CO} INTRODUCTION | |. THE APPROACH I, MATERIALS VENTS a Rae an on mR Introduction to Fingerboard Methanics Fingerboard Mechanics Playing Up and Down a Single $tring (The Science of the Untar) Modes: Chord-Scales: || Playing on Iwo Adjacent String ‘Movable Mini-positions Study oI Intervals: Melodie and Harmonic (Poor Man’s Guide to Countetpoint) ‘The Open Position Position Playing ‘Combination Playing: “The Realmof the Electric Ied-skating Rink” ‘The Approach: Take 2, Take 3 | What Next? Next What Next? Triads More to do with Triads 7th Chords Intervals, Triads, 7th Chotds, Others + CG Major Scale + C Melodie Minor Seale + C Harmonic Minor Scale Biatonic Four Part Chores: 1, H, Ii, IV Moues: Chord Scales: I Chord iypeiModes Process Triads Over Bags Notes: | Triads ver Bass Notes: {1 Pentatonie Scales Note MatlvFinger Math Fragments (Mosaics) Voicings trom the Symmetrical Difninished Seale A Picture is Wort a Thousand Words— ATaste, a Thousand Pictures | " 16 7 18 24 27 20 a7 38 43 4a 47 47 51 54 57 62, 66 67 74 75 82 85 86 29 30 .OMMENTARIES: * The Guitar's Complexity The Evolution Contemporary Harmony + About Tuning and Tuners Harmonics and Overtone influence Feeling "Stale"? Silence is Golden On Being Sell-Crtical Words— Terms = No One Knows What's Next Improvising Short Pieces (Use of the Tape Recorder) + Time—Rhythm + Tuning into Time Headquarters, Tempo —Movement “Some Thoughts on Technique + Different Playing Situations Playing Versus improvising ~— Selected Short Subjects + Init, What’s In t—No Regrets Conclusion 93 93 94 94 95 95 96 98 98 9 100 101 102, 104 105 107 108 109, 114 115“atroduction to Fingerboard Mechani ‘Your ability to play music on th >iistrument, Most guitar: guitar depends toa large e nave never had a chance to ics fert on how well you know learn the instrumentin an ~eligent, logical and complete manner. The tactis that the vast majonty of guitar Yethod books don t really evciain very much at al and tne: ve the products of nese metneds. AS a general rua, quit 2mselves vith helping you to increase your overall comer euttar methods get you to doa lo of things fwicn certainly) ‘you a method ofhw to do something. But these methods wth of your understanding of how things work on the inst _adito a narrowing of possibilies because you don thave Faursef. You just nave to follow instructions. Vénen you kn ‘ut ofthe method. ifyouteach, youtendio teach the me ‘odiications — afew imarovements). The method can act “wan the musicitis supposed to help facilitate. Thisis not lof the above helps to explain why this present volume is ethods are given. Methods may be implied or hinted at, b hods may be deduced by the reader (in fact, needto be e readers’ pursuing such methods are totally based on rowledge, interest, and creativity, ‘what I'm trying to dois present information and tacts. You’ vaclly what you are able to draw, based on current underst sat you are capable of; what you deserve; what you need, ‘Two glasses of diferent sizes sit ona table. Fromthe stancpoint of their function as glasses, but rather that both are tl Fingerboard Mechanics | List Thing to Learn: Up and Down a String (Single Strit e importantitingis net whether ones arger or smiles, ast majonty of guitar teachers methods don'tconcem nension of the instrument. icanb2usetul). They show dom, it ever, lead io a fumert. Itanything, they {igure out very much by the method, you are the ‘od perhaps with atew luaty become more important good. jot a method book. No only in a very loose way. Jecuced), but the results of vidual inteligence, present draw from this information nding, This way, you get just Playing) “econd Thing to Learn: Across the Neck and Back (Position Playing) ‘Third Thing to Learn: Combine Allot Both Previous Poss! Playing or “The Reaimof the Electric. ~ were a real tough discipiinarian, twoukd have ended this, Gut this “area’ is so crucially important, so misunderstood ax all, that really have to go into a ite bit of depth on this. lties (Combination :e-Skating Rink”) son one sentence ago. 0 seldom mentioned “Any guitar'st who has played at ali serously knows that positon playing is very important. ‘19, position playing is a huge project. Lots of stutf to lean, Years of workinvolved. | nk we an agree on this point (more on position playing fofiows later). The point that I'm trying to make (which may be one of the mpst important points in this 20k; is iat position playing is not even half of t. { Probab! not even a third of it) 2ually as important as position playingiss playing up and ddym one staing. I'd even go so as to say that's more important than positian playing jugt plored. In addition, !might add that standardized methoo} ‘enin existence tor some time, whoreas methods tor playih nae prachcally non-existent, at ieastin the WEST ‘because t's so seldom or position playing have i upand down one string OT ME Se a ee eeIn most quitar method books, no mention is ever ~ ‘This omissicnis a huge oversight, because play} most logical place to begin ona guitar. Considet :made of playing up and down one string, ingenasi le string is absolutely the the following observations: The simplest way to see notes is ina straight line. Asingle string isa straight line, | Onasingle sting, there is a direct re movementin space. | Playing on a single string helps to eligi “paralysis” (fear of movement and “agro fed from the very beginning, entire length of the fingerboard util ‘This approach is conducive to leami a fingering pattern (as in position play The problem of changing strings is el function and displays the principles o Ditterent types of phrasing and articula tionship between interval éstance and inate two potential problems: phobia’ (fear of higher frets), since the note locations because you cant rely on 19). inated. This simplifies the right-hand left hand function in their purest form, tions can be played very consistently. Elements of fundamental theory can be shown to a beginnerin clear and simple visual and aural terms Intervals, seal construction, chords, fordynamics ariculavons, anatimbre Someone probably invented aone-st Jong betore anyone ever inoughtot would seem sensible fo learnin the sd chronologically | Many stringed instruments in Eastern and down the neck" fashion {most not how long the music of india has been. iPeggios, ete. The same could be said ipged instrument (lets callitauritar}) sirings, let alone sixof them, Soit ime way thatthe instrument developed untries are playedin a much more “up bly, the sitar). Do you have any idea round? Alot the above contnbute to suppor my personal contention that you have no real understanding ofthe fingerboard until you ve spent aot of ime playing up and down the ~ strings individually. Ifall you know is position play whole fingerboard. In fa youcan' even unders| ng, you cant even begin to see the land the proper uses and advantages of position playing until you've played up and down gn the strings a lot. if ~ ‘The strange thing about al ofthis is that t's really £0 obvious. (Hidden in the Eye of the Sun, soto speak.) One can't help but wonder how itis that nary anyone has noticedit \ - Itis sate to say that you would do well to spend solne time playing on one string. Doing this (in itself) would begin to completely transtormlyour understanding ofthe fingerboard within two orthree weeks. Icould almost guarantee it. Consequently, he approach that 1 this volume presents goes lke this: Playing up and dow each ofthe six ates individually (The Science of the Unitary Playing up and down five. comin of two adjacent strings (Moveable Mini positions) Study of Intervals: Melodic and Harmonic (“Poor Man's Guide to Counterpoint") ‘The Open Position Position Playing 10srro8 Principles of Left-Hand Movement: "+ "uid you play up and down one string with onl Siaying Up and Down a Single of the Unite 2 Science yo +. Groupings (two, three, orfour notes bat 2, Hand-carrles or shifts (moving to a hi ‘numerical finger; moving to lower pitches Linking two or more diferent groupings) 2. Slides (using the same finger to play cit gissandy ‘akdown of Finger Possibilities: a. Fourpossibilties of one finger at atime 1. tsttinger 2. andtinger No groupings, 3. 3rdtinger all sid 4. Ath tinger ©. Six possibilities of two fingers at atime 1. t and 2 2 tand3 3. 1 and 4 4. 2 and3 5. 2and 4 6 3and4 ©. Fourpossioilites of three fingors at atime 11,23) 2124 31,34 42,34 4. Allfourtingers: combine all previous possi four note groupings, shits, slides Xcantbe learned any other way. This type -"114 8, only one finger or two or three), we cat “iy bother playing wath only one linger when y hngeranyway® But the question pattems or note locations? Is there any co y what you normally play? stage exercises’. By deliberately working wh Siring ed on what the lett hand can cover) jherpitched note with lower note with higher numerical finger; sremt consecutive pitches —no shitts, “wo note groupings shits, sides "wo and hese epost ie ibilties two, three , and yone finger? Because you'd learn approach is what Icall hin the confine of a particular learn much. Some people might u've gottour? You can't play much really, "How much can you play with one what could you learn?” Whien playing with nly one linger, do you rely on elvable use for a technique acne necro ee ey = "How much should you play up and down one sti question! Actually, ! guess you should play up and down owr aimreally help. arent!) W: en yeu stop for awhile, Do someting else. You can aiwi ‘one sting. Wnen you come back tot, you more: that you didn't see the first time. Alot of iungs in music ate like that. Probably allof them, Doesit make sense to have East and West Does it make sense to have longitude wath Does it make sense to have honzontal with ‘Does it make sense to have position playing cownone string? Activities — Application 1 Map out al natural notes (A, B,C, D, E, F,G) u incividually. (Entire length ofthe fingerboard) Record suggested modal vamps on your tape at least two but not more than four minutes in k should fiton one side of tape (30 minutes). Play back the tape trom thee beginning, white i modal vamp, but using only one stang. Seven| possibilties. Two obvious approaches comet A. Play one string through all seven modal ve using the other strings, one ata time. B. Play through one modal vamp sixtimes, 0 procedure six imes using each ofthe othe ‘One less obvious choice comes to mind: C, Write each of the 42 possibilities on a tain scissors, cut out each one, (You'lithen hat ‘them allin some kind of small container. at random and play what it says (i.e., E phi desired {t's probably a dood idea to try each of these three. present, just pick whichever one seems most sensi either or both of the other two possibilties. Temporary Rules: 1 Dont use any bends larger than a half step. Y 1.B—=c 2 EF 3. C——~aB 4. FE ‘Should be ashamed at having to ask such P 1? (Good question!) How do you od sining as much as you need to play. ration point, ‘come back to playing up and down han ikeiy see some things about it ithout North and South? latitude? tut vertical? without playing up and ily questions? and down each ofthe six strings recorder. Each modal vamp should be ingth. This way, all seven vamps 1 iprovising melodies against each .des on six strings makes 42 mind: iPS; repeat same procedure five times. e for each sting. Repeat same modal vamps, | largé piece of paper (B 1/2x 11). With /2 42 small pieces of paper) Place x themup. Pull out one piece of paper ian, B sting). Repeat 41 times as jpproaches at some point. But, for the fe to you right now. Later on, try canonly bend: 2. Don't play the following notes: C# Dit F# Git A# Db Eb Gb Ab Bb Forour purposes they are wrong. No exceptions Don change strings. ityou'e soloing against tere. Be patient. Don't jump to anottier sting fepettivein your soloing. Maybe play less tora solter, or maybe louder. (They don't call timpr Stay onthatone stang. Forthe time being, that Your entiea musical voice. (You really sould ls Mixolydian on the low E string, stay ist because you start to get bored or ile, or maybe more. Or maybe ising tor nothin’ you knows!) But ne strings your entire instrument, en to Some Good sitar music!) Fro tien erent pean one tt REARervations: | stove are some things that you can do on one stinghhat a piano player can do ata a.vibrate | b. bending (remember, only halt steps: B-C; E-F) ¢ hammer-onsipulotts diglssandi { e. harmonics (natural notes only) 1 mute the sting | tone qualty by altackng the sting na ferent place. g.chang hake sure you experiment with ailof them. Each mode has its own mood, (What sort of mode fre you in today?) ‘he half stepsin each mode are veryimportant, Let's look at them: EF FE BC CB” loin: 34 43-78 BT Dorian: 29 b92 Eb7 b76 Phrygian: 1-b2 b24 56 BGS tycian: 78) 87 HAS SHA Mixolycian: 607 B76 34 43 Aeolian: S-b8 bES- 203 b32 Locrian: 4-b5 D542 ba These hall steps contain the problem areas of each mode, or the places where you can nuninto trouble with unwanted dissonance. H9wever, the haf steps also contain Ihe individual color characteristics of each mode. $o, both aspects taken into consideration, you really need to understand how ial steps work, Two very important ways o! thinking about modes are: adetvative: D Dorianis © major scale starting onthe second degree (tinding the major scale rom which the mode is derived) parallel: _D Dorianis D majorscale with ba and b7 (constructing the mode from a parallelmajor scale’same root) | ‘Since we are using the modes of C major scale, itwould seem that our approachis convative. However, when you are playing against a vamp, I'd encourage youto think of the mode fram the root of the tonic chord (paraliql). We'll discuss this in more detail lateron, ] ee elDERIVATIVE | PARALLEL | Root C lonian (CM7) c oo ———— — =o: So OO 71 1 2 3 4 5 6 7 2nd. Dorian (C-7) E Phrygian (E-7) 1 b2 03 4 F Lydian (FM7) 3 #4 G Mixolydian (G7) b6 3rd C Phrygian (C-7) © bot t b2 B34 Lydian (CM7) 1 2 3 «#4 Sth C Mixolydian (C7) 2 10203 4 5 |6 bF ot 1 2 3 4 5 6 wb 1 A Aeolian (A-7) | oth C Acolian (C-7) E f 2 — GC ee — a (—o- : 5 O20: eo; 2 bb 4 5 be oT Tt oo a i 1 2 b3 4 5 b6 BT I B Locrian (B-7b5) Tth CLocrian (C-765) oe? 2 Oo + oO. OPO = Po bp bs 4 bs br ot 1 b2 63 4 dS v6 b7 1Acrangedin order of brightness: zpro-rom> 6] zp-o the five sets of two adjacent strings. Then play the 6ths again on two strings, ‘skipping he one in between. Then play tie 7ths on the same four sets of two none adjacentstings (E&D; A&G; D&B; G&E). Could you improvise against any of the'sqven major modes with hese double stops? Sure ya could! | Try 3rds frst because they're easy to play; ‘stings for the same reasons. Then maybe ‘and sound good. Try 6ths on non-adjacent 4ths. Then Sths. Then 6ths on adjacent Strings. Then 7ths. And lastly, 2nds. Youll notice that allof this work involves parallel and similar motion, | 8. The next stepis to stan moving tromone indo intervalto another—drd to a 6th, {or example. This next step provides for cbntrary motion and oblique motion. (See examples that follow later). + Hereis alist of interval moves": . 2nd to ard; 2nd to 4th; 2nd to Sid to 2nd; rd to 4th; 3rd to ath 0 2nd; 4th to 3rd; ath to Sih to 2nd; Sth to 3rd: Sth to €th to 2nd; 6h to 2rd; th to Tih to 2nd; 7th toad; 7th to th; 2nd to 6th; 2nd to 7th th; Sd to 6th; 3rd to 6th Sth; ih to 6th; 4th to 7th tn; Sth fo 6th; Sth to 7h th; 6th to Sth, th to 7th 7th to 6th Ath; 7th to Sth; ‘Question: Can you see why certain intervals are bold? + Remember, allof this material can work for | any and all of the seven modes of C major. * Could you move from an interval to anotherkind and then to anotherkind? (three different intervals, i e., 3rd, 6th, 4th). Sure ya could! (I wonder how long the list of “interval moves" viould be using 3 intervals? Have you got a computer?) How about four or five or six or sevenintervals? (Sorcdrer's apprentice, walch out!) But enough is enough. Just remember: when you know intervals. * Play and study the fottowing examples: allot your intervals, you's know all of yourvine the interval type and then play, 2nds utp ir , , _ M2M2m2_0 ae an | D&Goswings G&Bstrings BB &E strings - EGA stings S&D sings | eva , ae Se ———— | wae 1 _ —t ae = i 8va Bva Bia Bu thie ss D&G strings B & E strings | = 1 _ s a ¥ = = = —> = G&B strings | E&Astrings A&Dstrings | + oT | 8va 8va 8va 8va ByD&G strings G& B strings Adjacent Strings D&G strings B&E strings . G&B strings ~ E&A strings A&D i“ = Fi 8va — a} ea Ft ~ - & eee SS = us T et ee T — = - Non Adjacent strings G&E strings D&B strings E&D striigs A&G strings string Non Adjacent Strings E&D stringsOptional: identiy the imtovaltype. Dette pay Se He i » r]Ne— a hi ‘ je (a i — e , - Li £ f ——- D4 t t = c 2 2 | ae = $F 22 Ee 4 f f © Tt T V z Ee 2 fe 2 - hick fafa oe “Pesere mA # =o ot T eo fe £ es £¢ Zz a Lyset £ Pg pee. . = v4 Tt Serene reyC- Nowit someone played allot that material over an bpen Pedal A string, we'd all know tnaihe'dbeplayinginine A Aeolian mode. Right4 Wed also ccc in, he was playing ince Citerent pans, right? (Two melodies andabess erone ) Wine “someone” was retested, he might decide to explore this kindof playing a tte bh every day fora lend time, just to-see vinatitcouldiead to, Now, maybe he ‘might get tired of A Aeolian Bier awhile, Maybe he'd decide to play in E Phrygian foratirce tox retune the E fiiing downto D forD Dorian.) Who knows what hd might do? May be he'd even learn how to move the bass pan around abit. (then, therb'd be three melodies! Not playaahie eainoving at once.) Then one day, it might occur to him that he could try Playing this way through a progression of chords using diferent crater ey modes {not just the C major scale and its modes). Who knawe? Now, if someone did alto! that, wouldn't minditatal. Would {YOu mind it if someone did that? | thought so. {Agood horse runs at the shadow ofthe whip.) The Open Position ihe oPen position s the usual stating place in most gut method books (Hopefully, by this me you understand vty his present volume doesnt stan with open position!) By Ine open position, we mean the si open strings andes 1,23, anda. The open Bees amounts to @ small melocic instrument unto tse, with a range of two octaves fusch more imponant than the open position You are als sng en Postion as much 2s possibiein favor of playing none ar ancther of he "ayer eattons, Now to aceainexent, this approach makes sence ands ariel (Caitever: think in other ways it s net enouct for someoniawhois realy merectonge ‘ening as much about the guitar as possible. The epen 04 lt abo happens tobe a great preparation tor theapparenty amesorne ek af cea playina. Put iis preparation aspect can only be appreciated the open pectign Silent m areal detail (wich, as you may have Gathered by now is exact whet Ion oporng!y By great detail mean4. Chromatic Scale JA. inoctaves (great left hand exercis| *b. alothor iteivals Pesto thup Two Whele-tone Scales ‘Three Symetiical Diminished Scales Twelve Major Scales Tweive Melodie Minor Scales Twelve Pentatonic Seales (1,2, 3,8, 6) ‘Twelve Pentatonic Scales (1,2 3, 5, 6)| AllT#ads and our part Chord Ameggio * Optional 2. 3 4 5. 6. Twelve Harmonic Minor Seates 7 a 9 t's paint, 'm going to suggest that those of you w ‘nen proceed to Position Playing and only work on! The Straight Path.” Observations string and double-string soloing forthe first tim cms back i itwhenever you want. For now, ust pl ardimprovise on the vamps for each of tne seven mo co ‘The main difference between the open position at soon enough) is hatin the open position, the oper 'nposttion playing would require 4st and ath tinge lime to understand.) From another angle: no fing The open strings tendo ring out when we don'tw: need 10 develop techniques of stopping open stri inallKeys 2re just leaming about modes, i this material fornow. You can y the C major scale in open position oes of ihe matenalin the section called 1d Position playing (which follows, strings function for the notes that stretches. (This may take a tle stretches in open position jnt them to. This means thatwe 18. This is usually accomplished Ta ale hanc!-tinger. Finger-style people also halve options with using right-hand singers to stop open stangs from vibrating, (See es fercises that follow.) {netesting and very aocessible possbities of sluting (hammer-ons and pull-ofs) exist inthe open position. Check “em out! Inthis approach to the open position there is one same fret Anote onthe 1st fret mustbe played with the ttf ‘Anote on the 2nd fret must be played with the 2nd: le to be followed: same finger- er. inger. ‘Anoteon the 3rd tret mustbe played with the rd finger. ‘Anote onthe 4th fret mustbe played with the ath finger. NO EXCEPTIONS! Gonsequenty we wllnot explore counterpoint and harmonyin the open position ecause the mle of same fingevisame tret would ike many voicings impossible, \ tier on. of course, you could explore counterpoiniand harmony in he open, fesition. When you decide todo that, just use any ingers you have to for whatever tenotes are.) {nts particular approach, the open positionis our fist truly “chromatic area of ‘Delantial melodic possibilities.” All scales, all modps, all ampeggios are there, (Think ‘#404 what that means!) {ince the ony ote that has two locations and two ldgeringsis the B (open string or htretot G stingy, Blaynig any seat, oh choice ig otmously Butter than Mie would be a good idea to experiment with both possibilities when Mode, of arpegaio that contans thie note B (or Cb). Sometimes, het, Sometimes, both are about the same. apy+ Apersoncoul spend awhole oy of playing on a guitar with ‘ento.elevon strings that had only four ets! * Sometimes poop wo wie books mp oid ebsenatons ctme)piaying only in the open postion (Imagine the Ex.1A Ex. 2A porePosition Playing | uitar.a postion means a section of the fingerboard covering sx rets across al sic “ngs. The range ot a postion is two octaves pls a Pa (23 hal steps). inthis range, “note in the chromate scaie s present. Twenty-four af the available pitches have done location and one fingering, The other stcpitches nave two locations and wo =gerings | ‘There are four possible lett hand-finger allgnments: 1.2.3 4 — «normal) | atrets 2 3 4 — irstfingerstretch) |S frets 1.2.3 4 ‘fourthtingerstretch) Sfrets. 2 3 4. (doublefingerstretch) 6trets ‘These four combine to give us: 112344 112344 | ‘The position you are in is determined by the fret just below the 2nd (middle) finger. | 1 | position | | “swhere the'tst finger normally falls.. But since'the 1st finger covers two frets, this is imes contusing. if you're playing the A Aeglian mode in fith position, the low Ais with the 4st finger on the Sth fet ofthe low E string (normal placement of 1st finger » position). But f you're playing an Ab Majgr scale in fith position, the low Ais. ‘edon he dih fret of the low E string with the {st finger (stretched placement of 1st ~rintitin position). Even though you're playing a note on the Ath fret, you'e stillin the ‘estion, That is. of course, assuming thal you play the Bb vith your 2nd (middle) 2t. ityou play the Bt with your 3rd (ing) tat then you're not in ith position; you'd ‘fourth | 1 this we see that position is really determinad by the placement of the 2nd and 3rd (rniddle and ning fingers). Filth postion ricans: 2nd finger on éth ret Sed finger on 7th fret Astlingeron Sth fret (normal); st fingeron 4th ret (stretched) 4th finger on Bth fret (normal); 4th tinger on sth tet (spretched)Hore are come rule Donitever stretch between and, Dont shitt 2nd and 3rd tinger u Positions) | Dontuse tine same tinger to pt anciher way to tingerit. (Som: land Sratt ‘or down a fret (this amounts to changing #9 consecutive scale degrees itthere's es inere is; sometimes there isnt) Here are some suggestions that apply to postion laying: 1. Become as familar as possible WN all aternate fingerings in a position, 2. Be especially aware of alternate Ingerings on the G and 8 strings. Thisis because of he fact tat ne Sri terval oetween those strings (as opposed to the perfect 4th interval that occur ‘tngs) changes things around qbi Realize that aposition contains i (two octaves plus a perfect fourth (and all positions) contains: Chromatic Scale (12 notes) Two Whole-tone Scales (6 not Three Symmetrical Diminishe Twelve Major Scales (7-note s Twelve Melodic Minor Scales ( Twelve Harmonic Minor Seale: Twelve Pentatonic Scales (5-n Alltriads and four; Plus awhole lot more... |'m sure by now you can see the vat |. In approaching allof this materia, it happens) there are two different apy example, let's take the major scale ‘major scale the same, and change t twelve postions). The second appr same and change the scale (ie. all Principle of “keep one thing the sar the one thing while the other stays t working with e guitar, You'l see i ‘or higher). The reason for this is tha are the frets. Thus, a higher position considering the 1st and ath finger st start with a relatively high position ar lower positions as the lett hand got at stretches. Position playing involves a lot of wh: memory”. It's @ very big and importa tothe root of he scale or ampeggio. tobe thorough, remember that no or orihiebest. Alithings and/or approa when you fe “playing”, you certiinly don t wiant to laying is Son of bke agear thait you ‘all lor as long or shon atime asisn | Since most guitarists don't have larg extensive work in one position higher forget the namesof the notes. Anda Position playingis an extremely disciph in the mood to he disciph between ali the other sets of adjacent te abit ‘whole “chromatic uni Consequently, verse” within the range this means that any position 8 €ach) Scales (@ note scales) les) note scales) (7-note scales) te scales) att chord arpeggios in alleys Ness of this project called position playing, Would be good to keep in mind that (as often roaches, both of which are important, For "The first 2pproach would be to keep the '¢ bosition {i.e., C Major Scale in each of the ach would be to keep the position the 'elve major scales in one position). This ‘while the other changes; then change f Same" is a very important concept when i popping up time and again, hands. it might make sense to start ‘up on the ingerboard seventh pasion the higher the position, the closer: together ould be physically abt easier, parieularly ches. With this approach, you would gradually work your way downto the stomedto the tst and ah finger t én | itis often called Finger pattern ntpar of guitar playing. However, don't orget the degree! the note relative he samme applies to chords.) i your aims ‘tung or approachis the mostimportant leS areimportant a ni c ed sud Ws a area thing to work wth ined. Cn the other hand, when you're nfine yourself unnecessarily. Position d10 be able to“stutt"into or out of at ary) pO ern on eraentem8. Thereisno direct relationship bet how @ COUlu quite easiiy be aticest Way" if yOu Improwise, knowing po: to Do Things Play through things like Rhythm Ch; Position. ifyouwanted, you could si either or both forms (elves, Rhythm| Position and keep the key the same. When working with scales (and esp fingerings,” stant improvising. Expl problems that beginning and interms ‘They just lay scales up and down at barely enough to get you “in the near encugh to “get you into the ballpark” laying the ballgame") The Straight Path Learn fingerings forthe © major scale in, against seven major mode vampsin allt ‘twelve positions equals 84 possibilties,) ‘you can improvise. On th Go through the material isted unde} Play through any (or aly Jazz stand you're improvising. (Remember: ar ir can think of andior hear. Ifyou just p mode, yourimprovising will sound th feen how well you know. ‘other hand. shi ni position playing and uld be easy to see that Pet relationshipt Or, fo putt another ion playing Very well sure helps, | ‘no. Sof suggestions. i ds) keeping entirely in one position while "thing you wantis there, somewhere!) Inges and Blues Changes allin one in the Same posttion and transpose Changes) to all twelve keys. Orchange the iy cially modes), as soon 2s you *know the interval leaps - pattems, anything you (actice playing up and down the scale or way. (This isone ofthe biggest ate guitarists have with improvising. iS play arpeggios up and down, That's cnt ofthe ballpark" It certainly isnt indits ight years away from “actually e Positions one thro we Optional: Leam fingerings for all twelve choice. (seventh position or higher, unies' Improvise on all84 modes (seven modes Idea: Make tapes of pedal roots at ditterei Cassette tapes. Record two 18-minute r ‘oots per cassette. Three cassettes woul ugh twelve. Improvise lelve positions. (seven modes times 1ajor scales inthe position of your your fingers are as long as bananas!) Imes twelve key equals 84 possibilties ) tempos, Gel three 60-minute son each side. That would be four be enough forall twelve roots.Combination playing is what quitarists do the most when they piay. They dont just play on one string; they don just play in a position , They mixitallup: they move around, Hopetuli, they follow he music, which takef them wherever it needs to be taken, (Hopetully) [think it should be fairly clear by now that a it of playing up are down the individual stings combinedwith a lot of playing in positions would 2dd up to the largest possible Preparation for combination playing, What we are looking for as improvisers is the greatest possible feeling of freedom with respect to vinatever area of the fingerboard the music happens to take us. (Thus, “The Realm of the Electric ice-skating Rink)." ‘The principies of combination playing are faitly simple. Let's take our old friend, the C ‘major scale, out for awalk: 1. Play the C scale only using two notes per string: Notice that with this fingering, you move Yownthe necks the scale goes up; and . that you move upthe neck as the scale gbes down! Isn't that interesting? Iwonder what might be the use of such amovement. What do you think? 2, Play the C scale starting on anynote (low E string) and play three notes on every string. You'linotice that these fingerings jook just like position playing until you get to the B string. Then, you have to shift to a higher position for the last two strings. This kind of fingering would come in handy i you wanted to play the following:1 | | n eee that rhuthmical arouninas are animportant por string makes sense tor typiets, sextuplels, ele, Also, Seneideration, Three note «9 goo that aftculation can be important. Ihthe above example, notes 1, 4,7, 10, 13, Inexample A, the idea is four notes per string, In example B, the idea is four notes per postion. - Inexample C. the idea isto shift positions between hat steps., Now, experiment with playing the same pagsage mary diferent ways by combining the ideas of examples A, B, and C. So, 10 review 1. Notes per string: two, three, four, (five, six) 2 Notes per position: two, three, four, five, six 3, Shut positions by hail steps (or any inerval, for that matter!) 4, Rhytiimical consideratons: triplets, 161hs, ete ‘haying scales up and down with these ideas is teresting, but unfortunately, when 1 improvising. it doesn't “come up much in bonversation.” So, start leaping around to out meladirs and interesting pattems. (And puton your finger-skates, because 1-0 ust about to enter the Peal O'the Rink). enone nt nerfs ete NA eRTo Do: + Erperiinentwith alt possibie scales, modes dnd arpeggios using the entire fingerboard, | ; | | + Improvise on Vamps, Standard Tunes, Blue: | and Rhythm Changes using the entire fingerboard, . The Straight Path Improvise on modes of G major scale using the entire fingerboard. The Approach: Take 2, Take 3 We've taken the © major scale and its modes allthe way through “The Approach.” Now, ge back 0 the beginning and go through ne same procedures using the C melodie minor scale andits modes. (You'l probably wantto use ‘the Straight Path sections) When you've completed that, star back al the beginning again, bu ths (thre) time, use the C harmonie minor scale andits modes. (Wotk especialy on the modes built on, WV.V.VL) * Its absolutely amazing what happens when you change one note in a major scale, (E changes to Eb for meloci minor) * _Isalso absolutely amazing what happens when you change one note in ‘ameladic minor scale, (A changes to Ab for harmonic minor) | * You might also work with other seven- nbte scales. For example, C D EF G Ab BC orC DDEF GADBC. | * Sheets on C melodie minor and C harmanic minor follow: | Melodic Minor Modes | Melodic Minor (Jazz Minor) 1 2 b3 4 Dorian b2 (Phyrgian 4 6) o = a2 1 b2 b3 4 Lydian Augmented Poorer naman arricengAeolian Major | B7 Al.\ncred Dominant (Super Locrian) ° i ora) o_° © ee b2 BSd 8 agg | | Wes odie Minor Vamps. | | | Melodic Minor 1 = Phrygian b 6Harmonic Minor Medes * useful modes (& ) = slightly tess important but stil useful Harmonie MinorHarmonic aiinor Vamps Harmonie Minor Dorian #4 (Overtone Minoi) (oe) jorian #4 (Overtone ) A El = 4 3 Ex.2 3 — —t- ==Altered Dominant bb7 What Next? ts:his point, I think it makes sense to mention sonfething. Qur approach has been naniy derivative so tar. (The modes were derivedtrom C major scale, C melodic minor, jarmoni¢ minor, e16.) Itwould be a good idea tolge through the same material again, but «time, approaching itn a parallel fashion. That means: all he modes from the same ‘oot You might choose to pick C as the root since es probably know that key fairly well + new. Personally, Ithinkit might be even better o pickeither EorA, These notes are wine lowest open stings, The idea heres thatit wouldibe very convenient to have a «3: open-stning root in going through the parallal approach. This is particulary true of * aenonic material, since you'll have either four or five of the higher strings to play the «> gs, as well as the low, open-string root to sound against any voicing you want, That "ttcome in very handy. | | E lonian E Dorianb2 | € Phrygian major E Donan E Lycianaugmerted Lydian #2 € Phrygian E Lydian b7. E whole tone E Lydian E Aeolian major | pentatonic (chinese) 1 2.9 5 6 E Mioloydian —_E Locrian 2 E pentatonic (japanese) 1 203 5 6 E Aeolian E altereddominant bb7 | & sym. diminished whole step, half step - E Locrian E harmonic minor E sym, diminished (dom) haif step, whole ste E melodiominer Dorian #4 Examples: | Play the melody to "Happy Birthday” in € Ionian, Transposeit tothe other 17 7-note “ modes. ] | ®Wtea simple melody in E toni nat uses all erates (seven) atleast twee each, ‘Transpose to the 17 other seven-note modes. tier ive stings. Then five sels ¢t two adjacent stangs. Then allthe above raterial ‘open position. Theninone posiion. Then tke a break! Go back to playing up and down a single ae allthe material, then play the plore countempoint and harmonic material om all above modes and scales for at 120 yeas,