ii . • i i i Ii Ii ~ I ~~ • ! fI ~ I e ..I i Ii H.'io~ . . I. ! .I!'i! i ~i' 611'1 ~!l1 fH! fl'! ~ . iI • .CA..1111'1'111'11 t fI"! iI'!.' Ii Ii I.I' i iiI. Ii I h ~ ~ .11 11111 ~III! 1M AJO R' .. . 20 2: [1 2':2 23 4. iI • h II • I~ ! ~ ~~ • ~~ i " i! • . Ii iii i Ii'iil IlliI !l1l~!.I. " ~.4 . i. iii.~ ! f' ~ •• . i ~ h .1i LESSO'N. Ii Ii I.. -. !" 'I •• I~•"~• I. i.. I II ~••• 1" I I II' I I !II ! ! ~ . iI "~illl!lI''II! 111'11 ii . ~ • ~ ~ •• UE. ". ".I iii.11 i " I •• ~'! j .N IE:lliGHT.. ~ Ii ! II.. ! tio ~ i I.I. '" . iI i I II 1 lit "'~ I .~ II • II 1 2...ON IPLA. i it" j ill Ii JII1 Iltrl 10 P ~••• I' Ii i i . SEIC:TIONII~" 11111 ~'I!! ~'I!~".'!! il~~ I ~!l1 611' ~~!~!I! ~I!! ~Iil.S. i 11It illi I iI E 61t.2 !i ~ i Ii . . I 1 'I ! 1'1' ! . a i R~ iI I II. ..!lllllfll! I'! f! It-!. io II. '.." . PllAN NIN IE: IlESSO NI PlAN TEN ~ i i 1.II..I.SSON PLA....! •• " •• 1.I ! ! "I •• il ~ • io ~ • i 'h I Ii fI ~ I Ii ~ ~ • ~ ~ ... .! i Ii l.ji ~ I I' !I It ! II .! " .. ~.I i i. II! ! M'I • ~ ~ • II ". . ~ ~ Ii ~ ~. .i i Iri i ill 111...1.. II ! I II! I . •• " Ii i ~~ i Ii .I.~ • ~~ iI i 'to iI Ii ~ I I II ~ .iI a I•~I .~ • ~~.!'''! • . "j i .1 1111 ~'I'! Il. 11'1 ~ I! I" •• ~~ •• '!'~ a iii iI ..I . iI Ii .

·~····LA-\: TIUN···ES~ '_!_::__:~I!i ii~11 .G'ESTED SlJPPllE..'.....IIOSI I JI:A:l.. 1.'"'. .. 70 80 84 IEXE:!RCI:S:ES I~ : ." .I..lIi III 11I1tI! Ill! I !II! I~I! !~.!! ii i! !LIIII. ." . : I !I~!! •• '! !!..Z CHORD ...'. •• .1111II1Ii l'iI! I fli'~ IiI.. it 5. i i.... __ ' :"..1 h~ ill.. -=...IMIENTARY BOOKS .SE'CTJ:ON FO RM ~ .I..~ Ii .IIII I III~ I II ill ~ I I~II' I II IIII I ~ I II i! I 1 IIIi I jo ~.~! 1I~IIi"'illIl~illI""1I11I1I 11111111 11111 II~H I ~IIII ilill lill! illlli ~!II~ i".1109 .~ ~I~ ~ ~ ii ~ ~IiI ~ ~. .. iiLili ..I. .liil!! Ii II iI ilJiil . SCAJLE:S AR'P'EGGIIO' .!! Ii '" I! ~ ~. ...1106 '•••••••••••• ' ••••• MASTER GUIDE TO CHORDI ARPEGGIO RIEILATIONSH~PS . !! 'Ii ~ iI i 1111111111.UIDE TO' CHORD/SCALE RELATIONSHIPS . !! ! ~.. .II Ii ill II ~ II II II III• I .• .... . .I Ii ~. II I IIfII 11111 ~II I if I i if iii i i! 41 i .tii I ... ! L~ ! ." .1·1 ! ••... •• .1111111 1I11111'1111'IHII'II'i 11111 Iii I'~i I'ii" iii'! ii"it! !i"" i ~~! ~it.. ..." .'..iI 1'''illli~'illi~IIIi'lIii ii.. "."" .ii" I i Ii Ii 'I!~'!! ~ 'II! ~" ~!.' •• .".'.iI i'hil i IMASTER G. •• ... " .." •• . _.. 12 BA·'R' ICli LUi E·S·..III~li 1i1iIilllllllllll'IIIIIt1~ ." ~ ! ! ~ ii ~Ii ~ ~I• Ii .'. ~ I rflil I Iti. I ..llilill 1I111'1I~11I III I 11II111III!IIIII! I 1111'1 II'I H 1'1111'11. ii II " .' ~.. !i ~.II~' iI M I I ~II II Ii III WHOL." " ". '-"'I iio!'i! i'~11 illlllillllllllllIlllIllll~IIIIllIlli' HIARIMONI'C - MilNOR SC:AJLES !'''~ Ii. .8 0 "... Ii joII ! ~~...'. . ~ ~! ~I if! ~ Ii I~~ 111...." . ~ 'il 4.2' ---- -- ------- --- .AlL1ES i i'iil i liil'llIillillllllillllllll~II'IIIIIIIII'IIII'1I1 ••ill ~"'I iI'''1 1"li'l'ili'l iii'! ii 01' ill'iij ..0 MINOR SC.. IIe..I~..E TONE.•.' MIOID ES PIUR'E !! !! '10 !! 'Ii ~. illI'i iioiJ!i i Iit~ill'liil'IIi'~1 I 1i1~11'~ill'lIiI I II IIII I'" JA'ZZ iME·lIO:DIIC MINIOIR SCALES.11.... 1. illl' II!JIRII RIll I!III 1'111111I1i11[iI~'I'lIill lIili ilfl~'i !iLjo~J!~"'~ !'''~I! ~~'i!'Ii'"~ II II ill I 1111111 II ill S6 60 62 '!i ~ Ii '10 ~II II ~ Ii II ~....!!... " ' . "" . . . '. ".. 1'1.! !..... •• " .! a SUG." ....1111111111 i jo oj.i Ii" h 0.~.:". ."'.liil illi~IIIIIIIIIi...:~ I... . ..'.·· A···L D·IIM-·IC'O". "..' .' ... ".I II " I • 'II ~ I I ~II I I ~II iI II ~ ~ ! I I 'I' I I! 'il !i i 'i Ii . I!~'!i ~...111' II~' I I'll ~ I 'I! IIIi I'll Ii i i!~'!i i!~'!i 1.. "'..llIlilllll !'~i! ii'Iii!'IIi~'! ~~'! !i'~ !.. IfII 11111 I"'! I 'R! I e II I II ~I! II II' I M ~II ~ ~~" ! ~ '!I! • i!I ~ Ii M ~ II ill ~ ~ Ii .iI • . ...1I~111..Ii I I Ii II I II II I • IfI • I IfI I I IIII I II! I I II I I if I' ! I! 'II! if iii Ii I! 'i Ii i i" !! !o 'I' !! !! '10 !! Ii ~." REC·O'MIMIENDED ! "'... .'i'~ !~I~! ~4J! i!~! !!'!J~ ii ~~ ii ~~I~ ~.Io~ !. MASTER GUIDE TO CHORD SUiBSTITUTIONS ..! ••• ' •••••• ."'.'"'.".ti! i"'~! !o'!'! 1i1!o~.illl~~ II~~ I 111._:_.111II 'II ~III. ~ IDIMIINI·SHlED SCAL'ES i ~ oil ~ oil ! ". ".llilli Mill MiI...P'EINITATONIC SiCA L.. ~ !! '" ~ I I" ~ " II..'.ARIPE GG....j ~ ! !'''~ Ii. ....iI !.. ! ' D..~! II~' Ii lii!'~ 1I111~ 1111.Ii Ii 11i~.._ -." . LIST'ENING .." .. "..10 ii ~ I' ii 47' i!i iI Ii 'Ii I Ii . . ~ ~ I" ~I! .ES.. ' m •••••••• .

exerciSI9S.WARM~U~P ANID' .x€ln:::is:e with 01 slow tempo one don'~iincreOISIS the tempo until you can ploly 1f~.eirfil ngero and dave I~opspeed. Second always bSlgfn 'the e.we sUQ'ges. Another trick: ls to use very neavy ga1uge strings and r.tihe s Major Scale and Uls~ng'91it!lEH the. .:ll:se USiU1iQ flng. end lin brOKen tih~rds. As crczvos they mOiy seem. 'to warm up and (:levellop spa'ed lis . 8 .t' rep~ating ]ihe entlre €l)l!er(.P'EEID. These finge~1 ngl5 ora g!rsatfor stre'tc~ ing your flIiil!gers..er:s of your Ileft handa:s allose to the s:tirtnglS OIS possibl'9.rings rst wearrng 01 't~ght . fhey do work. but a IiNle frick in deve.glove on your lien hand .e' seole smoothly. The 'f~ tfllck ls to practloe all scal~e fi n ge..fthe bs'sf ways. Proctioet~'e seole . After working withf~ngering.srings C.gglos.cesession. Onc€1' you f'€H~1omfolialblls pliOying th~s o ~call'9 at o slow tempo. mhenin ei'gMh note trip~em" slixtE:H9fil~ih otes. D. Th19r9'are saveral things to remember.€l pa:ff'ern) and begin with 01 slow tempo.t Iby usi rJg. rarnam berfo ke. Then 'glrold'ually pick: up the tempo ·and repeat The entire exercise. The' .to proct~ce' UlsJingscall!s<.lop~ng speed!.the warm up e:xercises shou Id~ota IIno more tihan friffeen fotwe'nty mi n utes attha 06 9 inn ing of eoch J::m:Jc~i. end E. notes. Use the alternolfe pic!k!ingltechn~q!Ua (down·upstrok.9ring. Trali~don'tstrain.DE:VELOPING S.greater 'the dlh'itance your fingers.rlubber .aiseth. lhi~sIs not m)~y pmper 'techniQlJe.ffar p ItaylsiS hciv'E! used cerhJli n tricks 'TO he~p sirengltrn'Elr:l th.s . When p ~aying sco I!es orcupe. ~husl:asiingspeed. Was' est YO'Lli ta r. ascending: ond n desoending ln 1wo odo1vEls.sp thefi rl g. A or B g.A ond lB.ld down 01string.EXERC~'SES We feel t!lat one o. gui.•tlrst h) ellght~. time w~iII be wasted. hove to l trolvelto ho.e oetlcn on 'Your guiitar 0 Illffle h ~gher tho n usuol. Flrst. 1 # Oval tihe yems.

e weightllifflng.g your rouslo on '0 bed.. in addition.mp~e:teeaoh tesso:r1 'Plalil lin a NlQ week period.entire. --- .of your dOlily practice.one 01~he L'8SslCmP1hJlns.f hours or even tw'enty~four hOlJlfS.cl'on. loe.m pOln:em1 '1'0. and EJ'liU'II&n moving on to ano..eaming the guitar.ro begin with. the reason you mi'gM find it hard to slf down and pr. end develop g:oOO practice' habits" Each 1F1:div~dlucll Lesson Pilen shoul'dtalice appro:dmolteiliy ifwo-week.developing good procflce habits is '9ss9.n Plain lin this sys1em willi requlress. we sugg:est practiclingl eoen seetlon approxi matlely twenty' toro:. lPur:c:hasing and usingl a good metronome when pr'octlcingl vour lessons wllill definitely be.~re$h outlook on pra:ctlcing. Since each pro'. The most important th~'ngl Is to.ful at I.eaclh . We cleo sugg:ast learn:lngl howto keep 'time by tOlpplng with your Ileft fact.ease. it harder to hold yoUii' gllJltar properly . and Ihave.n1101 n.a:c.t How 10ngsl1ould yOlu erccnce eceh day? InitiaUy..riously prootlcingl every day.s wiith an avelr'Olglet 'Of*.our'Qultolr ~ro:m sliding around en your II.on:d phys.exoeUent men.icul .qulrement. As time goes.oway from pracltil. iv'wlll be neoelsSOlry VOangle the Icody of! th. certallnly not 0 n9.ting .In order 'to halve '0 clear Vil'eMfof the .e a guide to helpin. on the floor. becoming a rnoster . .tlce he bUs clncUor sohedule' m.own speed.quite hEl~ipful~ in developi In n.s mOVing-on.a Q'ulet ploclEl' 'to' prac· r tice willies Import'cn. oo.organize each .elop g:ood IDra:ctics . .i~o!ristCilnd 1m ustc ian" .e proper waV to hold the guitar when prcctic.glh to a~llow you to leon slighfly for~ word overth.ee'" filev' on the floor.dwork 'ow hls .eg. - ihe fur-sf thling we wou~d nk. finge~boolrdl qne be comfortable. but' could darmageyour ayi6s. We. Practicing fa kes '0 totot everyt.properliy.tis perfsctly ailll right to wear .e body. you m ust be ~ .exercise.day.clng will help you~orge1 your f'l'lUs~rations end hellP you clear your m~nd and begin with a. Good Luck . !Remember. on. over mira over agolin and becoming frustr:oted: with it we recommend sf'opplng.f youlr ohola.. Your own pr. It ts very 1mpolta nt not to.cl'ctice is beeeuse you Cln3 not Iiii 'Q. s.on.•som9vimes.the body o'~fne gluif:af rest on your right' lI. In onj'Ellr 10. It ~s.ot only In he~phil:gyoul:ean"ll how to plary and reoch your ull~'lma!te 'g'ool.eel f'or 'tlmi~ng. -. habits becouse the dOlilV concentraTed prracfuce session's willi drailn yam enewgy 'both mEH'1lta~:ly nd physioally. Sometimes givlingl yourself a couple o. try to d. sessions. just IIk..Try to ~incr.r1v"flve rn inlJi~s eoch ..or.hiin'Q you 've got so i~ you we nt to Ibesuc~ loess. ks we menii. I. you mu!st pllay ln srnoke ml·ed ploces end keep '~atehours. a gUllide o.ood over-a II cond ition.CI yo'ur in crrns and hcnds.g tine sea lies and cnpegg los. ns c rmusi.•eoch oower packled Lene.1d '0 nd physricc~ conn dition.ther Efxlerciise or putting m'e' gluitolr down end walilking 'out of the reom. Bas!cal~ly worrlk at your OW'lil speed! and I~now 'thliot' you ore dicing 'grlsat ~ityOli cain. iT aliso makes..glyadiviise using a gloed rnusle stand" We do not recorornend placln.gu.fo CIS. ~fyou '~Ind yoursellf practic~ng. We feel that .rcc'tioe and :str.~101 hours work per dav.e If It Ikeeps 'Y. these Lesson PII~ans m. - - 9 .0 guitar strap o.aY'Ylanpend '9VEHyone shou~.e Ins:tn~ment rh.0 i remember.it .l~eeping.ev.eg. muot:! as your own persornall schedul~e permits" Whe n prac1ici ~. . so use this as. overp.g you .0:5w. or on a fOible beoa use lt not ()nlly mdk:es read 11119 music difflcU lt.gh't at peak have!. per'form fou r m~lIVf! hou rs each n I. Aliso .and overoll habits In your lifl9.e desc:rlbedl !cbov€l'.g a strong f. We recommend developingl 91000 eatingl.ou ~horouglnly understond each s'tep bet. .str.slto discuss is how to h:oldl th. ~~ n be IJIP110you to decide wi which section of eeeh ILenon.lrlIg. order to quickly advance .e guitar just em.rdy in malldngl your 'OWn personal sc:hedul]~ end time frame for comple. on exercise. P'llan wm meed! more' or less ·tlmEl'. your to1ol11 ractice tim~1f p you ecn. however . but In h€ilI'ping youquicklyadvailce .lis. talke your 'tlme~ mo'k'9' sura y. Is t:o slt on a cho ir or stool wil~h bothf. tral~njdon·'htrcln.session wi IIII equilreto1al concentrotlon.:tu.onsd eorller.

011 the pickin.:picking from file . Ikeeplngl tn.eto cover. There are three bcslc p~cking 't'9cihniques.loping agGod pickin'g h3Clhrqiqueis the kel'y' to dleveh.om the wrist You may rest your 'eibowon the guiitar. 'the chances 'Of ever deNslopiU1'g speed and ortlcukrtlon woulld be olmost lmpossibile.s.· .ul. ono pilclking using the f'oref~nger and 'thumb.aliolm! w~en piny·.s'r end thumb.. Ih is:" W'efeeL ls up to the ind~vidual's own taste. Holld tile IP~Ck 'firmly between vourtorefinger and ttJumb. First hold 'the pick bs. . from tlhe wrist and rota'ling th. keepi~'g your arm and hand strai'ght. Remember.fr.sf problems sttJde'l1. 'from f'rt' your elbow to your fingers.mblnCJ't. Ing rhythm chords.e pick Is the next irnportont 'thlngl we would llk. Iherefore. Re'member. medium.· I ThefilrSt'techniique we would I~k:.of finge'rs on the pickguCllrd OiS <0 g:ui.u~developinglf~i9' proper pickingh9chnlque. picking from the wrist.g motion will come frorn vour forefinger and t'h'Umb. Hlold~ng the pick firmly behNEH9f1 your forefing.One of the bigg.jvo..ting from 'the elbow.de or support. [Keep your w risr stro i 9 h~so you ro rrn and wrist 'look Hkls' on astra 1'9 lime. Now.uggest fhat you. just using yourfoire:Ulnger' and thumb. Make sureto try each tecllniqu9'.e discuss is picking from the elbow. The third technl:que is pk::lkilngl'fromine 'forefinger end ttlumb. Any other way is incorrect. chord/melody. mov'e your hand up"clnd down piv'otlng. and then choosefhe one whlch feels.t' CI clllrcu'l.ar' motion:. and heavy) would certainlly be a good idea. The second Technique is piq~ing from the wrist. I.eU)ow. pick stiff.e.p!iimlglspeed 'and arth:..r arm and hand should 1I'II. Hold inglth. It ils very important to choose orH' Of a co.tis oovlousthct wifho. scales" and arpeggios.tween your to foreti nger o rid your thlumb. Tilis is simp le becouse there ls on Iy one p roper way to hold the p ~ck and that is between the t'orefill1glsrarndlthe thumb. rototethe pick: In cllmo/s. We recommend using a heavy gOluge pick" but experi~ menting with all gauges (thin.ecnnloues before attempfing to. 1 Bedore dlisousslngthese t'9chn iQ:ues .ol1l of vihe:set.l. we've chosen IIhree '9 xce lJIe techni:ques to nt highlliglht for you: picking from the elbow. pro:ct:lce this scale fingerings or olrpeggiofingisrings.0il touch the gul1tar.'thefilrst f~ ing we would Iii keto cover is Iind ingtll'9' rli9 tnt pick. the most eorntonoble to you. We s.e forefinger endtbumb.ts hOV'9 is chooslng a glond piicJkiingl techniqlle. Now. move your arm up and down p. deve. 'You IT1(W re~d your hand or just a couple .

P'icki. Pickin.g From The Forefinger Alnd Thumb - ------ .ng From The E~bow I h • r .

fifth fret.) These are the basic chord Forms that you will be learning over the course of thisentire system. GMaj6 in all positions. 12 . is A These four chords would now be A AMaF. Step #3 Turnto page 28 and follow the same procedure of learning all four chords in Form I. Step #7 Turn to page 36 and proctice Form I. Step #1 Start by memorizing all the Form I chords on page 24. The square note on the sixth string. Repeat this same procedure moving one fret higher each time" Remember. You create the same four chords except in different positions with a new root name. which is F. Important Note: Any note ih a diminished chord may be considered the root. G7(b9}. Step #4 Turn now to page 30 where vou'll find Form I. Remember to follow the sixth string root. G7. G7(#9). G6/9. We will start byleoming one Form at a time. there is only one chord switch to make here. The root note on the sixth string. Practice the four Form I chords by starting from the first fret. GMaj7(#5). GmM7. there are ten forms spread out over every two pages. GMaj7. GMaj9. Gm7(b5). Start at the first fret and work your way up the fretboard one position at a time. It will help you move to other frets along the sixth string while keeping this Form I chord position in place". Unlike previous chords in Form I. Step #2 Once you have memorized the Form I. G9.LESSON PLAN ONE As you can see in the Chord Sect-on. (Turnto the Chord Section and note. Then move up one fret to F# or Gb and practice switching the chords (strum each one four times) while memorizing their names in that position. Gm7. Remember to learn the chord names and fret positions. memorizing the chord name in that position. In this system we are keeping the root as the I. learning to play these chords while memorizing the chord names and fret posi. The diminished chords repeat themselves (the notes of the chord being inverted) every four frets. Make sure to continue following the previous procedure when practicing these chords.tions. A7. sixth string. This is your guide note. GMaj7. AMaj6. G7 to Gdim. Gm9. An example of thls would be to move the four chords in Form I up to the V position. GMaj7. G7. before moving to the next higher position. G. G7. G7(#5). Gm6. Step #5 Turn to page 32 and find the diminished chords. third fret" is the chord root (or chord name note). turn to page 26 and repeat the same practice procedure with Form I. to GMaj6. Gm. strum each chord four times using a simple down strum and be able to switch smoothly from G to GMaj7.owestnote in this chord. Step #6 Turn to page 34 and practice Form I. GMaJ7(b5). G7(b5). you must be oble to switch the chords smoothly and know them by their chord names and frets. to G7. Make sure to practice these chords by following the same procedures as in the previous step.

know what nrn:e' you me play:1ng and w.s.e" tum 'ro pO'gIS' 43 and you will rind the Form I.Make sure to use the right' fingerings and to read he. G113. Pr:aetioe '~he:ss.all In smooth . step"tDI Turn tal page 801to the JaIZ! Chord IExe'rc'ise' Studies.n.sas. di'lfemrd' posnlons. G 13(#9)1.staning on tile 5th fretsilxth si'rflng root. A Major SOCl!11e wrfffen out 'Wiitn 'five dlrffer. Q s you did with the chords In form L.. H" and C to 'theA Major o nd A minora rps'gg los. IIono merrtonze exercise I.40 ond memori'z.tilon to the Arpeggio sectton. III. you can practice! the min .chord palfterns. .xercisJ9s are wrUf. Always.fiingeringls of the A MajC'J:f 80011e. Once you have donethiis.:Foliow the same procedure In -aU previous steps.m. Step' '11:2 Tum flO . . Once 'you hove oone thlis" learn to pJ. willi help you to 1'9am how to read and play the most oommonly used rhythm paiHemiS.e pllaying exerelses I.emod. . I loot Remember. once again have a sixth siring root. G~ 3'(b9).and 'flu. Mal<eslue fo practice -- 13 .B os well.ctio>~to thissecUon on page 84 bator.ff'.e'different' chord' Forms In as CIS t G7. usii g the sixtih string as your root p n in ste. G7sus4. prcoflce this exercise In ofher posmons JluSV we learned Th.page . Turn to page 63 one memC.\lrize~lihe' i nger~ ngs A.and HI.s A and B 1no~h~:r ositions.Step #.start Procti:c.ld elg'hth FlrO.tes. which you will find on pag. G91(+ 11J.e'it is on the vi ng'erbomdl os you go 0 long in the SicaI.od u.113 Now tumio page 62 and' read cth'9 introduc.B Turn to pagle 38 and memOriZJ3 Form SteiP '9' Turnnow to peg.en out for you in 'ti ngrerl ng p aften'l.o~heFposlttons world Flgfrom~he sixth slring plolying eoch OIrpe. on the sta. ~hese Form I fingerings.oy ~he$e' scale fingering. Gm 11. Once this has been memorized. These '9.iry these' 12' Bar Blues pOl11ternsin other posltlons end memo-rize them CoS wei l.s46.ggio Qlscendllngl -and desoending: .B' Form l.d the ~ :2: nir.zing eoch pattem. you . ~inglerings all .After reed Ing the lintrod uetll on.ar IlluEIIs. Step #"11 W'e n~w tOlk'9 you to page 85 for the 11 I.er.s.p 1. A" Pr:actice these exerc is'9'S wr'th fingering panern. Begin by memorizing the A and B. Please rea.4~' a nd read the ]ntrod'u'Ciion to the SCClI~e Sectio'l!1I.ent Thes€Ia*erciises. so once you hove memmil-:zedthese o rpegg i05. 1hN'oscales os shown In the MajlOf Scale exercli. notes.

important to. generailly hove thilee or four "pet" chord Forms for every chord.zedlthe Form II chord fing erl r:J'gs'0 nd UU3irrno mes. start 'fro m the ffrst fret.even b9'H. We want to :stat. We s. and wo:rk each scale fin'gering pottern as shown.or m. EXAMPLE:I(FMaj7) would be played 'at the (first fret) s. IV and V inth. the Form II chords have o fifth strrirngroot. and V in the Jazz Ch~rd ExerclS'e Studies l Strumlmlng "'Ip: Will'n any otfne ex:ercises OJ tunes lnfhls booktor precsce purposes. in 'each pos:itiion. Tha~'mea ns 'that you shou ~d leornn to strum an IIY the.System.swach chord .or~le these 12 Bar Blues in 'other pas itions. S.but of course if you corn use alii ten chord iForms.ent~ notes.d be played at the: (. thot is ..tImportant tones are the root and: perfect 5th..em.ortant' No. in the or.ixih string mot (FMoJi7)woul.eighth notes.er.gs ln F. ~ongl Ulhthe Aond B fifl!geHings.of the measure'. ~he chances of a mistor~@ willi be.alm III. Remember. remember leach o. g·ood book: on rnustc theory .changes.e (te~th fret) ~I'fthstril ngl root As yOtJ mOV'90n to.following' lhe same proctlce procedure os in Lesson One.rchord: Fo:rms. S·tep #1" Turn to page 86 and begin to memorize exercises.ret) siXtl1string root. end stort rnernorlzlnq all the c:hordflingerln. '0 Il'Mlp. Example'.s most • import.trongly sugIQ. II cho:rdJs. nee Y10tj hove rnoste red" these exerelses.cleo rly that th i s S'yst. lBeable to swltch smoo~hlyfrom C. ollfne pages. you wUllhove the opportunity to choose your fOivorite chord Forms.ls': Once you haveco:mpll.e c. !If 11-' Turn to ihe ChQrd Sectior'l" pages 24 thru 41. notes that a re ma rl<edi ~ eoch cho rd Forma nd n moih ing more .est picking up o. you wUI be.eighth '~ret}1 fifth string root (Gm7) would be played .e'~ed memorizing the Form. end (Gm7) wou lelibe plaryed atth. leamiingllhow to play eoch chord tan diff'ers.n. Once you have memor~. o 519'1) #12 Nowfurn to po!g.page 46.:SteplS. . .ep#10 We now tum to page 80 end prccnee exerclses H. Chord SecTIon. Pr.geuirngsA.to help you understand scrne 0] the t. There are' certorln notes Ina chord thc:t are more.and D.et f h~g'hereach time'. We ha-ve toondthct most guitar players.at the (thIrd f.peorkin. use '0 sllmp. to C7.t' wovs.a:. If you jump all over the fingerboard. mem. Now tum to pages 48 end 49. when p~clyilng rhythm chords in an q:ctuClII bend situortion. R. B. to CMorj7. sheet. C. and sirxh~. St. ascending and descend~ng.ember. What ts iimportant ri'gM now lsto be able! to .own strumf. we.As we move a IO'li1g.ant.gios" pag's' 63 and l1)emorize tile' fin.e 43 to the Major Scales and memorize fingerings C . you wm want' 'to.3 tumto arpeg.. A'gallin 'We are falking strictly obout rhythm chord occornpcnrnent You wil~clso notice that most ot tihe chores in 'thils system are riot six . broker'! thirds.actice these' two scols fiLilgerr~ngls. .greater .string chords..y'oUi wtll ~eo rill 'vilat it' Iis not' necessorv to ple y mereth 0 n a t'h rise or tour tone chord.erms me filviorJ d ~nth~ system.leip til 1.luGiS chord patterns. generally s. As you Qlothiough this. o<scend~ng (go~ng up) end descending r(goirng a w down) in 'eiigrht~ notes.e 12 Ben B. IV.fiflh stringl. in .em is not a text' e s on theory.eat .s of these rhythmic po"it'srns. sugg&st t'esti~Q YOUlrsEl'1f by playing any chord lintwo diff'erent posirlons. ore on . Also. moving Upf~'M9' iinglsrboord one fr.ths! best chordal sounding rang'9 of the guitar 'folilis between the ~irstfret and the e!lgilth frat. to CMaj6. end Form IIof the AMaj7 and AminMcj7 These orpeggiofingerings should 'be mostsreo in fiNery peslnon.the lears. pllay iMam others. The 3rd and the 7'th are th. while memO'rizing their nornes ond theiir posnlons. eig~'tih r:JohavrJplets. smooihly.g. UsuaI1Iy. . the o~he. <keep your chords close togle~!hEH and ovold larrrglB leaps.. wlh~chis Bb~ andJ work these 'fom chords.

simple down strum for every beet of the.a . in tih is. must loe mernortzed in every position.ds .41.•end C.9St .s 1.Less.c eherds ono chord sub"s'titutlons.. Again.lans On. l TI1 echo rd substitutions rea Hy beg in to set up 'th'e'chord substitutio ns fm th. Exercises A.trumming technique is.LESSION PLAN THREE S. VII stcufiing! on page 87. If y()U ha. On paige 109 you will find a handy MlostSf 'Guide. 15 .ClhlDlrdExEtn:::tise S.i'c C'nard Substuutio'ns" which might olso h. Ago:in.ay both the basil.ltions and tl1el r a PiPI'icatlon.In IForm III.t3 Tum to page 63 and memorize fi:ngering's A..sm. sectioll.arpeggios.i€lsI. measure .A Mallor Scalia .elp you understand and memorize tl1ese substltutlons. A7. the s. .ol1 PI'an Two. For IBas. IRemember.going bad" to tesson P.e rest ot the tunes. memorize these patterns lin every position" If you have been .$. and C on this page prccflced end rnernorlzed in 011positions ascending and descendlnq cs written. pay specto 1or1tention to chord Su bstih •. Ste'p.•B.As you ploy til roug h U16' chard changle.erings. .4:2 Turn to pOiga 44 and' rnerncrlze 'fill1geringi E" IForm I. Repeat st.you should be ab~e to p:l. these firlg. .a' and Two.lz . if l' DI Memorize Stell' #44 Memoriz:e the 112B. we SUgg. must be.and' folillow the same practice procedure as in Step #1.9' MemOiriz. ShJIJJ! #. without much trouble.and reviewing! tll. Now turn to POlQi9 65 to the IForm I Arpeggio ShJ:d. .e laU the chor.ve any problems.alrBllues pcdterns VII &. exercise V~ and' Viii on the Ja. 8.sps -1~9 cs lin Lesson P~on One and Lesson P~an Two" Start on page 24 workingl through to pag:e .Keeping up with your l<!:!isson Pk:ms.2.t'Sps#1·.tllJldiies ~ sheet on page . ShililP #. Am7.

8ond memorize the '12 Bar Blues Ipattern VIII."tune "Ritmo D. parQ'e. SI'8'P #13 Iurn to peg'e 70 and beglirll to rnernortze thefinger~ngs A. 1I'9Ihll~'~ead lip: First c l1oo.etheseln every posiUon. in tlhe valr'~ous.o'rd SlucUes I.9 ~ MemorIze the finger~ng.Steps' S.ondx to C. Once 'the chord cham'gas In this.(. with your reading. Memoriz. . 1 S. posltlons.g' fn. Agoin" rnernorlze this pottern lin every' position". try to count out the . We suggest learning ito read all the tunes in Th~s System and in ony ot the Suggested Suppleme'Pltolry Mlaterl:ais in S9v.•C.and memorize flnger~ng.ios. Form I.tSIP 11 . Do riot memorize these 'exercise's or you wiill be defeotlln.' books and! reMI.le:p 114 Pic!kup the' Bugs.erdses 011 ~i1efi~s:t f. e.sugges. we .VUII.smember every position.64 . We SUggl9St g.Bower Rhy1ihm IBoo'k. 'grOlduallv trying to Increase the tempo.ol"eoeh mecsure.IIX. A7~b5) end Am7(b5)i arpegg.e'purpose' of sight-reading. 8 egln prac'tiolng slowly. "to in theJau TW'11 pa'ge 8~ and rnernorlze . Form II.s.arpeggio. end learn the chord changes to 'the. .t1nat you pick up any of the vorlous beginners.e:xerci.sw alii of your 110m.IriI..our pages.s A. D Major and D minor to practice' end rnernorlze ~lhese' fing:erin. o!lume I and II and begin to sight-read 0111 V ~heex. on pages 24 through 41.tSIP *12 Tum to.. alscending and descendlingl . Now turn to pOlg:es668:. m~nfioned ln lesson Plon Three" S'tepi¥'11. R.. ihen g.8.114 Turn to pOlge . Next 'rurn~o page 92.sethe 1r'1hi~'position toreccn 18XB'rci SEi!f' IlI1gl g end w ~tl1 out pia yi n g. if you ere weak. B." Ircnspose and Iiscuill in omer positions.ses.s o~ alii ni.rhythmic pOlttern f.e chords ~n'Form IV.Qing through each eight be r '9'x:erc lise 'three to f'our timoo per ni'ght.9'La Noche. 67 and w'ork on form i Arpeglgio Studies I! end 1111. S. C..era IIposttons.gs ascending and descending in :S'I'8P' . OIS.o bock 'and play tile exercise'."tune hove been mastered" begin to read the melody.

ical p[:aces. Am 'I'lese tillngerl rvg~w.ctlce. but ~mwilill also h:elp fLi rther Improv.~~o prOictice the. cilithree .ges 68& 69andl practioe . Pure Sca~a. Study snee'lS. A minor. 4 S..e(nit posinof'1!s.'14· Iurnte pages. be as. vou r pick. G1uUafi and be.•andslildeenf:n.exercises on ElOichlslneet mus1rbe comp.~. Pure Scale and ~ Form iI. St.'O iPrac~lce ('lInd work out both the o'~ords (':Ina melodyto'llDi~ner Mu:Sic Of lhe God:s""'.gli. We .Steps "11-9 Me!morlz~ aH 'the chord 'filnglerin. There wIIU no time Illm~it'f.x:hJce you to' soma (.afthe 8!LiQBower books.t'ap.~U prodilc€ld Olnd memorizedl iFI every Pos!~l!on. Memo:rli~e. notes. ------------- . Ibrok. :24 ~rm.on page 95.. 53.oencling and desoendingi" ~ine. ··Caprice .for 'Plck4tyle.ep"11 Turn to paige 82 end memorize SUlP' *112: Pmctioe~ne e:xerdse on ~he InliElxt six pcI'ges .arcomp~e 9 etlch pieoe Irllthis.: This book willi not o:Uil.ffiih noffi~trl'P~e:b.e.etedl ondi pra.". i1tIefirlge:rlngs T~mte pa..go~ng slowly dJndl mOlsteri ~ig each pleoe. ex.~iwst PllaCEI. baoik.exereis6's4 ondlS Of! the IForm I ArpaglQ. for A7("'S) and Adim7 al~peglglios Form I (pagle64) •.er. D minor..e4S~ndiff. be Get 'a Step. try"Ai DI'8 Dream '~:eme"on pog:e 100.d in 'every pO$i~ll)on.' '0fCllass!lica~ Siudil:es. Proctlce bo~n~he! chord. Also.g.snthiirds .c:. 52 &.tudiles II.igh~n I)Q~'€!s" .~rcises I andllll: inJl he Jlcn ~ !Chord S. Itep #113 cOP).Ig~.ly Intr.ing tiecln~ique and reod i'rlg ski 11115.solli Form V (pages.. and memori.11000 cll'. .Q:ailrl.ze a~11tle fi~)ge:~ingsof bothl Forrm I.J11).ass..io. Stefl "t5. one Olt a tlme. A.s ond me!lodli..

Fromth. Practice inevmry paslUoon.ctice period..e~o'dlc: 1Ji!'lilylhmsby WiiIIlam Leavi1:li andl begin practicing ·ftM3' chords end m~lodh~stothe frrst thre€l·'(~Jlx:erc~ses.. we :Buggiest Once. Stla'p'~A lumto pages 54 and. you h(Jv'e mos1ered' fmesa exerCis:es. ~9 Plc~ up the book 1ihil.. pertwo week pra.. pOlg. U• n .IiItopagle64 In The .e:rQig~ lo~fe·)(.es ~nBugs Bowers bool<.rings to botlh A. chorc:itu m~ alro~.82 and memorijze.LESSON PLAIN SI~X SteiP' *t "'.d m em crlze o llthe iQhordif~ngeri ngsto lForm VI I(pages 24111ru 4~ ).e Ja. NI()W go to ipage 69 a nd memor~zee:xerc~ses:6 ---- - -- .and it willi hel p ~mprove you r ab ity to s ight-roodi. we SUggl9St 'takin:g stx to 'E!'ight poges iln this book every two weeks.e fingerir1i. Step l'i3 M.lH::Iies. SIeIJ) *15 TIU~.sbook wi iii hel p !lmpr()Ill e vour IK nowt l oft'he use of chores chord prog r6'ssions.e'rc~ses. 55" Practioe and memori~e allltn'El fing€l.~O Tum to page and X. mincH' Hcrrnoale Scale .Fibrm ~ond D rnlnor Harmon~c Scalle Form n.." step. and prccflce end memorize the ch..Arpeggio (upegigios F:o'l'm L Section and memo:riize ant~.gs for the AMqJ6 and Amiln6 end 7 irl ·th·s'form ~Arpaglg lo Studies.l! 'CtJ:ord Stll. (Jlv. axe relse n I and IV II ttl.H'Ids.is painton. Go to the Chord SecTiloncu"I. *.ordsto paltternslX lUlrflto paige . Slep.step'12 Practloe ttJa ~'9xi' gli.tt 89 in 'this 1:2 BCII'[lllus'S section.

lodie Minor Scale. Form II.ge 8. Practll06 and memorize all the 'fingewlngs to both 'the A Jazz Melodic M'~nor cale and 'the D J'a.J9. in 011posltlens. 19 .z:z. Practice and rnernortze. Dmin/Maj7. to DMapand to.2 end memorize exercl.S exerc:lse XI.rd :Stud'jle. the Hngetlings.s 56 and 67. step #to furnto page 90 and memorize the 12 Bar Bh. Me.e Jan ChQ.LESSION PLAN . #1-9' iFlr'o:cUceo nd rnernorlze all fij ng erl f"n'gs. ... Step'11 Tum "1'0pO. Form L S step #t3 TUi~n page 70. #42 Turn to pag:e.SEVENI Steps. sta".s 1111.a.to the Form VII chords (pa g.s 24 thru 41].ses. V and VII in ttl.

:St8'p #1'IQI Tum to tlhe Tune Section and prcH.s V~Iand Villi in the J!on Chord S.. Form It in every position.J41)1. ~ootnor'9on page 5 ~Iexp:I'aif~ing how the Mod'a. 'filng:erings ."'lry plolying both the chords .i:~e al!1 f~ng:arings of chords in Form VUI (po'ges.::tlce Ul.different positions" St. Sist.to D7'.9' and prccticethe Drn7(bS) arpegglios.ShiP'S.and melody h.dy Of Rome. 73~.tu. to reod the important Step #13 ~owtlJrnto pages 70 end 71" lMemOniz.4.& 7'.1fl111 Tum to page ..f12 Turinto page 50 and'memorize aU 'lIhe~ingerlngs of '~IheModes.lody toljoLa. Be sure eXElfcise.ep .s are buHt. and 1 " Turn to pO:Q'919 1'2.83 ond memorize Step. 4-9 Memor.erOf Brozil. and C of Form II Arpeg'gio st. . Dm? D'7[b5).24 'f'~n. .9 chords and me.clhiJ.s 1 2"andl 3.udie.s II. B.Practioe 19x'ercJse A. .

ep' " 113 Iumto arpe·ggios.iim to you than the ofher scales you hove been ~earning up tlll now. C] . Chrornoflc. is r.e 83. experiment.41). Iha chords and rnelodles to all' 1'he tunes should be.efings. Listen. Many leeds me built from these scores Iby USing eitner the entire scale or just '0 few notes from the scale and making IUP some simple blues licks ones you nave master.2' Bar B!ues exercise H.Xand X Jn trh9 Jazz Chord Exercisles II on po'g. on paigE! 90.v~satlion: One of the reosons why rock end blues lead plovers use I'he Minor. off D7(#5). Be patient.oying 01 G Funky minor Peniatonic Scale over G7.becouse one scole wlll sound . ond Funky minor Pentatonic Scales will probably sound more fami. The ChromaTlic. used for rock one blues improvisation.m.. The more you ke. You can use just a few notes from the secle.ed' the fin'gerings to al~ the Pentatonic Scoles. . Remember.e tnree scales.Funky rnlnor Pe'ntnf'onic Sca!e.4 and 5 in 'lhl9 Arpegg1io Sfudies. II. experiment OInd then listen. and Funky minor scoles over the chord cholng1e. Form II. Form II. DMoj7.ercIse XJIof the 12 BQ~ IIUules potterns pcslttens.right over 'OIU 'rhe'12 IBm Blues progression.p~o. ond Dm6 and d'E!scending Jn every position. As we men ioned before'.eolHy the beginnfng o.e the chords to eX. as in previous lessons" mese 'fingerings should' be memorized asoending pags' 71.s is. you con't hiQve "10keep playing the entlre scole. ProlC'tice and memorize' ali the fing. A flip 10ni Blues . Cnrornoilc. This. Memoriz..ep *12 Turn to pag~E:. Memorize aU tn's fingerings of the Pentatonic Scale. III. and 09 chords in the 1. and see it you hem the MINOR.ep pracficing wll'h thes. Step .9' exercises .'i47.iJf 1111 Memorlz.l.LESSON PLAN NINE Steps 111-9 Memorize Sifep #1 D 11 (lit f~ngerin'gs 'to1'he Farm IX chores (pages 24 'tMu . turn back to the '12 Bar Blues exercises. and IV. and procnce some more.f improvisation. -- -- ---- . These three scales me Ihe most populor scales. Ihls is not something '!flail is going to come '10you overnight.sug. St. Once alg(lin.s. Lenrn in othe'f - St. Minor. we .e'p.14 rum 'to page 75 and practice ono rnernorlze exercises . coming to you a HUla marie easrht by now rr you me hlov~ng any problems wfth "the chords or the rnelcctes. - St. Ddim7. the more you'll stort 10 hear how they fit. listan ID your favorite ornsts and hear how they phrosethelr tscos.g!es~oing bock and g revi.ewing those sections. An example would be pl.

pick the.tune in U19 Am III M'e.83.e'p 114 Turn to pagles 77 and 78. and memorizing! th.exercise XI ond X" in tne Jaz'z Chord Exercises lion page . then trhg arpeggios. 112 12 Bar 'Blues on page 91. 19x€ircisE!!'s 6 and 7 in the Form" Arpeg'gio Sfudli.0 Memorizle .El'ctl. and complete SteiP''' 15.g with the scoles ond modes. look over the t Moster Guide chart for Chord/Scole relatiorJships start'ing on pogrs' 106 and the Mast'er Gui:de Chort tor Chord/Arpeggio re'l'ofionships on pa. S.s of 'Form X. Turn back to the 'fiirs. S·te'p ItJ Turn 1'0 pages 60 one 6<1.You can do this with the 12 Balr &!Iuesl paHern es weI. Bs'gintrying to Improvise over the basile chords. :Ste p '#'1lt Memori.z. oill the fingledng.g'9 108.e fna chords to exercise Xliii otthe . Sf. 'Begiinning with 'thils tune.o~ClI1iUnes.es. n9"xttune end go on from '1I1eJre.'~eP .LESSON PLAN TEN I ste:ps "1~9 Complete ~Sfe.Begin practicing Scales.S.e Chord Section (pages 24 through 41).1he fingerings to a~1the Diminished Scoles on pagElHi 58 and 59.e fing. Memoriz~e. firs't bv experimentin. Once you feel cornfortoole improvilsirng over this chord changes to this flrs~fune.lll.p'1.on.in th.srings totne Whole Tone 22 ..

rock. As 'l'llis chord prog.s'the flat 9th or ine D7(bQ) chord or Ihe lead voicing. the root or boss note 0:( the GM7 chord.Am7- 'n-Ha' A noteln an Am? Form I. They ore not oecesscruv the some. the Chord Section is laid out In 0 certoln f'cshkJI1 for Igood reosen.style you ore soloing in. Jazz. hj'Sion. and clossiccl. root ln o D7(b9)" The E A moves chromoticoilly lower 'to Eb.Qin.g.e Chcrd Sedlon in this book. jozz.) EXAMPLE: rehOlrd pvOQlression .olundedl plover. e:te. that some fifly to s~'x1y year. not know how to reed mUSiC or hove a good.hm Ins. As 'the D7[b'9) pwglresses to 111e GMl chord. Cycll.0 ohordore referredl 10 as voicing. .n odd it'i on.ed a s a s..art)rilrityto hear certain chord chang'9sand hts noiurcttolent for playingl lends that beteels sound correct.4ths.ood chordall foundation will be necessary in becomingl o good: rhythm player ond providing the basis tor the creotlon of solo pllaylng as well. con reed music. 23.'e·sl ~'hal'we must 'f'irst define QI well-rounded rnuslclon ond a welll~r. we . you are constantly workingl in the context 'of the chordal hOlrmony of the tune. this Din "1'1'8 D7(b9) chord moves in on upward cycle.0 g.edge of chords scales. end arp€lglgios.. arpeg'girOs and ils cbleto pl.t~lument a net that ~ emerg. which i. which you'Ulunde'rsh:md as we go ol'lang. D7(bQ) Form 111'ttle' moves upwcud irl a cycle ·of . Tn. 014ths to G.ay all style::) of music: rock. So as you work or. A well-rounded musician is one who. If'! other words. No matter vihat type' ot . fusion.rldngl knowl.ly know what I'Ie ils d. you must fintM'Or~ by dleve~oplng a goool solid chard vocolbullory.s ago thegluiltar was used OS a rhy~.oesn"f necessari. the. nos 01 good working knowled'ge' of music theory. In order to become a good musician end ployer.sold or soprano vOicin. the two bcslc voicings we are Interested! In ore the' root or bass note (generailily the lowest note' inlhe chord) end the I. that rnoks up ..g becouse of 0 lOCk: of knowledge of 'Ih'90('l/. he has 'to know i't 'oiL The well'lOunded player can plioy well.There is o r'90S0 n for satfi ng up th IS System w iththe' C hard Section filrs:t.. A good player is ger1erally seH·touglht and does.ollO ~lnst!iU t melnl in "the eorlyfortil es. The Eb In the D7(b9) chord moves chrornotlccnv lower 1'0 a D. bu tH3' d.our own persona I rnusleo i situotlon. second Q solo ~1'1'S1rLiment Developing .chord ~sthe.s. pop" e1c. sccles. Hrst.to D. So' il1wo S 0 nd will a Iways be considered first a Ir"hythm instrument. ~mlp. chords..OI'RDVOI'c~ING ~ The notes. Cycle of 4ths. He relies on his.e of 5ths" Cycle of 110111ed 5t'ns. Form I.resses to the. D7(b9) ~ GM7 .o'rtant Note': Before movinl'g on and beg~nn~ng the s·tudy program ~nthils 'book.. For now. will hetp you create end develop this vocabulary . try to pi'ek out' tl1'€lcycle movement and iealnn 'to apply ~[hem in )f.ead or soprano voicingl (or tne higl1es.tnote' otthe chord).must realize. the d iff'erenT' exercises a nd tunes ~~'Houglh out tlhi s book Olf CJ ny or I'he otbe r :Supplismentary' rncterlo]. TnesJelwo volctnqs are ~mportant when playing chords because' they should be mo'ving in various cycles" (ChromoHc Cyc~e. we. wa. Chord Voicing CH.whicl1 is I'he lead or soprano nota ofths'GM7 chore. root or bass vo~'cing" The E note in em Ami' Form II chOlrd is the I.

. I. iG ~ .I I 1'I IFOR'M - -.- 11< .'XI I 1 JJ . I I I ~ .~7' I . .- ~Irr .'\t. I 11'111 11""1 - . Emaj7 - FORMI ~V 11:7 I . 1 I I 1 C7'-A 1 X~~~XII~~----~ C7'-IB ..-. I G7 I 1 Iv I'll ....ar.-~ IVi :Xl IF- IB7 IIV I 1.:V' If 3 Cmlaj7 • II I I II I . I II . I I Ii\. II I I II II lill I I ~! • 24 . T\ I JlL 'I ~ II lXJ II II Iv II.d f.-lol- V(' Fma..70..0' X I ...' Il- .. I I....rel I X 'lSI fret IFOR'M IIIII Xl X I Bm"ajI I .. II" FORM V XI v . I -i.-. emaje.- n -- ..1 I "V. ''lI( .aj7 Glmaj I 11 I . 1)( _I i IIAI II 1:X1 It . ' I Iv • l.. V ~ I ~ : I 11 Ii ~~ _I _'r~v .' I I-I Iv II"! I F7 --• ~ -~ ~L ~ _I 'I ~ I • ~ I..II. I e ..XIIQ 1- Bmaj6 II I I r loA I'" ____j 1ft ''_ J I II IVlI.• = Root D == Invislb!e IRoot F'ORMII Gm. 8I " _I ~ ..v " 'I • . IV IFmaj v. I~ II'll I -18 ~ .

v X Gma~6 I II I~ I 1 I e 11_ ' 1 ~ I II ..j7 .I I..r J'< I L::I' I - I . .aj6 . . I 1 I I I v I 8 1 0 II r-I 1 I x' ~ ". I . I ~ I 8 ...A' Iv J)(II F.. . Xl Ho!ll I}\ Il..e I 1 1 ' I f--I -A .Ebmaj7 I FORMI X Eb7 1.. Bb7 1 . 7 I Ab7 ~ .... I _1"IIiii!II' 1 1 I 1 . Eb 1 ~ n" "" - ..-yl~ I I " ._J I'" 1"1 oJ • .\" v .... IV II .v.. . i I I lfI 'WI" 1 Cm.n. I -.. 1& I 1 Abrna] I . A' .CHORD SECTION Bbmaj . -'" I'x . I FOR'MI VIIU C7 'r. Iv IX ... 1 . -- Ebma! I I I I 11 _ 1 iW"1 8 I IA X . -I.a.-~ - FO'RM VII ~.. II i '~. - X 'V ... . 1 ... I W .ORIM Villi • I 1 x Xii Gma~ Gmaj7 II 1- ' I - ~I . ~ 8iao 1 e 1)\ 1 I _L 11111 'v.. I .. . I II'W'I =1 . 1111 . 1)( I _V Cm.:\t IF I'.. Ix I •. 14 _ I If .AI ell ~I Xi II I I X ~ 'F""'" ~\e A x X." 'G-'7'"'. :J~ . I .'.3 . I I . W' A I" 1 - _..

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I'l<' II II I1 1 I l- _I f'OR'MI VIU Om? 'I. I ~ ~ I I~ "". . ~ ..CHORD SECTION Shim x OX ~I II ~ I 114 . v Qm7 I..1I I I I' I .. 1-._.~ . I .. I i 1 re ~ r-- I' I 1 ~I ~- Ill.. I. 1'1 1 II 1_ ~ v .J\ . ... 11 .. . X. I I I I~ .. .. J~r A ~~I EDI ~ma.JI_ '. II II I I''''' Iii 11""1 I I *' 'I I - I ''A . I J~ II I- ~I I I I! I IFO.1( " x 1 "" I 1)( Gm. .r ..fmaj7 - :1 iii I . I:x 1 ... e XI . IX Iv [ I - I- 12: I. IV _.' f °7 Elbm7 I II II I I I~IIDI ~I I I . " IE.I II I II~ I be . IX .IRM vn ..b'lt6 .~ em - V A ~ter ~JIII ~ Abm e ... cat ''Ii -. -~ I IF:O'RM VI IBbm7 - J .. . '.. " • ! I .. IFORM Abm/mafr ~:X • IEbm ).

A ..! X X...I.-..... ...L. •....aj7 'Fm'9' ~ 11 I.. .....Ii.1-........I-. .. - Cm~7 ~.. ....- I I 1·2...I 1 FORM.L--L--!.. I 'W' 111 I ....~ II I~ II 11~~i-··~~~~ =~ := 1II---I--4IJn· .~u.&..lX~I'1"" __".A II I IQl - '28 .!..... I . I ~I I I 11 I I.-. ..."""iI1 ...... I~ -I-. 'FORM In Bm'9 ~ ~I I ~r-Ji""""""F.-- --+--~~ '-+-~f---!I -f n-~-+-· ...."~ Cm9 [J I' I "'_I-I--+~"""".... ~-I--I ~ 11~11~·~.~~ Cm~9 ~- FO'RM 1)( " II 1 'Gm9 ...L. I • --... I ~ ~ ~ I'" Ra I A 'X ~ fOR'M V Fmaj9 .""---'-~"""""'''''--''----''-'''''' I . fa..JIr-+--+~--1 rrrrrrrr Bmaj7 Brmlaji9 rr...I-I--'l-+--I..... ''V' I .... 1 'Fm.-~.1 Xll.III...--......-...--..r 111 X . I I - 1 IA n . .---"'"""TII..-.jlIl._~~.....-I--II-.. - t_ I~ rl1 I l I Emaj7 E'm~i9 v.r~I--.. .maj6/9! -1- ~iIf----J--lI--~~ I xEmaj6.. I i. 1 .~ I I" Y' r-- 11 ....../9 . ...IIV Em9 -I I II'" I! I X B.~----'-~... 1. ~... I I .'" 11'\ I Gmaji9 ~ I i X ..~t---II .J--"~.-.L--I-.f---! .-. ..' ~..~~II~.-._I --IX L... I I~I 1I . ..._~~II..I __""""""'llr-I"'~"---"]~ 1. ~---. ~ I ....XI Gmaj7 I 1... ~ IV' ..i! I\. M 1L.1= .-I ..b-.. "I~l---fIi=K'I~:.-rr~--. "+-+111 ~I..I _~I I I a I ..~I~I~~la~~ .......

29 .IV.... IV -~.. Xll-. erne -. I II I I ~~' ~I t...-..!!Ii I~ xlXil I'v l Gmaj6. ....- 1"IIIiI" II FORIM X lEbmaj7 . "~~--I:---+--+-+-I ~.. ! l ] " I I. ' ~x LJ I -IX Ad I I' I '11 fW!' I .. lf1 • . Gma...j7 .... ~ Ebml9 v .. V' I rGrI II ..aj6/9 I ' I I I - _j I ~ II I ..] 1. I 'W' Abmaj7' 1- I • ".!~.... I. ..f'9 FOiRM x x- Gmaj7' I Gm"1"11 ':~' I vn lX lA...· )(1111-1 --+--+-~~...... . ] I"".L..'1" I W~ ~ I ...CHORO SE:CT~ON fO'RM VII Bbm'9' 1'..X 1 ~e] ' FORM VIlli] .1 ....X )(. _l """"iIX - _. iI- ..X I "'" £' J 11 . = lX 1'')( I 11. I . 1'" ......---IL. - I'" II".. I' 1111 '-' - I I I I. Ebmaj9' 13 1 I I I 1 I ~ f) x~ '~ 1 .... ) 1"""'1 Ii.1. 1..... I 81 . I~~ 1 _V 18 I I" 'I' Cmaj9 • " I ...... I I • I... '11 I! 1 I I 'I ~ . II v I . I I ~ ~ 1 ~ ~ I \. I ~ !& lie Abmaj6/'9 x ...-.-r. IBm.11 I I f'ORM IIX Abm9 ...1 ..J1 I...._J"...! 8 JI.' .

. l\ I -to F'1(#9) I"X IV 1 I.. IXI pg I~L ". C7(1b9) e Ifi ~ 1 I JX I --I. (37 r.Y I ~..F'O'RM II .. I. -Ill ~ I I v......1 IYI I~ IHe IA I v. I E9 X -I I x x X F7 -I I I I I r8l I li'l I i IAI E7{b9) ~ . ~ ~ _y G71(b91)1 II j X I !lltHeM X .\.. .. I II- I I II • 13 I I ~I~ I II I I I FOR'MI III ). IX 89 1II1I B7(b9) 'I ..1 y " H8l-r --I -- .. .. • I. ..al II'W" I- I I I I re 1'* 1)1' I. II' tar 18 I 1 • I .1 I r-- ~I "X' I .1 fOI: 1 • I I li\J II !I I tel I E7 '.. I'" I I l-Ie -' . 11. I ~~ I .. .v'.. I I I -JIlt-II 1& [8J ~)t' i 'I I -... . ~I ~ fO'RM XI lit 1rI b_ 1 . IA I ~L ill' fOR'MIIV I- ---I t8J I IX IB7U#9) ..Je...R '" III IF7(b9 I I IFORM V 1 ) -- x.

~ rv . III A. I'" .... I 1 0 I.I -" I Eb7(N9) 11 1- . a to . . ~ . 1-I I ' ..~ II'" ..r---- li1 .. I I Ix Iv I' . .111 I 1 I IW I II' ..-1 I-III I _ . Ix .CHORI) SECTION . I ~ I . \v ~ 1)( iet G1{#9) fO'RMVll1 G'7{b9) I I : fOR'lM vm C7'(b9) . I I II" ~. __j I I II IEb7 ~~ I" . I 'A' I FOR'IM X.h. . . C7 I I I . ~II ~r-"'" . I 11 .. I I Ab7 . F.. I I I J . I - I ~ .ttl H-- 'Iv r I .- !8 I f0. I '\'I I f'O'RIM VII 8b7{b9) 1--1 rVI~ Iv I • .~Ir A' .... l... I .. None I. I I I I.. I I. Eb9 ll~ I ~~ Eb7(b9) I.Bb7 I V . I I . I I I I..OIRM IX Ab1(b9) .) 31 .J~ I . I" 1 -' I Bb7(19) . If I ~ )l e I . ~l__ 1 V il-iI 1.

... I I I fORM n 1I I I l I I I I I I I - I I t I I I II I II l 1 'I 67 I II I ~ I~ I I I L I 1 I '[ . I I I I I I I ....!L " I I ill I I L ~ I I I I 1 I - I . I ~ I.-1 I I L.......- I II - I I I I II 1""9 I .I I I I I L -I I[ T I 1 II I _-_ I I I I I I I I I I 1 I. I 1. !I 1 T~l II FORM IV E7' 1 I I r I II I I I I I I I I I ... J I I II - I II I II-II IEL 'l~ .fORM I l."'I.

. I I I II II fORIM X E'b7 II..1 A'bi' - .L-d' Jrt--t-rll ~~~ I I I I II III FOIRM VIII It I I - . I 1 II III Iii . I . ill II " III I~ I I ~ 11 1 II II I .CHORD SEGIflON FOIRM VI II II !II 1 I .. I . I II III I .L... I b i II I I 1 I I I . I I l' Ii " . 'I III I I I ~ ~ I ....------.-i I ~ i~ I ._k-.. I . I I. I .. I I I II :11 ...I II 1 II' II. II .~ . I .~ IL I . ~ . 1 1 I .l1. II I 07 . I.. ' x-.x..-L... I ~ I I I~: J(.

. 1 I II II" fIG I 1.)( I I I I. 11- I 1'lIt I i I =1 if' I I~I' i_ '~" 1 - I 11111 II !-' I. IV I.. 11 E7 IE7(b5) E7'i(#5 )i 1 R II - II I I I I I I I Ii I I I I IJ FOR'IMI V IF7 F7(lb5) F7(#5) 34 .fOR'IMII XIII I G7 I V '" 1 II -- I II' I '!i. 18. . I FORM III... I"" I ~I ~ I'" I I I I - I I I 1 1 ._....#5) I.~A.:Iii W' ~ I. Ix FOR'MIIV I V -II "IjJ" I I I I I I I I 1.!' I~' :-- (3J7(.... 11111 I Ill' I II.. 07'.(#5 )1 1 IFOR'M II . 07 (#5 1 1)1 FO'IRM IIU 87«#5')1 1 ~I- 1.

.1 1 C7 C7(b5) f'O.-..! II~~~~~ _-=-l -IFORMI X. Ebl I I I 11~~--I--+---lf-+9 ~~+I~....L.. ..f 35.CHORD SECTION f'O'IRM V~ Bb7(b5) Bb7(#o._L.I.....) ____ IL II !FOR'MI V~II I 07 67{#6) 1_.... ........IRM Villi 07(#5')1 1 Il Ab7 J :xn-+-+--+--i-t---l---1XJI~-+--HF-F~ )(.I----'----'-----..

Emaj7r(bS) I x Emaj7 • - 111 r'I ....11.fiX" I' ~ I 1. I" III""" I ~ II: 1. W Jill I" 'I 121 I I j I. .n. Ilv I !..) 1I'" 1 I 0Ilv I t IX ~ I I. IfJ1 II IFO'RM IIIi x Cmaji7 I~ x XI X . Bmaj7 ~... V -I 1 I 11." F10R.. Fm.. --~ " -. Flm7(b5...IM V I. I-~ II I 0 IW ." I' I I ~ X !v . Cmaj11(b5) I I I 11"'1 ~ I~ I---- I i 7-.v.aj7('5) I ~t =1\.F"'.. I'll .IF'Q.' I I ~)(II I -..ar" I I 1 . Elm7(b5) 1 11 I~ X X F."7 m. I . 10 I : .RM I x Gmaj7' Gm.. I I IX! I 1 I ..aj7'..~ Gim.maj7(#5) I I. - I '1J'i 1 I te I I'" . iii. Cmaji1(#5') 1 I ~" .v.' IAI ~ Ie~ II 1 !e~ IFO'RM IIV E!maJ7(#5) .n.(t5) ~)l.. 'W' ... ~I ~ - I I 1 1 1\(1 ~ ' F'ORMIIilII Bmaj71(b5)... 1 18~1 ~I _II I I. II 1 I" r- I 1 I" I ~ I'. I l~ I'W I 8...aj7(bS) 'V' . I'" I .. 1_ 11. ' "'" I. 36 . W' I' . =... .v I 1 Fmaj7(b5).- ... iGJ-~ ~a..:y...

liS 1 Cmaj7 ~"':~I~~I~~~. . -11_:1+--1--1--1 ~+----lII.XI - . -I r 3.bmaj7(b5) I f.. 1 1 I 1. II 1 . I~IID I . oJ Clmaj7(#5)..' GmaJ1(#5) G. I II I ~ 1 I I. I~ ' "'" I~ "".-" 1"-1' F\ I II 1 I II 1 1 . Vi xl~ Y.m7(b5) .~~1 rr ~H--IF-F-I--9I1 A.CHORD SECTION FOR'IM VI Blbmaf7' II IFORMI Villi x . . Eb maji71(b5) l I 1 I I .ORM IIX tl.-I-. Cm7(b5) X . ~.~~I Ebimaj7 10H--+---+--fI ' n_--I-. ~~ . .~. 1114 - Ebm7(1b5) ~1~1 I .A.CmI8ji7(b5).j7(b5) IIII J W-. " 37 ..=== "F-tIIl-I'-i~-~-t-i ::::::11 -----'-~: __ ~~ . -- f-- I I I 12- W II I.~ I' I:.a.rl~~~~~~:AII~~!I~~'I~~'~IV~X'~~~I~~~ I FOR'IM VIIIII . I" I I II I .m.b.. 'I I"" I.

I~ 1I 'I'j ... II I. .. . X..J I I I'U' I I .7s1UIS4 lor Bm11 B... X ~I' IV II '\ ~ I -I Iia I" IJlJI\ " 89(+1111) I ~ - I r" I IIA I - ~ . I I I .11) r--I I X iB1 II 1. I .I 0. .I-- ~ I '" 1'1..I- Illv. .. -I_I I I . FO. I IEJL - !}\ I .. ...IRM V IF9:sus4 or F11 1 F7sus..X" ' 1 r.A X F7 :XI' . II " Iv ~ ~~ K I' I 1 ~ I I I FO'RM lin B.lllls4or C'111 'I~ ~ :i8r~~'1-- I I .fOR'M I X·'--'~~""""""'~~ G7 G7sus4 I 11 .. _L I I'x . a ~. ~ ~ . I IIII 1:61 I I il I I I . .. II I I .9su. 111 '" . ~ IV' JOL-I .7 ~~ ~~ IC7SiIlJ54 or rCm11'1 . .is4or G11 I .4 or Fm11 I~ . I I I I. IX •~ F'9(+111) r'l I 1 1 v. I.x' ~ E9sI:Js4 or E11 I I .. !x v.. 1 . I" I1 I J I I I leI 111 .s4 or B111 'XII I..1 I I 1 1 1 II C9(+.. I. .Xr--T~"'" Gm11' G9SiL.. I- fO'R'IM ~V E7 E7sus4 or Elm11 18 ~ . . C\RI~. . I .

J~ • ~:If" I rII'.. A . l' I I ) :v -. ~ I 1- . or Abm11 Ab9sus4 or Ab11 I I I I.CHo. i I e- X XI 07 r-I . r- r1 ''W' . . I x . I I e : :~I _j l I.. ~I .I .. ' Ab9(+11).. -I I I il II 111 II I- I II I.+11~) .. Ab75us4..1 I1 . I I' I IFORM ~X ....I ~.:1'" I I I I. I- FOR'MI VI 1I11 C9'slUs4 or C.b9 + 11 1 ( ~~I~-rllIiII""""""""""__' FORMI VIII' IG1 X .. ...e .'11' I'" II I I . X I. . ~ Eb:9(+11') ~. -..I 1'\. ..' A . • I I I I .SIUIS4 air 611 I I ~ I- l v u I I I I. I I'" I I I III I I .. ..RD SECTION FOIRM V~ . II-II I I JI .... ..... -I 'XI ~ I r x Xil. " 11\ IA I" I- iA -I .. ..m11 8..4 or Eb11 .~ . ~l .s. • I I 1 I C7sus4 or C:lmI1'1 C9(. .~ L X IEb7' x I\_ I -I .M X .. ~ IEb7'sus4 or Ebm11 Eb9su. . I' )<..c.IX A_... ..Bb.. '011" Gm111 ~ 'oJ 'G9. F'O'R. .... 1J I I I 11 I I ' '1'''' -r-'I . II I I ~ II I I ... VI Gt7sus4....b9'sus4 or IBb111 B..

¥ I I I fORM I G13(bl9).- IE7 F'O.. '. • II I JfI I I I II'" IlOL- fOR'M II C13(b9) I ' IB7 B13 F'O'IRM IIII B113(b9) 8'113(19) I I _J~~~ II II --. .IRM V IF? F113 F13(b9) . I .I II 1')(1 I IeIIV' I ... I x • ' 'I 1:)( I C1'3 • I 1 re-8 :'. II. .(37 XI I . .

. V CI3(#9')r I ... I ~ I . V I • .Ab7 1111I I r 11 I ... IF"""! [L:::. . .. I."~ I I !r> I. FOR'MI X I I I Eh1'3(b9) ' ~~ ro.. : I'" I.....~ lOlI I----I I I' -- I... Ix X I .. j. ] 11 ~ -11 1. I '~FIII 1 ! .. ["'1 I .. .. Vi Ab113(!b9) ! I I ill'V' lft I x )\' I Ii\.....I-I -1 ~ III I' I 1 .'){' Iv _v. 1 I I IEb7 I [.. I G13 ..I III • I • . .. • .I I I I I I 1 x X I I e I .-... Eb13 I I I I"'"- I x. I I 11 I II ~ I Bb1 (#'9~ 1 r-I _. = ~ f-- XI XI -I -.. I I None 41 . I..I I I~I ~ I Ia 118 I.-.CHORD SIECTION Bb7 J8JI Bb13 IV 1..... p I IFORM Viii IG13(b9) " "\ G13('9) lXI I Ie ' .' I I ~ II II I 1')(' ... ~ # • te I . X '" /' e G7 IX~' • -J IV' A Bb13(b9. lla 1 l I I'" II 1G F'OIRM IIX: . Iv '\ I 1"1 x X C7 C1'3 I FOIRM VIIIII C13 (b'9)1 1 -- -. IV ~ ...~ I- I~ "V'II V' 1 .~ IXI I -Ie I Ilftl I~ I- ~ ~.

er for Important' N'ot'. 42 . wUh (J fifth sfri ng root a lid three fi ng. Remember.lp toachl. havingl a sixth s.es.fer Guide to ChOl'd/Sca'le' Re~oltionships on page 106. !<je. but second. this section.y necessary onclher.erent to changE!! onefhi. 'fee~ 'Iiikath.rCllct~clng fneCl:ry end 10 bad one'.tw"o bcslc Forms.ly in any key and in any position on ~he flngerboord. 'flrs't.g.mII.g o .in.s.ve fingerings.ther.ey ore go'~ng toto ll off is en alie p. 'try 'to ~sfayas close to our 'fing.ernsalone.low~y. and Form Hworks in the Ke'y ot D Majo.QvlQ this goal.eringl patterns as possible. lead ]mproviSlat~on.tfing root end fil.s.r. REU:1dthe motes on ~helstoff.eringls fer each sec 1'19' to he~p you to f'(Jm~. The llea. rnl..ely solo over di'fferent chord progressions..orm I works lin th.d player :should know whiich scOtia play over a given chord or progressionaf chord'S.gand ri ppi ng th'rQugr~ sea las u ntii YlOur arms. Hovil"'l.y otA Major. or modes" In Qrder to mf~ctiv. take your time and donl~t' JUST memor'llZ!ethescoles by the. you wlill see many dllff:erent scales.elsS iit is olbsolu'tel. they use lin phvsicol fitness progwams"dorll't stra.eri ngs. to movsfrom one scole to cnomsr smoon"l. Scoles aria used in d'€veil1oping ~eads.ust for good rhythm acoompan~ment.ly ten minutes) so 'IoU! don't s'v'fointh'B muscles tn YO'lU orrn.) - to The flrst pOIQle otthls section beg.9 of: sca'h9s.but troln. practloe eceh scale s. and glet eOlch note cI'90r ond cleon.f these sc'a. scaie~andl orpeggilos CIS.h. Speed. Siilrtin. F.'as a good lead p!ayer. We use! 1he same theory for pradllcingl chords. ond fl:ngaringls will defln't'ely he. linking chords ond melodies together in chord/melody.good know'ledgle o. diff.is IS dlscussed in t~t'H3Mml.wn~ come 'in fime. we mentioned before.fmelody.liar:il~e is yomse~f wUh. 'L.: When practicing scales. hav'ing a good worldll1'Q kr'!owlledge of chords is defin~'Feiy 0 Im.ins wWh n'l'9' Major Scales wiTn. The reason why we' 'are showing sevelral~ fing. ono chord.cis (oPtProxlmate. When practicingl the different :)'COI19S. 'We :sug'gest practicing sca'lies in short ilfil'telrv.SCALE SECTION As you IOQ'kUlroug. as. the entire fing:erboarrd end to ena'ble y'o'lj. patt. ond os fill-in. a g:ood soloist must haM~ a good working knowhilJdlg. 'lin linking me'llodiic Ideosioge.

~ "".. I:' ~~' _D_ ~.~ '" ~ " 0& '. ..ll.. .. ... " .II ~.1 -I' "-'~1f ...-& _E_II I~" .r«...~' I ·n. Ii'!' ~"'" . '" . 2nd 3rd 4th 5th 6th ->I ' ~ I' _F" 7th 8th 9th lOth 'II .£!Jc ~. ~ .4 f . . "'" I .. . 1.. A. . _c_ . '~ ~ "" ......II '''U ..... ""...~ "-'... 1 2 .." ._.ij. . .'.~ . .~.._ r...... 2: 4 J.~ '" .. . .. .~ Po '" ... I.". I ... r= .'" ..".~.i .~~ . ..~ -1'1<1 . ' ~ I ~" . . Tt'... '_'i '~ "" "~l.. .......~ .... . I'i.·· ... ..~ - Alt "p r..". Ai -'" . ... "'" _ ~... :lI ~u I .. A.... -~ ....D Ft.. . .-" "". - .. ... ...2 13 ..it .~ Ii"' _..... -.. ..11 ~. ~". '" bO' . no. I...L a '" 2 ....... . '~" .. 1Ir> '" '~'-"" ~. . ... p' TO £" "" ...4. ~'~ .2 4 2 ..... . .. .".~ 011. .~ ]4 1. ~ "' . II ... ~ ... .II '" "'" ._ 10 1 .". ~ ~. .. .. .. ·..' .' ~....5 16 .~' _A... .ci_ ~. ~ '1'1' ~ & .....0\ ..... !! ..... .. ... 17 ~ .. .'~ -... 'I":' . ..r. - -" ~.. 0 ..~. 1 3 4.P......... ."" I . .....-.............. ~ .....I'''''' I:: l' .SCALJE SECTION rd 151 .. ~ .I... 'I!' 1' I 1ll' .1 ~ " .._ 1.... ~. "'"Il .. " .. ... -'~ .1 '" "..G# ' .("""01 .~ ~- ~ 'n . A ..~ ""!Ji" ""' . a 1 •• 3 1 :2 .. . .~ Form I! A Miuor Scale (5) Fingering& 6)[:h String root E . ~.. <1 ~ . joh.~ " -'~ T_'_'_ . .._:lI ... ' G# A B C' D E .. 4 A B c:1 .. ''''-......Ii .. ..." ..... I . . ... . .~ 'n .~ ........~ . 2 4. A.... - .... ~I 22 ". .. .011.. .I..... OT> ~I . ... Of' ~. .r" ""II ~.. 18 19 . 'w ~ 3 ..1.-.~ .It I: -. . llI .~ .. ." '" .* '0 _D_ -~ "" I 1 n. 1 y ~~ it 2 :~ :2 ill I. ~ . 11 ....

.... 4 3 I. _ij. .jorScale (3) Fmge~in.. A 'II!' .4] (Ll.. D T " ."" • 2."'1 :3 ![ 1 .Io (C) Ie) .. ~..3 4: I <J 1 :2 - [] . 2: l' " ._." e:J .3 11 V positlon ..ngs shou]d he: practiced ascending and descending ina.._ - to' 2~ [:l..gs (5) St:rius.. broken thirds and sixteenth notes. '!!" :t .4 c# . eighth note triplets.Io G 1tJ:. a B #:!: . tt. 1 a: ..... - 44 ._ .J. root n (A) IE F# G A B C# D' E F# l. - [t 3 :2 tI.IX position xn position Form II [) 'M. 4.3: 4- .. 1 _.q VII position Note: An scale I:'ingeri..]] keys Sind in eighth notes.I: ~.

.3' 1 I.. 'I 3 . 2 3 ~------ A # Major ~~----~~---~-----~-------.. rBMaj'Of 3 'I - m... I. .4 r---~-----------~~ A M1Jjor: -----~~---------.:E SECTION A Major Scale 2. - ~ 3 45 .SCAL. I .octaves 3 1 - m 2 '1 3 1 I.. 1 .

4"0

Elghth NOlte BX!~rcj~,

J
l

11
0'lI:

,
1
L -l

E Jr'
~

r r tc !r
'2

4

'I.

13

<'I

MI ~':"" a

Ji3 1l:;l~ ,= .~
a
4
3:

J

3:

,
I.

-#

I

4

4

11.13) Kal ,::3jti7 J ) I J - is .~.
!
I.'

.3

J

3

3

t

3

1

:3

I,

3

,2

.~

2:

'"

.3 a
1

,J
1 4

3

NOlte: AU exercises use: the form ,I,-Afinge]:in,g,. Once this has b~en mas,t:e'rt:d~then work these exercises in all the other fi:Il,ge.[li:I],g. --

,Broken, Th:i;rd:!l,hi. E.j:ghth Notes

46

SCALE SE:CfION

~st Oc:tne A. Mamo:rre[iltatQ~ic

IUrd Oc~!'!;ve

ISH
@4 @2 @1
@l
~
l

a
1 4: [~.

1

a
1
.3:

2 I

xu pos,
3 1
<3 ]1

mx pes,

I.

lst Octave A Minor Pen ti;\tQ~i.c

]I lrd

Octa ve
&

4
2

4
.2.

:2
4.

1
1.

1
1.

Xpos,

[31

XU pes,

~,

VB pes, ~s,tOctave
A Funky M:inoi[ Pentaton Ic

[lnd Octave

BIrd Octave
_Q-"

[Lj.'L.

] .. &

4
:2: :l

:3
:23

<\1

:2
l

41l

2

2 1.

3

·4 231

1

:2

3

l

'lin pes,

[3

x 1'0'.$.
] 2
(J:

4. ]

XII pos,

. -f.·· I
~

~

_.r.I. ...

,.

_

..

L

-

.-...+I'•• -=-4'1:""-

.1

_L _,I'~

~

••

...,_

@ 4ru@12 34

~

.2 ;-

3 1
I _.1. ..

.:I :1-:1. 2

a
l

©

I

2

3

~.-I.

@~

2

;]

~-

~.

..;._[ l.

IX pes ..

01

<I

l-

.l

47

Working (6) Major SClolles 'frolm (1) P,os~tioln

eJ

#:.


flit''''

I'

l· ,-

G 'M,ajar If'oml~'· B ~

T

...

,-

.
'

48

-... II!.!::: exercise has be-en mas't-ered.1 • :Remember: The I st f:in!~-r detertliliiReS the posiUon N0<t!: Tbe <lIbov~ ej!!..tbe Ulld pos.d .._ ..Q'N .a 11. and not necess~. VI. V. IN~te:Once the abo".rUy dle root -of the scale. you':r..e in. posltlons. m..is frol1ilJtbe lind pesltlon. ' .. in .(!:rrcise 'W'Q!1'ke. f'- ... A Major Jf'Omil~.- . then repeat the entire exercise m front the mv. !!Indo emonzed. . if. .A I.49 . . ....SCAl'E SEctl..

:3 :& - 1 4. :. 2 1 1 :2 •• @i.. S 2 1"\ liI.4 2. 4 50 .3 . " a 3 " 2 . 2.~ . 1 <li :m.2 I.2 . . a I .i • 4 . .e .t " 2: 2.Mod'8S With (6th) String IRoot A Major :k:w.E 1 D Lydian .m.1 41 :2 2' a 4 ..2 .1 I 3 j.~ @ : f" ® © :. ._ ~ 2. .. 1 :3 1 :3 I _.. Hol @ ©l @I @' . 1 I . Ii! 2. 4..\.] - 2 1 I :2.Ii 2 1 4._ 1 Ai.. 1 1 2. 1 l I - .1 . ..1.fI! . :2 4 :2 ~ 4 1 4 4 4 2.4 3: 4.'.. :2: I JI . .1.~ A Ionian I' . AI.. .[ . ~: .] I. 4 2: 1 3 I. <Ii :] I :It _ . 3 I.tt ~ 2 'f' " 1 " 3: t l 2. . ~ C' Phrygian . .-. 1 4. 1 3 . \\ :2 I. • 4 2 2. 1 3 • I _. - 2 :2 :~. 3 1 . .. .

2: 4 2 4· 1 4. .& M- #:!!: 3 t ® 1 2 " 1 . Modes.• 2 :Ii. iFand! C.I. ©l ..2 " :~. . I 4 I: " 3: a 4 3.SCAlE SECiION it--.2: I • •I I :} • A.& - #:!: - .si~glnarllUn!ill.an ©..4 3 1 1 3: a ~. 3 ~. 2' :~. . :~. 2 -1-1 ® @" 1 4 2 :1 I 4. are sccles bulilt from 'each individual not. ~~. EXAMIPLE: D .. ill· ~. .''I E :Mix'd~ydi. .om D and er1:cillilg on [D an octave Il1igher.t . 51' ..2 .. .ealily a C MaJlor Scale srortlngfr.-". 4i n 3: I 3 2 Miodes MODES~ The word media simply means 8collle. [buHt from one scahal'"'tney AJUlshare the sa me' I~ay .e of a Meijor Scale.. " 2 . . 2 i • :l· I. 2: AI. However. 2. .4.-:1~ 4 • • I:.. 2 <'I . :Ii.4.. E::i.. :.& ~ . 3: GI LQGrisn . 2 " 1 AI..· I. 2 1 1: a J! ill 4.. :~. . I . r Remember 'Ile' 0 darlcilil mode dl:ffe:m 'Ieim the D MOIJer Scale wh ien hos f\vo (2) she rps. 1 41 2 4.3 " 1 2 fl. - • 4. A"eolian 1--. ® @.· ..:' _. becaulS€I theSEI scales are.:. .M -. 2 4. a 1 P :t·." ®. • 1 4.carlan i~s.

~X ~~~dl po.. . 3 .I L-xn.. ' ~ :2 .. . 3 • 4 • • " (E) 0 . 2 "If' . A Pll~O'r (P1u:re)1 rt A I 2: I.. Y' 3 ... • a • 41 .~· ~-. . _I ~. • ... a -. !!Ill ..s. . "'If!' .3 i_ <Ii • :L iii! ..' ... ... I • 2 -.~.... :~ .~ .! 1 . ..' 1 .1 pos. l - • • 3 .PUI~eM i norSc. 31 3 <& 11.j I..o les fA) ........52 .. .' .. <Ii 2: (C) & . • ----. • ... ..I =-11 08<) ~ ...1 • i.iJ • I _I 2: . ~I . __ - 1 3 . •• :1.e ste:pslide 1 t .' 4i 1 W.. 2 • '~. ~. :~.... X pos.1 • 24. I • :~ ..hQ~. II 2.. :1 I• . .._ <t _I 1 • . • :a .I ~ f 1 (D)I 1. d • ~ • 3 • Ai • ....

. ' • :t I..~ • i •• 3' ._...• .-v pos.a 4 1 4 _- II 4 (ell ._ •• • ~_ :. 1 Whole stepsHdie t Whole step ~Ude~ (B. D mi_nOf Pu_ .------.SCAl. l\i.. 4r ..) i&~ • @) 2: • 4 • l • :2 1M P. re • • 4: rM.P --: i-~_--'-..ngerings (SUt) Strin. . I~ .g Root.} 4 -4. 2 :1 . :E.... 4. ~ • 2 • ·4 WI • 2 j• . 2 • JI: .• 2: • t r----~~.[I • ~. 1 2 4 Jl _. b. ..' :..~ p.. .' . .. 2: 1 :. b.E SEClION Form n if'i..' :3 • -. (A) ~ =. . .

3 lli I. .4] . I.(Ha.~I~".I· 4 2 • . * ' • Jl • a: I_I d . 4. 4 J!I J 1 . . ~. . 4.~~~~~@~ ~. slide 54 .... .. • 3: • I. ... - 1/2 step sUde 112 step slide t I (D) . JI 2 :1 2: (C) ~ ..1 :Ft~gerin.. ~tl 3 4 ~/2 ste:P f I. 3 • 4 '* " '. ' I· . S .. - 112 step f I :1.I~~... ~~~~~~.' . ... • I .~... • 2: _.4 {I. I. I M ... .. 1 2 T I. I.oni'cj (1\) j~~...• -I . .. 2... .4 slide (B) ~ ~ .gs (6th) S~rlng Root A Dlh!...IF!Qm:l. ' . ..t ill . i I .1I • 8: • . • 2: • I'~.~.I~. a .) • I - • j' I..or ..rrnI.

.4.~ -'.... 2: • a 1M ..4 J_ 1 Pi 2: . SECTION Harmonjc Minor Sca~l.~ _.. ._---_~-'V • 'I. :2 :IJ • 4 --- IWI I. pos.. I·.es • . • 2 WI ... :2 • . I • 2 ._ - . " IS p.' ~~. II!. t. ~.' " 1 55 . • .~~----. .I a j - • 3: - • .2 iI '~ t 'I " 1/2 step sWide' 1(8) (C) " . ...SCALE.

. .1 -=l! 2 -t~ 4 . 1M fl.) .tl . ~~. .. #. • :l '§ • 2 ... I 2-1 2 4.4J M . . .3 . .- ~. .o4i... --~ 31 .4. 1 3 ~.' ii.. 2: - 3 Whde step slide t I.Scales Fonn I 6th St'fms Root A !Illinor Y' :1 ~. a..'~.' • §31 .1.. 2 1/2 step slide 56..11 -.--i.-.1· • 2 " t 3 .. lj 2 2.. 2 II a ~1'2..-. . ..Jazz IMellodic Minor .:3 l .-I- • - • . 'W" ~. • . .!Jl . . II I .. :2: .--. .. 2 " • I •-1. . -=~ ....- i ru - 1'2 step slide t ~. step' sllde f I (B) .

~ • a • 1M ~ 1 .ep sli.~~.... S~:rlng R. .E.oo~ 11 D ~inof (IIlt'U .--------71 ~ ..i:~ • .~ • t I. .. 4 • .de .rDlJi 5~h. :. 4- 112 stlf:~P slide t 4 • q. tI' 3 ]1 1 1/2 st..( 4 1 2 .-.F'o....111:. ~ 7~!~. 3 <I .. t .-:. . #. ~.. I.

U . ~ !!I' .· 1 I!! :l r• ~.t . I (q. T '~ #. I y . 2: • . I 1M iIt • lit I· • ...1 2 lit l... ..t • I .4· 1 :) • 4 • ~ • :2 lit .• #'... 3 2 - (8).. 3 sa ..· l... :_ . 2 -11. .. :~.' t I.' II.4. ' 4... 'I j• 'S .4 '- I... 1 • i' 2: 0 I_I •- i-' 1:· t 3: • .. ... . j @) .. 3 w.. E -------3 t<Ii _: .. J] 2 '" ~~. d 3 <It.

.~' ' - a: 4 m....2 #• . • p" • - • :L I2: J.' . 'l ..] a: 4! I. :l 1 II 509 .' 2: ..I . . .' I I·· . '..i· . . - .2 4 I. ' j~ 4i • j~.. 2: 4.. :. .3 4. a • 4 k 1 • 2: . I .I. . • 1 ~.4. I ..' -. 2: e... . .1ii.SCALE SECTION '#+ 4 -~ 1 _. \I 1 I :] . . ..t.~. .

~.. Ia • .. 2 ..~.~. :) :I ·A :2 t a .~ 3: :2: ..) .t . .. 3 IF _j- • • :] I..... . . ~ 3 .. ~ : . 3 I. . :2 t .· I. . 2: I.4 t a 2 4 I a: I 3 3 y :l :} I.... (C) 1 :2 a ~ :2 . 4 ..01 . 3: I " .... .... • . Ai I 31 ~. ·6.(A. " .~.~.

a...di . .• 4 2: ..t iF :2 . r_ :1 :#..j. 1.:1. We :!t ' . ~ 1 '" 2 2 " .. 61 . ~ . (E)I :~ T :2 . :2 I! t II • . • :1...·' f • • • 1 • 2.' .--. I:· 4 :f:~ ... i :~I .L ~ #~ 4 .. 4 • 2 - . 2: " 1 i· :~. 2 _iI • <I _I :2 .~. (D) T 2: #'''' 4.. .t • . . .1 . .. . " T 2 . JL '. 1 ::1] Remember'!Any note in a whole tone scale maybe considered the root.. :1 ~. ~ 2 t. i. ' - 'a ... 4 _:JL I . I • .& '~ ........SCALE SECflON Wlho!e Tone Scales . ii..'2. i.. • • 1-- j.. 4 • _JMI : .t . 1: ...I 0.

on pagl8 108. . lhey may be' used as leads and OIS. o to 6:2: . Just like $iccl.sbulilt from 'the tones thot make up a chord but <C. ~ead the notes on the staff.ue pJ:ckedl os Individual notes.er or two.pegigio Re.tmemorJ:ze the '~Ingerllngls.ARPEGGIO SIECTIIOIN We would m~etiobegllnthis section by 'glvilng .l:atll nsh ips.er Guide to Chord/A. unless It Is obsolut:ely iril'!3Cessary chen.es.llink:ll"IIg melodies wlthl chords I~ chordl/'mek:x:ly. TIh~use of arpeglQ'los will be dlscusssd in the Most.ga a fing. Agollin. An crpeggiio ii.0 :sirmple' d:efjnil~ion af an cArp~ggl'o. filii-Ins. stay wlith our 'fingerlingl patterns" o nd den !'t j LH.all the fing'erill1:g panaros must be prootloed 'and rnerncnzed in eve'lY position and In ell/e'ry Ikey.

.2 I.jOf 7 ~st. ..II..4 . I 3: 4 :Jl " :2: " 4 a . ~. VII pos. 4 2: I" 2: .2 1 I ~.4 :2 .. I ..~ :I 4 2 -ii.2 4 " 3 ® ® .2 I AI I e 1 a :I ~ I . 4.' b~ Oc:taVle UlTIlldOcta. a :2 . :2 1 i3 I ..a.or '7 b~.1l.2 3 . I ._ I.A Mailll(i)il' 1st Octa. Oct.i ~.v:e An-winor • :1 Ist Octave ~. OC:~<lve I. 4 2 :Ii ~. ® ® . . .. . I . I Ai :2 AI 4 e 2 ~ ·4 " a 4 I[ I :z 2 AI 4 a ].ilI :2 ·4 2: 4 I 4 . :2 AI ·9: .ve lEnd Octa. 2 :1 .vtl A lfi]nOifM~.A M. 4 11 I 3: .I 3 :~. .] a :I I 2: " 2: - 4 2. "' :2 2: I :2 a 63 .4.ve 1 I . :1 41. '" a 4 A7 [st Octave Am.

I . ~.t 3 .2 .~. -- I.t IS " 3.2 64 . 2 . 011. 1 9..i'~ Hnd. 2 " 2 A7(i5) :_u .. I @.·A1(~5) ~S.I @:2 @I .I <ii.I . .t Octavrel Am.~. '_ " I I ~.1 4 I :2 AI " 2 31 I ·4 1 . . :I 4 . ~.lj..ill 3: . • 2 1 ~ . 631 ~.t Il: 1 1 .2 . a :2 " 2 - '1 * . 2: .fi Ai I :2 -41 4 I " -I A:Majior6 Am6 1st Octave I I II :Ist Oct.7(i~S) '.4.. I 4. a ..-1: .a. a I :2 4 2 2 ~.n4 I!. II a 1 . Oc~a:ve - 3.S :2: " 1 1 oI.

7 1 .7 C7 :fMl Gm7 Gm7 C7 FM.ARPEGGIO SIECflON Om" Gm.I' - I 2 2 65 .2 2: Gm7 C7 FM.

4222341143212411.7 C7 fM7 Ex 2··· © ~7 "" .~. C L .~:E ·-1'1 ...~ 2. .. G~ ~7 3 I I <\I a.Ad. .-41a.I 91 III J 1 ~ 3 1 . : J-7J lU .l 2 1 3 I.7 ¥] 41] raJ J fJ J "JjJ £1 J iJ diil J J&d g S i1 tjil ~ " 2 I. I 3 ..34 It..~ " 3 ·~.22 3: ~. 1 42 ·.EPf=._·4 2 .21141~422 FMi7 cr-E5 rl D-Etr[EFi~ Gm.•• .._ -d 6· --:.of! 2: 1 iSK 2 ~ _ ® Gm7 Am? U7 1=! [lEi E(-~E1ei rftr .J_ JJ-~' g 1J-0 7 EOE~ -' .Form I ArReggio Studil8S 2 Ex2~ @ FM7 Om? Am7 D7 Om? C7 . rI 2 .

ARPEGGIO SI~CTIOrNl Ex: 3~ @ FM7 Gm.I :2 1 1 41 2 ..1 ~K3~. Am7(~5) C7 PM1 1.2 Gm7(b5) C7 fM7 . © G!~7 FM7 .

I!I PM... 2.... " I -'" r' Ft7 t Am7 . "'~Y 1 3 II.7 C7(~ 9) fM7 4 3 I. ..·.'J:t:l4a:2l 2!1I..' ~I 2ru.... Gm? 1(7 ~9) _L :2 ..:I 'I. 4 3 2' n .2 II I.. ~..1' D71 b9) ill -I I.I - 'r .... C7{b'9) L 1 FM7 ~- 'I!) ~I .. 341 j.t Ex4-@ FM1 qjm Il :fJ {~#J~~JJ~W JijJ~~#J@JJJ:l m.. I '~r .~ 1 ·i I - --I~ I 4 _L . ..... ~"'b'Y '-:J. :6 ....1 L -I - I.? ..· ® Gm.. _l.4 .J.-I 2 ..D7{b9) Gm.1 II --- I 1 ~ --I I -- l-ool! - 1.-I....-. 1 . Gm1 AmO .... .. 3 4 134 1 I 4 2 I Ex 4.j '11 .....7 ....II_ ru._ D7(b9) ill . ~... I.t! _....... I ~ Ex... 4 S :2 - _. ... It 4.' .. 1. d .o. I 2: • '.. S <1...4~· © Gm7 Am?' r..14 . Om? 10..

S Ad. . 3 2:-2.. 2 :I a ]-. ~ 1~1 2 1 :2 1 J J1 j j :fJ il:1 2 FM1 3 1 14 2 1 1 4.. I) 4 1 1 m.7 I E 4J! 1.~ 4.6 & 7 'iliP P 142114 Ex ..[3.m7 Am.~ Ex.~ 4 2 2~2 a . .-I.ARPEGGIO 5. :l . 2 2 Ex" 6 FM7 G.Aroo..7 tE tti ~j 1 ii. :3 4.QlgiillO Studies 5. d. I.~ 4 3: :2. 7 PM7 ~J1 aU l%J g fl n yElLe C!r fJ Em7(bS) PM7 Gm?' Am7BbM7 jl a C7 69 .EC:nON Forml II. 1 --'I.! 4 3 21 I.q ]- 1 Ai· 3 :l.~.72C PrJ Ph) . Gm? C11(~'5)' C'f C .

e 2.3 " . a: .~ . 4 2 " 4 a D Maj 7 ~ -® 0-.31 2: I J ~.1. 2: ' gn 3 I. I=! 2' . 4 l ~. " :2 . Oi #U@.I 2: 2. 4 m Dmin 0: Ust OCIt.4 2: 2 ~ " 4 007 -I • 2 3: :2 J. U 2 :i. 3: 2: . © 1 " 4 a @ i3 :3 3 2 " -" 1 I@ 1 .• .4.. ~. ~ .2 1 I 1 " 4.0 (lst Oct)! (Ilnd Oct) I" 3. G • 4 2 1 II.4. .0 I e ii! 3 2: NQ 1 . 2: =:I l :2 :2: 4 - Ii © . # 0 I - e 2 Ie • . .J: 1 3 1 4. :. a 1 .AJRPEGGIOSEcrlO~ DMaj *. a " 4 70 .~ ifij @ D min/Man 0 -u 2: ~. :1 :2 4.3 :) Q . .. 3 ~. . .~ - 4 4 I~ 0 u= I . 4 :~ ~ 4 4. -4 4 2 ® '" 1 4.® ® 4 2 :L 2: ill ~.Il #:e.·j.t I II I a 1 4 1 ~.) (Und Oct). • 4i . i.

" " a -® '" ® a ©I. e I (it- ~e 1 1 1 ' .II. I.. 2 . ijn .2 .4.0 ~. ~ 4 2 " -. Dm6 .e. .. 'I 2 ~. ~ "• .t ~. ~- .1 [. !~~~~~~I.2 . " 2: .t ..fI!. 2 I 01 2: " :2 I _.3 ~ I ~atg1:e I :2 AI . ~ 0-.- [)'m7'(~.I) 1 " " a • ~. " d: 4 It.p. D Ie .' M§ (j) 2 I a " I '.9 e' 2 1 2 1 (j) 1 2 © .. Q -II . 2.' ~I.. .8 .2 I " liu ~. I 2 " 1 1 <Ii " AI..fI. " . • :10 21 3: .. 1 4 ~. " " a tl'~-. "® © (I) Do7('..~· i #0 :1 0 .. II .. I I a :) 2 2 1 1 .U n~ . ~ a 2 :2 . I . .I 11) M!lj 6 'U· e .3 I .3 e :2 Eli .4 2: ..2 • - A :1 ©~.~tm D07 &11 J :~.I . .AJRlPEGGIO SECTION It :D"jI'l( ~ S)! ® I© 0 .~ e .- @' ® @I 2 I .4 a ~Itf-\-. - 4. .5).5) - ® d 4 .I. ~ J.2 3: .3 -I 4.I :1 I d I.2 ..----1 .t.3 71 . .3 . ~ @' @ . ~e' :1 I I~ -..t fa .

Ii Ell: 1·- I@ _ 3.Exl- ® :B~M7 em? Cm. 24 :~ 2 a :~.~'M7 ern1 *ijE r a 2: .1 1 '" . f7 .? :trbi Ex.~ BpM7 .~ em? .' ·4 ~ a J f gg j J J &4 ._ I . JiJ d 1J ~-iJ [~E fi 3 <is . :E ·4 :2 ~ B.® 9J OJ . b" 1 4 a ~.4 t :2 3 :3 2: 1 oi a 42 3 I 4 a 2 t\J j 3 3l>C:J fj t PEri B~M7 '..2 :1 3.Cm.. b.&2 F7 ..2 ~-:l .iF J ~j j j I I U .

j gjm7J PJ erE f 13 I :2 4 '~.DOl? G'i' tb(! ri~t[trtCUt :~. 2-· ® em? .Ii .? F7 B~M. 3 I.~-~ .3 1 a :2 :~.t 3 :2 Ex 2- ©. " Ex. Ai 34 :2~3 -.1 J J J t r :1 ·4 2 It 4 r-J 11ME if j . .Ell: 2·· (ID BbM1 Cnf7Dm7 G7 '~\Jd JJ#JpJ j j 3 J]~fJ J 313 16 . 4 3 :2 4 :1.~ .Ii . 14 . :2:3-3 ebM? E 34 21 ~ Btl 2i3-S em.2: 31 S ·4 :~.B~M.t@J ltJ 1 42: :~.7 j~ 2: :l 3~. -1 2l 3 .? 73 .3 1 :~.7 E~Mr"[rEEri 2: ~.?' BbM. it G7 em.em? F7 . ~~ . :~ :~. ~ 3 4: .E. ·l.

e.Bb.R J 3 $ilJ~§m J UPl B bY. 3 (6) em?' D'Jfi7(b' 5) G1 C~7(b5) F7 . . I 2 I-I 3 ~ l ~ 2 L-l 2 E F tq . I I c.gg~lo Studies 3 t~g.1 r£h£j J J ~J iJJ. ._ ~ ._.ttn :.i I ±.? I ~' Ex.. b' "f-:. L71Y ~ '4Lp I .Forml II ArR. 74 .

:2 m :B bM" E=tftiJi13 p=i$r :l. S 2: Ex-4~ I@ Cm7 ~~ ~fttf :L. .:ll :Z ~.4- @.A~PIE:GG!O SEc[IONI Ex. 2 s a 2: '~ 4 ot 1 3 - il.~.7 F7(~9) . 4 I I 4 3 ~ 3 4 4 :~ 3 4 1 a ~a 7. 34 :~ 4. .s.4 :~.t 4 J.II G·7(~9) -Jj 4 3 2: 4. 2: 3 I :1 OJtl1 TIBer Ft&i)1 2 . B~M7 "~'2: Cm7 IIlm7 em.

@ BbM7 em! Dm7 em7 F7(~5) Ex.-S.Dm? em7 Bb'.~M7 Ex~5- © B~M7 ern? .5- ® G70S) Cm7 F7(~S) B..Ex.M:7 76 .

_ 6x"6 - © em.tlll .? B~M7 Dm? I I ~ -I 1 71 .? ..ARPEGG10 SEClil0NI Form f~~ 6~ U 8[Qeggjo StudJes 6 1 ® em.Dm7 BbM7 Coo7 IF? f.

1-1:31 4 '1. I. 78 .e.-1 2 4.-l <I 3 2 ~ .BbM1 Gm? An17 CbS) 8'bM7 4121 _.-12.m7 .Form II ArQ8'ggio Studies" 7 Ex ~7 ~ ® em? :D.1-~.2: 1.4 2.bM7 Dm7 EbM7 F7 Ex-7 l © Sb M7 " 2 t.-~ <1.F? Gm7 Am7(bS) BbM7 . a dl-~ 431. I I "I .4 Ex-7 - ® Cm7 B.

79 .

' Am705).--~ . -rv Form Il B b:M7 BO' n~A em7 C#'o Dml SbM7 E ~M6BQ F7 Fto Om' ~i I " I . Iii Ex.BbM6 . . I i I ." . I E .~ Form l rM'i' Om? I I: Am.. I . Ex .?' C7' FM1 .m._L~'-' -2..' " 7 I.'i'. 11 .. 80. ._ ~ r .. 17 Am? En(~~9) Gm GmM1 Gm7 I Gm. "- Glo .III FormI FM7 F#'i) Gm7 It L C7 F. -.Jozz Chord Exercilses One ...H Form 11 U=A Cmi' ObM7 Om? .7 1: Jr . ~.09 . sbM1 .4' ~ t.M1 I' Ex./ E~M7 F7 G.I Ex.6 C9' C7(1~9) FM1 " ' I _..·~V I I . Ex.

rDm6 G9 G7lij19) I' n Cm(M7) i! n F7 .IWM1 .B I Gm7(b5) I[ .. C7 Ex.(M7)Dm7 em em? EK.f'7 :1] BbM. Ex.JAZZ CHORD I~XleRC~Es.IX I A C7 erOS) I I Bm70.. n~A -x U II u n Q n C . 7- 1.L . .L 5)• _D17(tl' u C~.S.m(M7) cI' iT I 1m Am7 AnI..1 . --.5 )Ob f7U5) I .Bel' . II ~·B E1(bS) I Am705} U-.).I~ CWJj~7)' Cm7 .I B~M6 A_IDA.'" J " I /' "# T 14 Gm7 C7(~9) iFM? 7 E? 7 -7 i M &.61)9 . .. .7 i Eb·M'7 l I r .B C7(l15) I FM7 D7(b5) Bx.. ..-J# .m [)i1(b9) ~ Gm Goo(M7).B~M17 .41' -. ~~---II ~F7 ~I I. -vnl .m? ~·~~r G9 G7'.(b9)1 ~ 11 ~ Cm6 .·~vm·"~F.1 .. n·~ .0 L1' I II B~6/9 F'l{b 5} Em7(~! S} E~o D'm7\~.~ Ei~M6 I :1] D.. EO BbM7 Eb'M. /.I .· ~ vrn 11------.t Iof I: I r-----Cg..6 Dm Om.

rn V Fm6 I EbM1 E~.. A7 Ex..Jazz Chord! Exercises Two..A7 DM7 m . m AM7 Bm7 . . i ..x.t E7 AM7 i Ex. ~ IV Form IV GM.. 7 " E. Form.M6 " .DiM? I .? Form lV Em? -I . ...DM6 C#m7 E'i :Bm7 AM? AM6 7 I ElK.. ~ DM.7 GM6 t I I-' F# m7 DM? UM6 :11- Ex.VI 'i " Bb7 for.V f'ol::m V E'M1 Pm? I Gm7 I ii' A~M1 ern? . Ex. -I 4. ~ II * 4 Form In :OM7 ..

t Gm7 .. )?- -I~I .Ex.01''m IX GM6 Am.::I i " .7 !I~ Ex. Bbm7 C~7 . .07 [Em7 fbIl7(~5) GM"] J::z Ex...M.JAZZ OHORiI) EXERCISES Jazz Chlord Exerc~sesTwo 4 A:M1 !FOm::1: Form VI Ex.A~..••.? ::I r-..' i 17 C1 Dm1 Em7(b 5) FM7 7 Form VBl Dm? . 7 J .1l!6 i~ _f7 07 Bm7(.rx 4" FOi.rn1J VH FM1FM6 Gm? I ? i .6 Em? Em6 FM7 Ftr. "VI] .7 Am6 " Bm? Bm6 eM1 CM6 . I>IM~ I of jii . F..7 Dm 7(b :5) EbM 7 . VI E~7 D~M7 Dh:M6 emi B~m1 ..Dm.p'5) CM7 I "...lir Fm? Ab'M7 _7 1- -[ I Ex.•...XU Form X " Fm6 :::::. vm.Xl .

'(.t OJ better ideo of how your timing lis a~d jus.youtl1.econdtaps' deck or the t!nlis·~'H~d roduct. First. Part A Uststh e bcslc chord c nan'ges.tudyi r'I g. pla:ys back the rhythm chords . but be aJble. chord subs.s. This is an exoellent aid Inphrcsing end corll'ectllngl mistoki&s. record the tofne tune. we've' pr.going through eoch Tune . lhe chord changes . once pOlrts A and B have. flip: We su'ggest IJIs.rallntere.experime nTIngl witlhother forms. and where. ono OIrpeggios).in'9the scoles and arpegglios you've studi:s·d. The R'omaln numerals above leach chord r.enJoy c no have'~I1..oucal11 use.scales or arpeg~ p .ep:rooent the chord forms we '~eeJI make the fuH.• use the second recorder to record yourself p'laying the rnelodv ogalins~'the chord chang:es. liT in this sec-fieri that we.es yOUV~'El' me. to eventually improvise over these changles.otic Ing these tunes.lady. We.sti g a nd rewa rd Ir'n'gone. We will work: with s..e the chordsubstii~utions and progressions in every posii~ion.acticing techn~qlU~ when workingr on your improvisation.e must be rnemorlzed in order to rea Illy improvise 6.and . then begin to improvis. you'H 'ge.s. and some popu to r tunes wJii"tena nd rl9cordied by i AI.ffec1tiively. glive you fhe chonee is to leam how..es.gles aver the chord. The A part shows the basi:c chords tofhese blues progrress. A.of a 'tun. lit' lis very irriporterrt ~O't. been memorized in 60. When you plory back thot 'tope.. vou'll hecr how you're ma.CI'1 tune.and tile '6 part '9 iVes.t .m the best flowing ayel'a pmglre. R.ing'two cassette rhy1ihm acoompaniment .em sounding rhythm chords and crea.Tching fh. .12 BAR BLUIES & AL DI MEOLAT'UIN. sooles.e over tl1'a bclsilc chord changes us. While playing back file s. A and B.~ol1s.t how well the melody Is fil.ov!ded. Part B gliy.stin'g '12 Ba r IBluespatterns. The 112Bar BhJieSpatten'Hi hove fvi-o parts. A end B.only to memoriz. These ports shouldbe studied ondi proctlced separa't'ely. However.e.ssion. EocJn'~urnehcstwo perts.ES We f.this sarme pr. we' strongly 5ugg.feM' fnot workirng with thls mater~al W'o'iJld be more fun to practice' plus gilveyou more off a practical working knowlledge' than 01bunch of boring exercises. then as the COlssette.$and plroglressio-n's.eml1:!lmber. when.e' most fun s. 'faCile.eel fhat this sed:lon ot flheSystem ls nat on Iy the most irlTere. once yOlu'v'e mastered the chord forms.ords. deck-s when pro.owil"lg. to use the' tools of your trode (ch.tiitutiol"'l.eve. but proba1blly n the section you'll .

~[ G ~I:" "" 7 J D1 C G Df L -I Turn 3[1QUlnd 1- ~I Ex .IT £" 7 :-~ 85 .. --I / bP G7 ~ n-B D7 J .12 BAR BllJl:S Ex.~ n II -.9: C7 I 1- G7 -I U-B fit I@} ct m G7 1- r I' n~B D7 U ~.B C7 L_L :Ip' .7 11 .B ~I C7 l 0.

U C9 G1 J C7 . ill Ex. G7 4 G7 I -r @C7 I @"..IV ~ >G./ /' Gle " I m 0' ~ l\1~~ Am7 D7(~9) I .Ex.lU n em.·~IU @ G7 ~1 ~ 11:" / ® G7 I " .[)1 :11 .I' u I Ii . ~ Grn [ :1 II Cm Gm E I~ U-B D7' em n [ Gm n-B .i .n' C9 OJ D7 I G7 .

* ® Am7(b5) \Yrn D7 r--II~~ D7{~9) em 'Gm D1('b.? A. VI rfi:\ Gm ® ~ Nfl 1 ~~n~.7 G7 ! / J II Dm7 .--u -----.'1:2 BAJR BLUtES eM em? n Gm7 .-.. E~M7 E:~M6 Gm 'Gm? I Gm7 I 'I r.? :: U I em? C em.o7 Grn7' I ] [ Gm. [ G!) em ~) G~ Om. Cm7 n nlll? Om ~ U~·B D7 Ex.~ Gi I.. D7(#9) D7(~'9).9) Gm7 I D7 II 87 . Gm.

II' .. 'I n G1 I~-~~-rn G7 .7 I ~..~. '9).1i2 C7 II C9 G7 1 .-~~--~.Am 7 :Om7 07 n .07 W.2 D9 'G7 Am7 D7'(~9) n z :it z / =': I " ..D7(~'91' G7 I rn I B~m. " @C1 U ®. I . ~IJ C1 C9 if G7' [ G7 C7 C7{b..Am7 ~~-"'"'"II.C9. .1 i! 7' It' i . I / I . Am? D7«~9) U 31 . 11 8m? E7{~9) JD7 ll9 0709) G1 [ Bm7 B7(~9) n . G1 I G1 ''G7 ---~~-~.

1~7 G7s.'C9 n H C7(b9) C7 G7 IIr"'""I --~~.. b7s~!s41EI~ Alb.us41[)' I G7(+~n (H7(+S) I -1- -===!=II C7 C9' II G1 ~ G7 G7 G7su.' G1 I Gb7F7 i ~I·~ B IE? J ® . ~~~~"'_"'.~.12 Bar B.1 U ~.of f ® Am7 . 1 ® E~9 ® B~m7 rn IEb9 n l A7:S1!ls411E I A7 rn iii. B7 E9 B~1 U .g.~/D b G7 I n .~~ .1 (if :[)~9 n .? -1--F9 B7( ~9) -+f7 Gb7su.07 ])709) G7 'IF~~~-- Bm7 01 l"~ ----B~1 A.t @C? ®..rnx Bb7---.~es u ® '@' Ex.Eb9 I A7 n D9 I Ab7 n D~9 I G7 C9 n Gb1 I Cb9 . 7 Alp? ---=I:~ 89' .U F7 I U 'I:b.

l. L ® C#.I ..~ 4h ~)D1 ~'Gm7 Db.7 I Bm. A#o ..1 =11 ._Ii ..1 I n II . I A#m? D7 I 11 D'9 .1{b 5).D9 n ..m7.) I .9..fI E9 --J ..ro.. I Bro? . I E7(~5) n I ~7( ~5}1 DIj'.----D7{#9) 11 "-~ D70.( ~S).I @ (ri\I C7 .E:x:.07 Ab7sus4 Ab7' . 4" .. .'" I Am? I-l.-XU .Hm? Bb7 Am? AI~7 L Ex.r r Am.. @'G7 ~ ~~_I ~~ 7 L ~~~ i II '11v U " .. ~ X] Q9G~~ ...z / r 90 ®~7 l n D9 ..g /' lE' I I' '" L .I B.1.b'm7 Am"}' G7 Gl 07 .@ G7 B.Ob9 ... ./ .' Elb'9' n G7 I n D9' Am?' Bm?' ..? I G9 U 01 1"9 Sb7 J T E!b. ~~ ---i ----~. .(b:5) II G1'5us4 .

11---.b'? .z c. C7(b'9) FM7 PM....'Z .11 C7C9') 91 . I . G18us4/n G1 B. E A..-7__ II ~'XIn VU1 FM6 r I .... er•• ®FM7 ® FM.~ _i .~ :::1.." *.11----.~ cs .I F7 Fm? B..D'b'M7 --- "I'm:"~'"""'" l..[. c nbM6 . C7'(b 9) .9 n [ AI~'m? II D..:I'b'Mi' 1~ .. C'm7nS) n C7 IV [.I~"9 'F I A ~'7's:us4/EP Ab7 l:.~ .l2 Bar Blues E....7suMtE A..

..1 ~--------------r A7 N. @I H ~ Dmaj7 E7:s~s4 .C... .mj' ® ®---"..2 . n ..j"] 8m.+ 9. _ ·m7 n -- "_" II l Gm~7' A .

•. ....--.AllDl MEOLA.. 'li'wk-e iiS f:as:~ 8'1. _-_...---3~__ I __ I G 0-----.C. . -... •• -- ~--. •• --.... --...•._. [)---N.) ~.•• -. lJ'IiJ~ .•• .o. ~ -.. _.3. r •. Aj"'_.~ r--..- a__a --.Co N.--------------------._ •• .- . -~~ -.._.9 2.....---~---. 'TUNES u FI [ 'Bm7 G)-----=------~ II F#1. _.. -- ~~ .-~~ ~-~ II " __j 1 (D------------' o ----------"-" (~) -----"""'"' 8~~----·--~-------·~----~----~--~----------·--·------·. --•. ..•• -_ .tI--·-·-~·-·- (J :.~. I (I) _~ l A" ~ __ ____J r .-----._.•• -..• -~~~ -~~.. _.

.------.---4 /"i ...._._. I.- ....' 36 o Bm1 I l (~) -~----_. cY. Q) . TEmpo..--_..~..---- --- •.-. ® 8m. 8m 94 ... . ••• ... 3.. ---.. --- __ -a' •• ....8~---------·--------------------------------------_·-------------------------.-..- --.-..• --- ----.-. --- ---- ----. -----. 44 F:Fm1 U (D---' ~ . -------' .--. ~U 4 @__J 40 ® ------I~I- ..-------....-.---.--.sof~s' -.- .. -_..• .---- -- •• -- .---.--.r?epeat [or . 8~-·---·-------·--·---------·--------·-------·--·---·-----------.-.C...I(J : J) A toeD ___j N. I ®-N.? n :17-9 CD--~ '.. __ • __ ..• - a...-----------..--..-----------------.C... -- •• . ® Bm? B~--·----------·-----·_------·--------------·------------'48 ....... @__j -' 8ila-" •• .-- ...------- .~ 8J!:Q ----. 11 8va-l . F17·9 . 1'IIt~asr I~me • --.' .__..

No dliord .eoordil1g for AI's solos in thJe.4"and 27-32: are not given here.. Optional backg. Bass _j . P._~~ .s D'I'nnerMusic of llhe Gods Modemt:cmy fast: 1_____ I n 'BOIl. .- ... 95 ... 18.I ~I.AL DI MEOLA TlINE.efe..~ measures.lease r.. ~ ~~ -JI 9 :1m :Om I- ..·2..ed. .l''O\uu~riff for B.. AI's solos..M9-lS.uitaf....:r 10 the r..ut.ior . 4 M.

. II Bill TU~) .xu ].\ - .C. 21. . 8m n . lX N.8 . ' . ".. -.

F~ :I xu ]X IX..._.=:I: . -'.... -I'. .._ 97 .

--_.-.J...._ ..."'-_ •• "•••• ..'_" Sf - •.._.•...• ~..C..XI 811a· ---.0.• Muted~~~ ~ J' J -J N. ._..-~ .. <t. n II .•••.---. . .-_•...-.••••..•• . ...•.: .----.•...•_.••..-.... -_. 3--3 . rr-=--c~-_-J _ Bra· --. 8:va· --.••._'"..... _.> 2Ft PI fEft¥$ ~. •• ------ •.ii---------.•. II :13.~ 'Dim ffeet Brn be- .."". -_ •••• . I gnzaut..-_ ••• ._.•. _. . i.• _. _·'_1- N.!I decay 45 f PIsm4 :Bm u low a <Ii}' ----------------------- _ 48 1_ q--. »: '.5 I (V-------------------~ I Fbus4 -Bass plays fl\!'cly m a ]2/8 mode.---..--.•• .._'•••• . ' "m _j- :0.C..--_ ••.. -. ..•••.•--. ". '§"ijt r._-.•.e.

. rUNES Jfr" ~ . 'I wIth SllS~'- BSlIs. :Bm '" .. 'I~"~"I~ I. "ir- ®I-' __ 55 rn.... r +.- .. 99 .) . 3-.. .j 'CV~--------------------~ I F'slus4 " I BSl!s4 ... ~.Al 0. ... S9 U 1 Fhus4 Note: F#slIs4"' Fmajl Form..r--J __..4 '" 'Bma:j Form I:with s(ls4 • :Eadded" B..~added.._.1 MEOLfl. ..t--:...

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