100 Examples For The Modern Intermediate

100 Examples for the
Modern Intermediate
& Advanced Guitarist
Improvisation Concepts – Chordal Theory – Advanced Techniques
Lee Jones, Ph.D.

100 Examples for the Modern Intermediate & Advanced Guitarist
100 Examples for the

Modern Intermediate &
Advanced Guitarist
Improvisation Concepts – Chordal Theory – Advanced Techniques
Written by Lee Jones

Edited by Simon Tittley
© Lee Jones 2020
I
LEE JONES
‘…an excellent composer and one heck of a

guitarist…’
– Larry Coryell
‘…a fully developed personal style…’

- Dave Gelly, The Observer
‘…an emerging talent…’

– Jazzwise UK
Lee Jones is a British jazz-rock guitarist and composer, combining influences from modern
jazz, fusion, blues, avant-garde and rock styles. Lee has regularly performed throughout the
UK and has collaborated with Larry Coryell, Martin Taylor and Dennis Rollins.
Since graduating from the Royal Birmingham Conservatoire jazz course in 2007, he has
released five solo albums with former WEA producer Simon Tittley and in 2019 completed a
PhD in music composition at the University of Salford, Manchester, entitled Exploration of
Unorthodox Tunings and Muscle Memory Practice for the Electric Guitar.
Lee has released a series of solo jazz guitar videos and is a long-standing user of Ibanez
semi-solid archtop guitars. Lee is currently developing his profile in Japan and Australia as a
solo jazz guitarist and music researcher. Lee has several new recordings scheduled for
release in the near future. For further information, please visit:
www.leejones-guitarist.com
www.soundcloud.com/leeanthonyjones
www.youtube.com/leeanthonyjones
www.facebook.com/leejonesguitar
www.twitter.com/leeanthonyjones
II
Introduction & Acknowledgements
Over the past 15 years, I have been working in the UK as a jazz guitarist,
composer and tutor. The contents of this book represent a collection of resources
which I have amassed throughout this time and in my most formative musical
training years. These examples are designed to be used as a guide for guitar
players in most popular music styles who are principally interested in furthering
their own improvisation and harmony skills.
It is important to note that this text is not to serve as a specific how to guide, as it
pre-supposes that the player already has a competent grasp of fundamental
technique and musical theory. The exercises are to be interpreted liberally and I
encourage students to devise their own adaptations of these. The ideas are
particularly focused on examples which may be less common in other books and
will hopefully serve as a guide for ways to offer new alternative approaches to
inspire your guitar playing.
I encourage you to explore the examples in a variety of tempos, keys and

musical contexts. Each one has both notation and tablature to help facilitate the
relevant finger positions. In some cases, I have also included specific picking
indications designed to help technical execution.
Finally, I would like to thank Simon Tittley my musical mentor since 1997 (and
former principal guitar tutor), for proof-reading and editing this project. In
addition, guitarists which have influenced this project through my study with them
over the years include Dave Cliff, Phil Robson, Fred T. Baker, Phil Lee, Patrice
Meyer and Professor Alan Williams. I would also like to acknowledge inspiration
and support from Larry Coryell and Martin Taylor who have shown great warmth
and appreciation over the past years in my ongoing musical development.
III
Table of Contents
Example 1 – E minMaj 9 – Em6/9 chordal phrase p. 1.
Example 2 – Descending whole tone scale harmonised with 7#11 chords p. 1.
Example 3 – Cmaj9#11 voicing with open strings p. 1.
Example 4 – Series of maj13 chords descending in whole tones p. 2.
Example 5 – Aadd9#11 arpeggio p.2.
Example 6 – Parallel minor 11th chord progression p. 3.
Example 7 – E Phrygian sonority explored p. 3.
Example 8 – A13 – A13sus4 – A13#11 p. 4.
Example 9 – Descending close major 7 voicing over pedal p. 4.
Example 10 – D Lydian p. 5.
Example 11 – Dm9b5 p. 5.
Example 12 – Bm9 – E13b9 – Amaj7#5 p. 6.
Example 13 – Gm11 – C13b9 – Fmaj7#5 p. 6.
Example 14 – Moving 13b9 voicing in minor thirds over pedal p. 7.
Example 15 – Diminished scale harmonised using 13b9 chords p. 7.
Example 16 – A major triads across three octaves (chordal) p. 8.
Example 17 – A minor triads across three octaves (chordal) p. 8
Example 18 – A major triads across three octaves (single line) p. 9.
Example 19 – A minor triads across three octaves (single line) pp. 9-10
Example 20 – Cmaj13 voicing p. 10.
Example 21 – Minor 13b9 chord (from Dorian b2 scale) p. 10.
Example 22 – E9#11 voicing p. 10.
Example 23 – Pairing off a C and F# triad p. 11.
Example 24 – Em9 using natural harmonics p. 11.
Example 25 – Em11 using natural harmonics p. 11.
Example 26 – Pairing off a G and A triad p. 12.
Example 27 – Open position Amaj13 voicing p. 13.
Example 28 – Moving triads over bass pedal in G p. 13.
Example 29 – Moving triads over bass pedal in E pp. 13-14
IV
Example 30 – Moving triads over bass pedal in B p. 14.
Example 31 – C7b9b5 voicing p. 15.
Example 32 – II – V- b V progression p. 15.
Example 33 – Ascending diminished arpeggio run p. 15.
Example 34 – Am7#5 p. 16.
Example 35 – F#7add4 p. 16.
Example 36 – Fmaj7#11#9 – G#m6#5 p. 16.
Example 37 – Dm6/9#11 p. 17.
Example 38 – C major scale using quartal harmony p. 17.
Example 39 – D Dorian lick using fourths p. 17.
Example 40 – C major line using alternating fourths p. 18.
Example 41 – C major line using alternating fifths p. 18.
Example 42 – Cmaj7#11b9 p. 19.
Example 43 – Chromatically descending fifths in Am p. 19.
Example 44 – C major line using alternating sixths p. 19.
Example 45 – C major line using alternating sevenths p. 20.
Example 46 – C major line using alternating octaves p. 20.
Example 47 – A/Eb octave lick using string skipping p. 21.
Example 48 – C minor rhythmic displacement lick p. 21.
Example 49 – Playing 5/16 over 4/4 in Cm pp. 21-22.
Example 50 – C whole-tone scale harmonised in thirds p. 22.
Example 51 – A augmented lick pp. 22-23.
Example 52 – A augmented scale harmonised in triads p. 23.
Example 53 – D harmonic minor chord scale p. 24.
Example 54 – D harmonic minor arpeggios from the scale p. 24.
Example 55 – C major scale using sweep picking p. 25.
Example 56 – C major sweep picking extended p. 26.
Example 57 – C harmonic minor sweep picking pp. 26-27.
Example 58 – C harmonic minor sweep picking extended p. 28
Example 59 – Major 7#11 sweep picking lick (changing key) pp. 28-29.
V
Example 60 – Using upper extensions with sweep picking p. 29.
Example 61 – Using upper extensions with sweep picking extended p. 30.
Example 62 – A6/7 p. 30.
Example 63 – D6/9#11 p. 30.
Example 64 – C7#9b5 p. 30.
Example 65 – Modulating major 13 chords p. 31.
Example 66 – B minor tapping lick 1 pp. 31-32.
Example 67 – B minor tapping lick 2 p. 32.
Example 68 – Am bend and tap lick p. 32.
Example 69 – Am bend, tap and slow release p. 33.
Example 70 – A6/9 rockabilly-style lick p. 33.
Example 71 – A blues lick using half-tone bends and vibrato p. 34.
Example 72 – Blues/jazz double stop lick p. 34.
Example 73 – Blues lick in Bb p. 34.
Example 74 – Double stop rock n’ roll lick p. 34.
Example 75 – Cross-rhythmic blues lick in Bb p. 35.
Example 76 – Blues/jazz lick in Bb p. 35.
Example 77 – Blues-fusion lick over E7#9 p. 36.
Example 78 – Chromatically descending broken octaves p. 36.
Example 79 – Em9 blues/jazz lick using brushed octaves p. 37.
Example 80 – String skipping exercise using Fmaj7-Bbmaj7 p. 37.
Example 81 – String skipping exercise using Gm7-Cm7 p. 38.
Example 82 – Indian classical-inspired raga over Am6/9 p. 38.
Example 83 – Indian classical-inspired raga over A7add11 p. 39.
Example 84 – E Phrygian dominant lick p. 39.
Example 85 – C Phrygian dominant lick p. 40.
Example 86 – Playing melodies on one string I p. 40.
Example 87 – Playing melodies on one string II p. 41.
Example 88 – Playing melodies on one string III p. 41.
Example 89 – Country lick using E major pentatonic p. 42.
VI
Example 90 – Esus2 lick p. 42.
Example 91 – Esus2 lick variation (triple-stop) p. 42.
Example 92 – Gm9 tremolo lick p. 43.
Example 93 – Cm tremolo lick p. 43.
Example 94 – Dm trill lick p. 44.
Example 95 – Dm trill lick using fourths p. 45.
Example 96 – Am11 rhythmic displacement phrase pp. 45-46.
Example 97 – A Dorian lick using diads in triplets pp. 46-47.
Example 98 – G mixolydian chromatic fast run p. 47.
Example 99 – Enclosure lick in D major p. 47.
Example 100 – Wide intervallic stretches across multiple strings in Am p. 48.
Appendices
Notes
Printable blank chord boxes
Suggested further reading
VII
100 Examples for the Modern
Intermediate & Advanced Guitarist Lee Jones
Example # 1
This example moves between two voicings of a min/maj9 chord with a min6/9 chord
in the middle. Both sounds work well together and I often interchange between when I
want a minor sound that is di erent to the more commonly heard minor 7.
1 E‹(Œ„Š9) E‹% E‹(Œ„Š9)
#U˙ #U
˙
° 4 U œ œ œ
&4 œ œ #œ #˙ #œ #œ œ
œ œ œ
U U U
4
11 14
4
¢⁄
7 12 12
8 12 12
9 11 13
10
0 0 0
Example # 2
#2 is a descending whole tone scale harmonised using the 7#11 chord (also derived from the
whole-tone scale).
Example # 3
# 3 is a Cmaj9#11 voicing which uses open strings and fretted notes.
2 E7(#11) D7(#11) C7(#11) B¨7(#11) A¨7(#11) G¨7(#11) E7(#11) 3 CŒ„Š9(#11)
nb# œœœ b# œœœ b œœ œœ ≥ ≥≥≥≤ ≤ ≤ ≤ U

≥
° œ b œœ b œœœ b œ #U
œœ b ˙˙˙
& œ bœœ bœ bœ ˙ #œ
œ
œœ œœœ
œ w
U ≥ ≥≥≥≤ ≤ ≤ ≤ U
≥
16 14 12 10 8 6 4 0
¢⁄
15 13 11 9 7 5 3 3 3
15 13 11 9 7 5 3 0 0
14 12 10 8 6 4 2 4 4
3 3
2 100 Examples for the Modern Intermediate & Advanced Guitarist
Example # 4
Again, #4 is a descending whole-tone example but this time using a more extensive major 13
voicing with an E pedal in the bass. Example # 5 presents an A triad with the #4 instead of a
5th and a 9th added. Note, the absence of a major 7th though.
4 EŒ„Š13 DŒ„Š13/E CŒ„Š13/E B¨Œ„Š13/E A¨Œ„Š13/E G¨Œ„Š13/E
#œ œ œ œ
° œ bœ
#œ œœ œ œ œœ b œ
& #œ#œ #œ œ
œœ œœ œ œbœ bœ
œ œ œ œ œ œ
14 12 10 8 6
¢⁄
12 10 8 6 4
11 9 7 5 3
11 9 7 5 3
11 9 7 5 3 1
0 0 0 0 0 0
Example # 5
Example # 5 presents an A triad with the #4 instead of a 5th and a 9th added. Note, the
absence of a major 7th though.
5 A(„ˆˆ9#11)
≥ ≥ ≥ ≥ œ≤ ≤ ≤ ≤ U
° #œ U
˙ ≥
& bœ #œ #œ œ #œ #œ œ œ œ
œ w
U ≥ ≥ ≥ ≥ ≤ ≤ ≤ ≤ U
≥
4 4 7
¢⁄
2 4 4
1 6 6
1 7 7
5 5
100 Examples for the Modern Intermediate & Advanced Guitarist 3
Example # 6
The following is a favourite minor 11 voicing of mine, which I have created a parallel harmony
progression out of, descending in minor thirds. Therefore, the progression could continue
indefinitely as a cycle.
6 F‹11 D‹11 B‹11 A¨‹11
bœ œ U
° b œ œbœ œ œ œ #œ œ œ
bœ b œ b w
& œ bœ œ œ
nœ bœ bœ
nœ œ bœ œ
U
11 8 5 2 2
¢⁄
11 8 5 2
12 9 6 3
13 10 7 4
11 8 5 2
13 10 7 4
Example # 7
Another example using an pedal, this time with a series of voicings which imply an E
phrygian sonority.
7 FŒ„Š9(#11)/E
œ œ œ
° œœœ œ œ
œœ
œ
œ œ œ U
& œ œ œœ œ œ œ œ œ œ ˙
œ œ œ
U
15 12 10
¢⁄
12 10 12 10 5 0 0
14 10 9 9 4 2
15 9 10 9 7 3
8 8 8
0 0 0
Example # 8
This example uses three voicings which maintain their outer parts respectively, but with
chromatic movement within one of the inner voices (in this case on the second string).
8 A13(#11)
A13 A13(“4)
° ##˙˙˙˙ ˙˙ U
##w
w
& ˙˙ w
w
∏∏∏∏∏∏∏∏
∏∏∏∏∏∏∏∏
∏∏∏∏∏∏∏∏
˙ ˙ w
U
∏∏∏∏∏∏∏∏
∏∏∏∏∏∏∏∏
∏∏∏∏∏∏∏∏
2 2 2
¢⁄
2 3 4
4 4 4
5 5 5
0 0 0
Example # 9
This example uses a specific major 7 voicing which descends through several keys, all played
against an A pedal in the bass. Note the starting point, A maj7 and the resolving chord of Am9.
9 AŒ„Š7 GŒ„Š7/A EŒ„Š7/A DŒ„Š7/A A‹9

˙ ˙ ˙ U
° #œ
#œ œ #œ œ #œ œ œ ˙ ˙
& œ #œ #œ#œ œœ
œ œ œ œ œœ
U
12 10 7 5 3
¢⁄
10 8 5 3 1
13 11 8 6 4
11 9 6 4 2
0 0 0 0 0
Example # 10
#10 requires the bass string to be dropped to D. This then provides the D pedal for a
series of lydian voicings used in the example.
10 DŒ„Š7(#11) D(„ˆˆ9#11) DŒ„Š7(#11) DŒ„Š7(#11„ˆˆ13)
≥ ≥ ≥ ≥ # œ≤ ≤ ≤ ≤ ≥ ≥ ≥ ≥ œ≤ ≤ ≤ ≤ ≥ ≥ ≥ ≥ ≤ ≤ ≤ ≥ ≥ ≥ ≥ œ≤ ≤ ≤ ≤
# œ œ # œ ≤
° œ
œ œ
œ œ#œ#œ œ œ œ #œ œ œ #œ œ œ
& #œ œ œ #œ#œ œ
œ œ œ œ
≥≥≥ ≥ ≤ ≤ ≤ ≤ ≥≥≥≥≤ ≤ ≤ ≤ ≥ ≥≥≥ ≤ ≤ ≤ ≤ ≥ ≥≥≥≤ ≤ ≤ ≤

16 12 9 7
¢⁄
14 14 9 9 7 7 7 7
14 14 11 11 7 7 6 6
12 12 12 12 6 6 6 6
0 0 0 0
Example # 11
A nice alternative to the regular m7b5 voicing commonly used, this adds a little more suspense
due to the absence of a minor 3rd and has a little more harmonic richness due to the 9th.
DŒ„Š9(#11)
≥ ≥≥≥≤ ≤ ≤ ≤ U 11 D‹9(b5)
° ≥ U
œ w
& #œ#œ#œ œ œ œ bw
w
w
∏∏∏∏∏∏
œ w
≥ ≥≥≥≤ ≤ ≤ ≤ U U
≥
0
∏∏∏∏∏∏∏
¢⁄
2 2 5
1 1 5
4 4 6
5
0 0
Example # 12
A II-V-I with a twist! The 13b9 V chord implies more of a diminished, rather than conventional
altered scale sound. This is then 'resolved' to the I chord, with a mildly eerie #5. A great
alternative to the usual alterations used in this context.
12
#w #w U
B‹9 E13(b9) AŒ„Š7(#5)
° #w
w nw
w ## w
#w
∏∏∏∏∏∏∏∏∏∏
∏∏∏∏∏∏∏∏∏∏∏∏
& w #w w
∏∏∏∏∏∏∏∏
w w
w
U
∏∏∏∏∏∏∏∏∏∏
∏∏∏∏∏∏∏∏∏∏
9 9
¢⁄ ∏∏∏∏∏∏∏∏
7 6 6
7 7 6
7 6 6
7 0 5
Example # 13
Another example of the previous concept in a di erent key and using some di erent voicings.
bw
13 G‹11 C13(b9)
w U
FŒ„Š7(#5)
° w
w w
bw
w
#w
w
∏∏∏∏∏∏∏∏∏∏
bw w
∏∏∏∏∏∏∏
& w w
∏∏∏∏∏∏∏
w w
U
∏∏∏∏∏∏∏∏∏∏
∏∏∏∏∏∏∏∏
∏∏∏∏∏∏∏∏
8 9 5
¢⁄
10 10 5
10 9 6
8 8 7
10 8
8
Example # 14
Developing the 13b9 further, #14 demonstrates how the same shape can be transposed in
minor thirds to produce four di erent voicings of the same chord.
14 G13(b9)/E E13(b9) D¨13(b9)/E B¨13(b9)/E G13(b9)/E E13(b9)
œ bœ œ
#œ œ
° ‰ œj œ œ#œ
œ
œb œ œ œ nœ
nœ œ#œ
œ
U
w
& bœ œ œ#œ
w w w w
j
U
‰ 16 13 10 7 4 1
¢⁄
17 14 11 8 5 0
16 13 10 7 4 1
15 12 9 6 3 0
0 0 0 0
Example # 15
A more extreme example, this uses the same 13b9 vocing to haromonise the entire E diminished
scale. I've chosen an alterating movement to make it a little di erent rather than just descending
the scale itself.
15 G13(b9) A¨13(b9) E13(b9) F13(b9) D¨13(b9) D13(b9) B¨13(b9) B13(b9) G13(b9) A¨13(b9) E13(b9) F13(b9)
b œœ n œœ œ b œœ
° œœ b œœ ## œœœ bœœ b œœœ nb#œœœ œœ # œœ b œœ n œœ œ bœœ bU
w
& bœ nœ bœœ n#œœ œœ bœœ ##œœ bœœ
œ
w
bw
w
U
16 17 13 14 10 11 7 8 4 5 1 2 2
¢⁄
17 18 14 15 11 12 8 9 5 6 2 3 3
16 17 13 14 10 11 7 8 4 5 1 2 2
15 16 12 13 9 10 6 7 3 4 0 1 1
Example # 16
Something a little more psuedo-classical, this example presents A major triads across 3 octaves
in chordal form. However, these shapes are invaluable for use both in comping and to create
chord solos with. The single note implications will be looked at later.
A
œœ
16
# œœ œœ œ
° #œœ œœœ œ
#œœ œ œ
& # œœ œœ œ
œ œ
5 9 12 17
¢⁄
5 5 10 14 17
2 6 6 6 9 14 18
2 2 7 7
4 4 7
5
Example # 17
#17 is the same concept, only with A minor triads instead. Again, a valuable resource well worth
learning.
A‹
œœ
17
œœ œœ œ
° œœ œœœ œœ
œ œ œ
& œ œœ œ
n œœ œ
5 8 12 17
¢⁄
5 5 10 13 17
5 5 5 9 14 17
2 7 7 7
3 7 7
5 8
Example # 18
#18 examines how major triads can be played across 3 octaves on the guitar. Using an A triad
like this as a basis to improvise with is a valuable resource and a great alternative to using the
A major scale. It works particularly well when used over a Dmaj9, F#m7 or Bm7 chord as the triad
implies the various upper extensions of these chords. Also note, the three note groupings of the
triads have been presented as triplets for rhythmic and visual clarity here. However, the following
two examples are worth learning also in quavers and/or semiquavers as the three note groupings
take on a much more interesting displacement when this approach is adopted.
18
œ œœ œ
° œ œ #œ œ œ œ œ œ #œ œ œ œ œ œ
#œ œ œ œ #œ œ œ œ œ#œ
3
œ œ
3
&
3
œ#œ œ œ œ œ 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3 3 3
9 9 12 9 12 17 17 12 9 12 9 9
¢⁄
10 10 10 10 10 10
9 9 9 9 9
11 11 11 11
12 12 12
5 9 12 9 12 12
Example # 19
#19 is the same idea with an A minor triad. Again, this works particularly well when used over a
Dm9, Fmaj7 and G7 as it implies the relevant upper extensions of these chords.
œ
19
œœœœœœ
° œ#œ œ 3 3 œ
œœœœ œœ œ
œ
œ œœœœ œ œ œ
3 3
&
3 3
#œ œ œ œ œ œ
3 œœ œ 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3 3 3
8 8 12 8 12 17
¢⁄
10 10 10
9 9 9 9
11 11 10 10 10
12 12 12 12 12 12
12 12 9 12 9 5 5 8 12 8 12 12
œ œ œ
° œ œœ œ œ œ
œ œ œ œ œ œ 3
œ œ œ œ œ
3
&
3
3 3 3 œ œ œ œ
3 3
3 3 3 3 3 3 3 3
17 12 8 12 8 8
¢⁄
10 10 10
9 9 9
10 10 10
12 12 12
12 12 8 12 8 5
Example # 20
A rich maj 13 voicing, across all six strings. It can also be slimmed down to high C and A string,
which gives it a G/C result.
Example # 21
This is minor 13b9 sound - derived from the second mode of the melodic minor.
Example # 22
#22 is an E9#11 voicing.
E9(#11)
U
20 CŒ„Š13 21 22
B‹13(b9)
w
w U
° w
w œU
˙ œ ˙
#œ #
∏∏∏∏∏∏∏∏∏∏
& w #œ œ #œ
w œ œ
U U
U
∏∏∏∏∏∏∏∏∏∏
12 6
¢⁄
12 5 5 7
12 5 7
12 6 6
12
8 7 0
Example # 23
This example uses two major triads, a tritone apart paired o against each other and each taken
through their respective inversions. Take note of the alternate picking.
U
23 C F© C F© C
≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ # œ≥ ≤ ≥ œ≤ œ≥ œ≤ ≥
nœ ˙
° œ
nœ œ œ #œ
#œ œ
& œ œ œ #œ #œ #œ œ
œ
U
≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥
12 15 12
¢⁄
11 14 11 13 13
9 12 9 11
8 11 8 10
7 10 7 9
8
Example # 24
This example uses natural harmonics on the fifth and seventh frets to imply an Em9 sound.
Example # 25
This is a more elaborate example of using natural harmonics to create more of a texture.
It works well repeated for creating this e ect.
E‹9
≥œo œ≤o U
24 25 E‹11
≤
o o
˙ ≤o # œ≥o U
o
≥
#œ ≤o ≥o ≤o ≥o œ≤o œ≥o œ≤o œo œ ˙™
° œ≥o
& œ œ œ œ
≥o ≤o ≥o ≤o Uo ≤o ≥o ≤o ≥o ≤o ≥o ≤o ≥o ≤o ≥o U
≥o
12
™
¢⁄
7 5 5 12 7 7
5 12 7
12 7
12 7
5 7
Example # 26
Another example of paring o two triads against one another, this time a tone apart. I have
ascended the G triad and descended the A triad each time to give the line more an interesting
contour. Try this example over an A11 chord or an Gmaj7#11 for some di erent results.
26 G A G A G A G A G A G
° #œ œ œ#œ œ œœœ œœ
#œ
& œ œœ œ œ œœœœ œ œ
œ
œ œ œ #œ œ œ œ #œ œ
3 5 3
¢⁄
3 5 3 5 3
4 6 4 6 4 6
5 7 5 7 5 7
2 5 7 4 2 5 7 4 5 7
3 5
A G A
° œ #œ œ œ œ œ œ #œ œ ˙ ™
œ
&
7 9 5 7 10 12 9
™
¢⁄
5 8 10 10
Example # 27
Cool open position for an Amaj13 voicing.
Example # 28
Moving di erent triads over bass notes is a very e ective compositional device.
Here are a few examples
27
AŒ„Š13 28 G G©/G F/G
° #w ˙˙ ™™™ œœ # #œœ # #˙˙ ™™™ œœ œœ

& #w
w
w ˙ œ#œ #˙ œ œ
w œ œœœœœ œ œ nœ œ œ œ œ œ œ œ
2
™ ™
¢⁄
0 3 3 4 4 4 1
1 4 4 5 5 5 2
2 5 5 6 6 6 3
0
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
Example # 29
A second example of moving triads against di erent bass notes.
G 29 E D¨/E
° ˙™ U #w
w
w bw
bw
& ˙˙ ™™ œœ nnnœœœ w
w
w w
œ
œ œœœœœ œ œ w œœœœœœœœ œœœœœœœœ
™ U
¢⁄
1 1 3 3 12 9
2 2 4 4 13 10
3 3 5 5 14 11
3 3 3 3 3 3 3 3 3 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
B¨/E G/E
° bnw
w nw
& w w
w
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
¢⁄
6 3
7 4
8 5
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
Example # 30
This final example focuses on a chromatically descending sequence going from

D/B (Bm7), C#/B (B6/9#11), C/B (Badd4b6b9) and finally B.
30 D/B C©/B C/B B
° #w ###w nnnw
& w
w w
w w
w
#w
#w
w
Œ œ™ œ ˙ Œ œ™ œ ˙ Œ œ™ œ ˙ Œ œ™ œ ˙
¢⁄ Œ
7 6 5 4
™7 ™7 ™7 ™7
7 6 5 4
Œ Œ Œ
7 6 5 4
7 7 7 7 7 7 7 7
Example # 31
This chord works great on its own or within a cadential context such as a II-V-I and is a
less common variant of some of the other altered shapes often used.
Example # 32
Another II-V with a twist as it resolves to the flattened fifth degree of the scale, rather than
the conventional I. I have also used a rich major 13 voicing at the end to accentuate this.
31 C7[áÁ] 32 D‹11 G7[äÁ] F©Œ„Š13
° U bw U
bbbw
w
w
nw
w
w #w
w #w
#w
& w w ## w
#
∏∏∏∏∏∏∏∏
w
w w w
w #w
w
U U
∏∏∏∏∏∏∏∏
2 3 4 1
¢⁄
2 5 4 2
3 5 4 1
2 3 3 1
3 5 1
3 2
Example # 33
The following lick is a little bit of a cliche but a valuable resource in any improvising guitarist's
armoury. Following on from some of the previous diminished ideas, this is a single line lick
which spans the length and breadth of the fretboard!
33 Cº E¨º G¨º Aº
œ œ b œ bœ œ œ
° nœbœbœ œ œ œ œ œ œbœbœ œ œœœ
œœ
& bœbœ œ œ œ œ bœ œ
œ
2 5 8 5 8 11 14 11
¢⁄
4 7 10 13
2 5 8 5 8 11 14 11
4 7 10 13
3 6 9 6 9 12 15 12
Example # 34
#34 is an Am7#5 chord using both fretted notes and open strings. Note, the F which comes
before the open E string when arpeggiated in this case.
Example # 35
Another example of fretted notes and open strings together, this time a F#7add11 voicing.
Example # 36
This uses two chords derived from the A harmonic minor scale, Fmaj7#11#9 and G#m6#5.
34 A‹7(#5) 35 F©7(„ˆˆ4) 36 FŒ„Š7[åÅ]
≤ ≥ ≥ ≥ ≥#œ≤ ≤ ≤ ≤ U
° U ≥≥≥≥œ≤ ≤ ≤ ≥ ≥
œœ˙ œ œœ œ œ œ œ œ
&
œ
œ œ#œ œ œœ w
#œ #w
U ≥≥≥≥≤ ≤ ≤ ≤ ≥≥≥≥≤ ≤ ≤ ≤ U
≥ ≥
0 0 4
¢⁄
6 0 0 5 5
5 3 3 4 5
5 2 2 7 9
0 8 8
2 2
G©‹6 #5
≥ ≥ ≥ ≥ #œ≤ ≤ ≤ ≤ U
° œ œ œ ≥
& œ œ œ
#œ #w
≥ ≥ ≥ ≥ ≤ ≤ ≤ ≤ U
≥
4
¢⁄
5 5
4 4
3 3
4 4
Example # 37
Another example of the previous voicing with an alternative bass note, again derived from
A harmonic minor. This is a Dm6/9#11.
Example # 38
Here is the C major scale harmonised in fourths. We refer to these types of voicings as
quartal harmony. The chords in order are: Cmaj7add4, Dm7add4, Em7add4, Fmaj7#4(#11),
G7add4, Am7add4(11), Bm7add4(11) and Cmaj7add4(11).
37 D‹% (#11)
U
38
≥ ≥ ≥ ≥#œ≤ ≤ ≤ ≤ U œœ œœ œœ œœ w
w
° œ œœ ≥ œœ œœ œœ œœ
œœ œœ œœ œœ w
w
& œœœ œ w œœ œœ œœ œœ
≥≥≥≥ ≤ ≤ ≤ ≤ U
≥ U
4 3 5 7 8 10 12 12
¢⁄
5 5 5 6 3 5 6 8 10 12 12
4 4 4 5 2 4 5 7 9 10 10
3 3 3 5 2 3 5 7 9 10 10
5 5 3 5
Example # 39
Fourths also work great in the context of single lines on guitar. Here is such an example of
a D dorian modal run which does so.
39 D‹13
œ œ œ œ œ
° œ œ œ œ œ œ œ œ
&
12 10
¢⁄
12 10 13 12 10
12 10 9 12 9
12
Example # 40
Learning how to harmonise scales in the various di erent intervals can be an invaluable
resource for improvisation. Here is an exercise which harmonises the C major scale in fourths.
I've demonstrated this in triplets as it creates an interesting rhythmic displacement against
the groupings of 2. Note the down-up-up picking pattern required.
40 CŒ„Š7
U
≥ ≤ ≤ ≥ ≥ ≤ ≤ ≥3 ≥ ≤ ≤ ≥ ≥ ≤ ≤ ≥ ≥ ≤ ≤ ≥ ≥ œ≤ œ≤ ≥ ≥ œ≤ œ≤ œ≥ œ≥ œ≤ ˙
° œ œ œ œœœœœœœ œ œ
& œœœœœœœœ œ œ
3 3
œ 3 3 3 3 3 3 3
≥ ≤3 ≤ ≥ ≥3 ≤ ≤ ≥3 ≥ ≤ ≤3 ≥ ≥ ≤3 ≤ ≥ ≥3 ≤ ≤ ≥3 ≥ ≤ ≤3 ≥ ≥ ≤3 ≤ ≥ ≥3 ≤ U
8 10 12 13 13
¢⁄
8 10 12 8 10 12 13
7 9 10 7 9 10
7 9 10 7 9 10
8 10 7 8 10
8 10
Example # 41
Here is a the same idea, only harmonised in fifths. Take note that in some instances, the
relevant internal will be a flattened fifth, rather than a perfect fifth due to the construction
of the scale. Note the picking.
≤U
41 CŒ„Š7
≥ ≤3 ≤ ≥ ≥3 ≤ ≤ ≥3 ≥ ≤ ≤ ≥ ≥ ≤ ≤ ≥ ≥ ≤ œ≤ ≥ ≥ œ≤ œ≤ ≥ ≥ œ≤ œ≤ œ≥ œ≥ œ ˙
° œ œ œ œœœœœ œœ œ œ
& œœœœœ œœ œ œ
œ 3 3 3 3 33 3
≥ ≤3 ≤ ≥ ≥3 ≤ ≤ ≥3 ≥ ≤ ≤3 ≥ ≥ ≤3 ≤ ≥ ≥3 ≤ ≤ ≥3 ≥ ≤ ≤3 ≥ ≥ ≤3 ≤ ≥ ≥3 ≤
U
10 12 13 15 15
¢⁄
10 12 13 8 10 12 13
9 10 12 7 9 10
9 10 12 7 9 10
10 12 7 8 10
8 10
Example # 42
The next couple of examples use fifths in a more liberal way, outside the confines of a specific
scale. The first example, # 42, demonstrates a major seventh arpeggio which has been
harmonised in stacked fifths. This is a very e ective sound which works equally well both
in chordal and single line playing.
Example # 43
A little more trickery with fifths, this lick chromatically descends using a series of parallel
fifth intervals. It is particuarly e ective when employed to create tension or a musical climax
during an improvisation.
43 A‹9
42 CŒ„Š7[âÅ]
#œ U
˙ œ≤ ≥ b œ≤ œ ≥ b œ≤ n œ ≥ œ≤ b œ ≥ ≤ U
° œ #œ œ
œ œ#œ œ bœ œ bœ œœ bœ œn œ w
& œœ œœ œ
U ≤≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤
U
12 11 10 9 8 7 6 5 5
¢⁄
14 14 10 9 8 7 6 5 4 3
11 14 11
12 9 12 9
10 7 10
8
Example # 44
This example harmonises the major scale in sixths, this time using quavers rather than triplets.
Of course, you can apply a triplet or quaver to any of these intervallic-based exercises.
Take note of the string skipping and recommended picking indicated in order to execute this
smoothly. Begin slowly.
44 CŒ„Š7
≤ ≤ ≤
œ ≤U
œ œ
≤ ≤ œ
≥ ≤ ≤ ≥ ≥ ≤ ≤ ≥ ≥ ≤ ≤ ≥ ≥ œ≤ œ≤ ≥ ≥ œ≤ œ ≥ ≥ œ œ≥ œ≥ œ ≥ ≥
œ
° œ œ œ œ œ
œ œ
& œœœœœ œ œ œœ œ
œ
≥≤ ≤ ≥≥≤ ≤ ≥ ≥≤ ≤ ≥≥≤ ≤ ≥ ≥≤ ≤ ≥≥≤ ≤ ≥ ≥≤ ≤ ≥≥≤U

7 8 10 12 13 15 17 17
¢⁄
6 8 10
5 7 9 7 9 10 12 14 16 17
7 9 7 9 10
7 8 10
8 10
Example # 45
This example harmonises the major scale in sevenths. Note the sound of the more angular
intervals and the string-skipping technique required. Practice slowly to begin with.
“”
≤
≥ ≤ ≤ ≥ ≥ ≤ ≤ ≥ ≥ ≤ œ≤ ≥ ≥ œ≤ œ≤ ≥ ≥ œ≤ œ≤ ≥ ≥ œ≤ œ œ≥ ≥ œ≤ œ≤ ≥ ≥ œ≤ U
45
° œ œ œ
œ œ œ
& œœœœœ œ œ œœ œ œ œœ
œ
≥≤ ≤ ≥≥≤ ≤ ≥ ≥≤ ≤ ≥≥≤ ≤ ≥ ≥≤ ≤ ≥≥≤ ≤ ≥ ≥≤ ≤ ≥≥≤U

8 10 12 13 15 17 19 19
¢⁄
8 10 12
7 9 10 7 9 10 12 14 16 17
9 10 7 9 8
7 8 10
8 10
Example # 46
To conclude this section on intervals, here are two final examples working with octaves.
Starting with # 46 here. Watch out for the alternate picking required to execute this accurately.
≤ “”
≤
≥ ≤ ≤ ≥ ≥ ≤ ≤ ≥ ≥ œ≤ œ≤ ≥ ≥ œ≤ œ≤ ≥ ≥ œ≤ œ≤ ≥ ≥ œ œ œ≥ ≥ œ≤ œ≤ ≥ ≥ œ≤ U
46 CŒ„Š7
° œ œ œ
œ œ œ œ œ
& œ œœ œ œ œœ œ œœ
œ
≥≤ ≤ ≥≥≤ ≤ ≥ ≥≤ ≤ ≥≥≤ ≤ ≥ ≥≤ ≤ ≥≥≤ ≤ ≥ ≥≤ ≤ ≥≥≤U

10 12 13 15 17 19 20 20
¢⁄
10 12 13
9 10 12 7 9 10 12 14 16 17
10 12 7 9 10
7 8 10
8 10
Example # 47
Another fairly technical exercise which uses string-skipping and alternate picking. This
presents octave patterns in tritones. This lick works well over diminished, lydian and lydian
dominant chord types/sounds.
Example # 48
This is a cross-rhythmic idea in the key of C minor. The grouping is three notes, Eb, F# and G
but played as a sequence of sixteenth notes.
b œ≤ b U
C‹7
≥ ≤ ≥ ≤ ≥
47 Aº 48
≥ ≤ ≥ ≤ ≤ w ≤ ≥ ≤
° bœ ≥ œ œ≥ bœ œ œ œ œ≤ ≥ œ≤
& œ bœ œ #œùœ œùœ œùœ œùœ œùœ
œ
U
11 11
¢⁄ ù10 ù10 ù10 ù10 ù10

10
8 8 8 8 8 8 8 8
7 7
6 9 9 9 9 9
5
Example # 49
This is a similar idea in C minor but using a group of five notes played in sixteenths. This is a
great technique which helps rhythmically punctuate improvisations and encourage the
improviser to be less dependent on the specific bar line placement. It is best practiced with a
metromone which emphasises the click on beat 1 to study its e ectiveness.
49 C‹11
≥ ≤ ≥ ≤ ≥ ≥ ≤ œ œbœ œœœ œœœ œ

° bœ œ ≤
œ ≥ ≤
œ œ œ bœ œœ œœ
& #œùœ œùœ œùœ œùœ œùœ
13 10 13 10 13 10 13
¢⁄ 9 ù10 9 ù10 9 ù10 9 ù10 9 ù10

11 11 11
8 8 8 8 8 12 12 12
13 13 13
Example # 50
The following example is the whole tone scale in C harmonised in thirds. These can either
be played as dyads (as written here) or broken for a more linear e ect.
œbœ œœœ œœœ 50
° œbœ œœ œœœ œ œœ œœ #œœ

& #œ
œœ #œœ #œœ # œ #œ #
10 13 10 13 10
¢⁄
11 11 11 7
12 12 12 7 9 7
13 13 13 13 6 8 10 8 10
7 9 7 9 11
8 10
Example # 51
#51 is the augmented scale, rarely used as a improvising resource yet an interesting choice
over maj7#5 and 7#5 chords. The scale is constructed of two augmented triads a semitone
apart.
51 A&
œ œ w
w
° #œœ ##œœ # œ # œ
& œ
œ #œ #œ
8 10 12
¢⁄
9 11 9 11 13
9 11
4 5
5 6
° #œ œ #œ #œ
w
& #œ #œ œ #œ
¢⁄
6 7
6 7
3 4 7 8
Example # 52
Here is the same scale, now harmonised in triads. You can hear the voicings moving through
their respective inversions as they are played. I have also included the resulting chord symbols
above.
52
#n œœœ ‹## ˙˙˙ ™™™

#
A& A©&
#n œœ # œœ
A& A©& C©& D& E©& F©& A& A©& C©& D& E©& F©&
° # #œ œ # œ
##œœ œ #œ œ
#œ
& # œ #œ # nœœ #œœœ n##œœœ##œœœ n œœœ‹# œœ
# œœ ‹# œœ # œ
5 6 9 10 13 14
™
¢⁄
2 3 6 7 6 7 10 11 14 15
2 3 2 3 6 7 6 7 10 11 14 15
3 4 3 4 3 4 7 8
4 5 4 5
5 6
Example # 53
This is a harmonised D harmonic minor chord scale, usng 1/3/7/5 voicings. These chordal
shapes can be executed either with a pick or thumb and fingers.
D‹(Œ„Š7) E‹7(b5) FŒ„Š7(#5) G‹7 A7 B¨Œ„Š7 C©º D‹(Œ„Š7)

œœ
53
° #œœ œ œœ b œœ # œœ
œ
œœ
œ b œœœ œ
& œœ bœœ œ
œ
œœ œ bœ #œ œ
œ
6 9 10 12 13
¢⁄
6 8 10 6 8 10 11 14
6 7 9 7 9 10 12 14
7 8 11 5 7 8 11 12
5 7 8
Example # 54
Here, I have taken each of the notes from the D harmonic minor scale and argeggiated from
each one. Also note, these arpeggios can also be played ascending/descending and either in
an eighth note or triplet feel. I have also included some suggested picking guidance to help
best execute this exercise.
54 D‹(Œ„Š7) E‹7(b5) FŒ„Š7 G‹7 A7 B¨Œ„Š7 C©º D‹(Œ„Š7)
° œ œ œ œ œ œ œ œbœ œ œ#œ
œ œ œ#œ bœ œ œ
& œ œ œ #œ œ œbœ œ œ œ œ œ œ
5 6 5 9
¢⁄
5 6 5 8 6 5 8 6
6 7 6 7 6 7 6 7
7 5 8 7 5 8 7 8
5 8 7 8
Example # 55
The following few examples are based on a series of sweep picking exercises I was taught
some years ago by the French fusion guitarist, Patrice Meyer. The first example is in C major.
I've notated this as a series of sixteenth notes though I often vary this rhythmically for
e ect and would encourage you to try doing the same.
55 CŒ„Š7 D‹7 E‹7
° œ œœœœ œ œœœœ œ œœœœœ

& œ œ œ œ œœ œœ œ œ œœ œ
œ œœ œ œœ œ
3 7 3 5 8 5 7 10 7
¢⁄
5 5 6 6 8 8
4 4 5 7 7 9
5 5 7 7 9 9
3 3 3 5 5 5 7 7 7
“”
FŒ„Š7 G7 A‹7
œœœœ œ œœœœ
° œ œ œ œœ œœ œœœœœ
& œœ œ
œœ œ œœ œ œ
œœ œœ œ
8 12 8 10 13 10 12 15 12
¢⁄
10 10 12 12 13 13
9 10 10 12 12 12
10 10 12 12 14 14
8 8 8 10 10 10 12 12 12
B‹7(b5) CŒ„Š7
° œ œœœœ œ œœœœ
& œœ œœ œœ œœ
œ œ œ œ œ œ
:“;
13 17 13 15 19 15
¢⁄
15 15 17 17
14 14 16 16
15 15 17 17
14 14 14 15 15 15
Example # 56
Next, we can ascend the first shape and descend the second and so on, as below. Again, feel
free to experiment with varying these arpeggios rhythmically. This exercise also works well in
triplets or sextuplets.
56 CŒ„Š7 D‹7 E‹7 FŒ„Š7 G7 A‹7
œ œ œ œ œœœ œ œ œœœ
° œ œœ œ œœ œ œ œ œœ œœ
& œœ œ œ œ œ
œ
3 7 8 5 7 10 12 8 10 13 15 12
¢⁄
5 6 8 10 12
4 5 7 9 10
5 7 9 10 12
3 5 7 8 10
Example # 57
Next, we have a similar example based on C harmonic minor scale.
“”
B‹7(b5) CŒ„Š7 57 C‹(Œ„Š7) D‹7(b5)
œœ bœ œ œœ
° œ œ œœ œœœœ b œ œœœœ
œ œ œ
& œ œœ œ œœ œœ bœ œœ œ
œ œ œ œœ œ
13 17 19 15 3 7 3 4 8 4
¢⁄
13 15 17 4 4 6 6
12 14 16 4 4 5 5
14 15 17 5 5 6 6
12 14 15 3 3 3 5 5 5
E¨Œ„Š7(#5) F‹7 G7
œ œbœ œ œ œœœœ
° œ œœ œœ œœ œbœ
b œ œœ œ œ œ œ œ
& bœ œ œœ œ œœ œ œœ
7 10 7 8 11 8 10 13 10
¢⁄
8 8 9 9 12 12
7 7 8 8 10 10
9 9 10 10 12 12
6 6 6 8 8 8 10 10 10
“”
A¨Œ„Š7 Bº7 C‹(Œ„Š7)
° œbœ œ œ œ œ œb œ œ œ b œ œœœœ
& bœ œ œ œ œbœ œœ œœ œœ
bœ œœ œ œœ œ œœ
11 15 11 13 16 13 15 19 15
¢⁄
13 13 15 15 16 16
12 12 13 13 16 17
13 13 15 15 17 17
11 11 11 14 14 14 15 15 15
Example # 58
And again, with the ascending and descending treatment...
58 C‹(Œ„Š7) D‹7(b5) E¨Œ„Š7(#5) F‹7 G7 A¨Œ„Š7
œ œ œ œ b œ œ œ œ œœœ
° œ bœ œ bœ œ
œ œ œ œ b œ bœ
œ œœ
& œœ b œ œ bœ œœ
3 7 8 4 7 10 11 8 10 13 15 11
¢⁄
4 6 8 10 12
4 5 7 8 10
5 6 9 10 12
3 5 6 8 10
Example # 59
The next sweep lick represents a variation of the previous example, this time transposing the
same shape up in minor thirds.
“”
Bº7 C‹(Œ„Š7) 59 EŒ„Š7(#11)
° œ œ bœ œb œ œ œ œ #œ œ#œ œ œ
bœ œ œœ #œ œœ
& œ bœ œ œ #œ œ œ
œ
13 17 19 15 7 11 7
¢⁄
13 15 16 9 9
12 14 17 8 8
13 15 17 8 8
11 14 15 7 7 7
“”
GŒ„Š7(#11) B¨Œ„Š7(#11) C©Œ„Š7(#11)
#œ œœœœ
° œœ œœ œ œœ
#œ#œ œœ
b œ œœ œœ
œœ œ#œ
#œ œœ
& œ œœ œ œ
#œ œœ
10 14 10 13 17 13 16 20 16
¢⁄
12 12 15 15 18 18
11 11 14 14 17 17
11 11 14 14 17 17
10 10 10 13 13 13 16 16 16
Example # 60
We can also run a few of the respective shapes from the scale together which gives some nice
upper extensions. For instance, try these Fmaj7, Am7 and Cmaj7 sweep shapes over a Dm13/G9
chord progression.
“”
60 FŒ„Š7(#11) A‹7 CŒ„Š7
° œ œœœœœ œ œœœœ
& œ œœ œ œ œœ œœœ œœ
œ œœ
œœ
œœ œœ œ œ œœ
8 12 8 12 15 12 15 19 15
¢⁄
10 10 13 13 17 17
9 10 12 14 16 17
10 10 14 14 17 17
8 8 8 12 12 12 15 15 15
Example # 61
Here are four arpeggios from the previous exercises using an ascending/descending movement.
Practice this at an initially slow tempo to allow time to move between each pattern. The pattern
here works well over a Dm9-G13 movement as it contains all of the relevant upper extensions.
D‹7 FŒ„Š7 A‹7 CŒ„Š7 A‹7 FŒ„Š7

œœœœ
61
œ œ œ œœ
œ œ œ œ œ œ
° œ œ œœ œ œ œ œ œ
& œœœ œ œ
œ
œœ
5 8 12 8 12 15 19 15 12 15 12 8
¢⁄
6 10 13 17 13
5 9 12 16 12
7 10 14 17 14
5 8 12 15 12
Example # 62
Here we have a A major 6/7 voicing.
Example # 63
This is a useful 6/9 #11 voicing,
Example # 64
Is a great altered chord, C7#9b5
D‹7 62 A6 /7 63 D%(#11) 64 C7[âÁ]
° œœœ œ œœœœ # #wU

w #U
w
w bU
w
& œœœ
œ œ œ # w
w #w
w b w
b w
œ w nw
w
w
U U U
5 8 5 4 4 2
¢⁄
10 6 6 7 5 2
9 5 5 6 4 3
10 7 7 7 4 2
8 5 5 5 3
5
Example # 65
The following progression uses a series of modulating major 13 chords. Note the absence of
a third in these voicings though, giving the progression a slightly suspended tonality.
65 EŒ„Š13 CŒ„Š13 AŒ„Š13
#œ U
˙ œœ U
° #œ ˙ ˙˙ #œ U
˙
& nœ œ #œ œ œ #œ œ ˙
œ œ œ
U U U
9 9 5 5 2 2
¢⁄
7 7 3 3 0 0
8 4 1
9 5 2
7 3 0
Example # 66
The following few examples present some of my approaches to using finger-tapping during
improvisations. Here is an example in B minor to begin with.This is a cross-rhythmic phrase
which works well when superimposed over 4/4.
66 B‹11
œœœœ œ œœœœ
° #œ œ œ œ œ œ œ œ œ #œ œ œœœœœœ œ
& œœ œœ œ
12 7 10 12 7 10
¢⁄
12 7 10 12 7 10 12 7 10
11 7 9 11 7 9 11 7 9 11 7
12 7 9 12 7 9
Example # 67
# 67 is a variation of the previous tapping exercise which also includes a wider stretch.
The lick harmonically implies a B dorian sound.
67 B‹11
œ #œ œ U œ œ œ œ
° œ ˙™ #œ œ œ œ œ œ œ œ œ œ
& œ œ
U
™ 12 7 10
¢⁄
12 7 10 10 12 7 10 12
9 11 7 9 11 7 9
12 7 9
Example # 68
# 68 is a string bend followed by a finger tap while still holding the bend. The bend is then
released while keeping the tapped finger on the fretboard. This example is also in B minor.
E9 B‹11 68 A‹11
U
œ œ # œ œ œ #œ œ œ œ œ # œ œ ˙ ™
#œ œ œ ˙
° #œ œ œ œœ œ œœ
&
U
™
full
14 7 10
¢⁄
7 10 14 7 10 14 14 14 10 15 15 15
13 7 9 13 7 9
14 7 9
Example # 69
# 69 uses the same technique as the previous example but this time the tapped right hand
finger executes a series of rapid hammer-ons and pull-o s during the bend release.
69 A‹11
œ œ œ œ bœ œ bœ œ œ œ œ œ U
° œ œ œ œ œ œ bœ œ bœ œ œ œ œ œ œ
&
full U
¢⁄
10 15 10 15 10 15 10 15 10 15 10 15 10 16 11 16 11 15 10 15 10 15 10 15 10 10
Example # 70
# 70 is a chromatic rockabilly-style lick which makes extensive use of pull-o s.
70 A%
U ˙˙
° œ b œ œ bœ œ œ œ bœ œ ##˙˙˙
& œ œ œ Œ
3 3 3
3 3 3 U
Œ
7 6 5 12
¢⁄
7 6 5 12
7 6 5 11
7 5 7 11
12
Example # 71
The following are a series of blues-based licks which are a great resource for building a
vocabulary in this style. They draw on the blues scale, major pentatonic, mixolydian and
lydian b7 mode, often mixing them together.
Example # 72
This lick uses a double stop between the Eb, D and C on the third string and the high A.
I tend to play this with thumb and fingers for added e ect and due to the string skip involved.
However, it can also be played with a pick by muting the second string with the first finger.
71 A13
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ 72 A7
° #œjù œ œ œ œnœjù #œ œ œ j œ œ œ
& ‰ œ œ œ bœ œ œ œ w
j
j
ù8 j
ù6 ‰
5 5 5 5 5
¢⁄
7 7 5
7 5 5 7 8 7 5
7 7 7
Example # 73
# 73 is a blues-based lick derived from the major pentatonic scale. Note the full tone bend
and vibrato required to add authenticity.
Example # 74
This is a double stop-based rock n' roll lick which also incorporates some double bends.
73 B¨13 A6
œ
74
b œ œjù œ b œ bœ b w œù# œ
° œ œ #œù œ œœ bœœûûœœ nœœ U
˙˙
& Œ
3
U
ùù
3
j
ù15
Œ ûû 77
11 13 8 9 5
¢⁄
11 13 11 11 7 8 5 8 5 5
10 12 8 5 5
Example # 75
This is quite a well-known blues-based lick that I find works well to punctuate more linear
ideas during solos. It has a cross-rhythmic e ect which works nicely against the barline.
75 B¨7
° bœ œ œ œ œœ œ œ œ œbœœ œ œ œ œ b œœ œ
bœ œ œ œbœ œ œ œ œ œœ œ œ
&
¢⁄
6 8 9 8 6
7 8 10 8 7
8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
Example # 76
This example makes good use of the 9th and 13th along with some chromaticism.
76 B¨13
° œ œ bœ œ nœ bœ œ œ bœ bœ nœ
& ‰ bœJ bœ œ bœ
œ
3
j 3
‰
8 7 6
¢⁄
6 9 9 6
7 8 6 7
8 8
8 6 5
Example # 77
This is an e ective use of parallel fouths in a blues-fusion context.
E7(#9)
œœ œœ œœ œœ œ œ
77
œ œ œ bœ œ U
° œ œœ œœ œ œ
œ œ œ œ œœ œ
œ œœ œœ œœ œ œ œ œœ œœ œœ œœ œœ œœ
& œ
U
12 15 12
¢⁄
12 15 12 15 12 15 12
12 14 12 14 14 12 14 12 12 14 15 14 12
12 14 12 14 14 12 14 12 14 12 14 15 14 12 14 12 14 14 14
12 14 14 12 14 14 12 14 14 14
Example # 78
The following example uses a chromatically descending line in octaves. Octaves can be
performed either broken (as in this example) or simultaneously, with either a brushed fingernail
(a technique I personally prefer), the thumb (a la Wes Montgomery) or with a plectrum. You can
ultimately start and finish on any part of the fretboard with a phrase like this. This example
begins on the 12th and 15th frets respectively. Playing the intervals ascending/descending
in this manner also makes for a great string-skipping and picking exercise.
œ≤ ≥ b œ≤ ≥ œ≤ ≥ œ≤
78
b œ≤ ≥ œ≤ ≥ b œ≤ ≥ œ≤ ≥ œ≤ ≥ b œ≤
° ≥
œ bœ œ œ œ œ œ bœ œ œ œ bœ œ ≥ œ≤
& œ œ œ œ bœ œ œ
≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤
15 14 13 12 11 10 9 8 7 6 5
¢⁄
12 11 11 10 10 9 9 8 8 7 7 6 6 5 5 4 4 3 3 2
Example # 79
The following is a bluesy phrase using octaves in Em. Take note of the position changes
in order to execute this accurately.
# œ #U
E‹9
w
79
nœ œ
° œ œ œ œ n œ œ nœ b œ œ œ œ œ œ œ œ ˙
œ
œ œ #œ #w
& œ œ œ œ nœ œ bœ œ œ œ œ
œ œ œ ˙ œ œ
3
U
3
10 12 14 14
¢⁄
8 10 10 12 12 11 10 8 10 8 12
9 7 9 7 9 9 12 9 11 11
5 7 7 9 9 8 7 5 7 5 9
7 7 5 7 7 10
Example # 80
Here we have the first of two string-skipping exercises. The first example moves between
F major 7 and Bb major 7 arpeggios, only playing one note per string.
80 FŒ„Š7 B¨Œ„Š7
° œ œ bœ œ
œœœœ œœœœ œ œ œ b œ œ œ œœ œ
& œ
œ œ œ œ bœ œ œ œ œ
œ
1 6
¢⁄
1 1 6 6
2 2 2 2 7 7 7 7
2 3 3 2 7 8 8 7
3 3 3 3 8 8 8 8
1 6
Example # 81
This second string-skipping exercise uses the same idea, only between Gm7 and Cm7.
81 G‹7 C‹7
b œ œœœ
° œœœœœ bœ œ
œœœœœ
& œ
œ œ
bœ œ œœœœœ œbœ œ œ
œ œ
3 8
¢⁄
3 6 6 3 8 11 11 8
3 3 8 8
3 5 5 3 8 10 10 8
5 5 5 5 10 10 10 10
3 8
Example # 82
# 82 is an example of a Indian classical raga adapted for guitar. This pattern uses a root, 2nd,
minor 3rd, 5th and major 6th.
82 A‹%
° œ #œ œ œ œ œ œ
& œ #œ œ œ œ œ #œ œ œ
œ œ œ œ ˙
¢⁄
5 7 7 5
4 5 5 4
4 7 7 4
7 7
5 7 8 8 7 5
Example # 83
The following is also an example of a five note raga used in some Indian classical music.
This is similar to a mixolydian scale without the second and sixth.
83 A7(„ˆˆ11)
° #œ œ œ œ œ œ œ œ #œ
& œ œ œ œ œ œ
œ#œ œ œ #œ ˙
¢⁄
5 8 8 5
6 7 7 6
5 7 7 5
4 5 7 7 5 4
5 5
Example # 84
Here we have a couple of examples of lines derived from the E phrygian dominant scale, the
fifth mode of A harmonic minor.
84 E7(b9)
° œ œ#œ œ œ œ œ œ œ
œ œ #œ œ
& œœœ œ ‰
œ ˙™
™
‰
4 5 4
¢⁄
5 6 6 5
7 5 4
7 6
8 7 5 8 7
0 0
Example # 85
And another example, this time in the key of C.
85 C7(b9)
bœ œ œ œbœ œ œbœ œ
° œ œbœ œbœ œ œ bœbœ œ œ œ œ
3
&
œ œ
9 12 9 8 8
¢⁄
11 11 9 8
10 9
11 10 8 11 10 8
11 10 8 11 10
8 8
Example # 86
These next few examples demonstrate the e ectiveness of playing simple melodic phrases
on one string. The use of classical finger vibrato can be added for extra e ect.
86 A‹
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
° œ œ œ œ Uœ
œ œ œ ˙ œ œ #œ œ œ
& œ œ
3
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
3 U
¢⁄
12 7 10 9 4 5 7 9 2 5 4 1 2 5 9 14
Example # 87
This second example demonstrates a similar idea on the fourth string.
87 FŒ„Š7
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
° œ ˙ ˙
& œ œ œ b˙ ˙ w
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
¢⁄
3 7 10 14 15 10 8 7 10
Example # 88
One more example using the same concept, only this time on the second string.
88 D‹
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
˙ ˙ ˙
° œ œ œ œ ˙ ˙ ˙
&
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
¢⁄
3 6 5 10 13 12 15 10 6 5
Example # 89
The following is a country-inspired lick based around the E major pentatonic scale. It also
sounds great harmonised in dyads with thirds and fourths.
89 EŒ„Š9
œ #œ œ œ œ œ #œ #w
° #œ#œ œ
#œ œ œ œœœ
&
12 9 9 12 14 14
¢⁄
12 9 9 12
11 9 9 11
11 9 11
Example # 90
A second country lick, this one uses two ringing notes on the 12th fret of the top two strings
followed by a bend.
Example # 91
The previous lick can also be played as a triple-stop like this.
E(“2)
U
œœ œœ ˙˙ ™™
90 E(“2) 91
œ œ
° #œù#œ U
˙ #œ # œ ˙™
&
U
™
ù 13 ù
12 12 12 12
¢⁄
12 12 12 12
™
11 13 11 13 13
Example # 92
This is an example of a lick which makes extensive use of tremolo technique, all on one string.
“”
92 G‹9
œ œ U
° œ bœ ææ ææ ˙ ˙
ææ ææ
&æ
“”
ææ ææ æ æ ææ U
3 6 1æ
0 1æ
3 5 5
¢⁄
Example # 93
A second tremolo example, this time in more of a surf guitar style. It works well played
on the fifth string with the first finger.
bU
93 C‹
œœ
° æ ææ ææ œ
& ææ bœæ ææ æ
œ œ œ œ œæ œ
U
ææ ææ ææ ææ ææ ææ
11
¢⁄
13
12
3 6 5 8 3 2 3
Example # 94
The following is an example of a guitar trill. The lick descends chromatically for
added e ect.
94 D‹
Ÿ~~~~~~~~~~~~~~~~~~~~~~
° œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ
&
¢⁄
13 10 13 10 13 10 13 10 12 9 12 9 12 9 12 9 11 8 11 8 11 8 11 8 10 7 10 7 10 7 10 7
Ÿ~~~~~~~~~~~~~~~~~~~~
° bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ bœ œ œ œ œ œ œ U
˙
&
¢⁄
9 6 9 6 9 6 9 6 8 5 8 5 8 5 8 5 7 4 7 4 7 4 7 4 3
Example # 95
#95 is a variation of the previous idea, voiced in parallel fourths using a trill.
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~
95 D‹11
œœ œ œœ œ œ œ
° œ œ œ œœ œ œœ œœ œ œœ œ œ œ
œ œ œ œœ œ œœ U
w
& w
U
13 10 13 10
¢⁄
13 10 13 10 13 10 13 10
12 10 12 10 12 10 12 10
12 10 12 10 12 10 12 10 12
12 10 12 10 12
Example # 96
The following examples demonstrate several rhythmic displacement concepts.

This first example features a repeated five note figure, phrased in sixteenth notes.
96 A‹11
° œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ
&
8 5 8 5 8 5 8 5 8 5 8 5 8 5
¢⁄
8 5 8 5 8 5 8 5 8 5 8 5
7 7 7 7 7 7
Example # 96 ctd...
° œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ
&
8 5 8 5 8 5 8 5 8 5 8 5
¢⁄
8 5 8 5 8 5 8 5 8 5 8 5 8 5
7 7 7 7 7 7
Example # 97
This second example features an A minor lick based on a series of dyads grouped in triplets,
to create a displacement e ect.
97 A‹11
œ œ œ œœœœœœœ
° œ œœœœ œœœœ œœœœ œœœœœ
&
3 3 3 3
3 3 3 3
8 5 8 5 8 5 8 5
¢⁄
8 5 8 5 8 5 8 5 8 5
7 7 7 7 7 5 7 5
7 5
Example # 98
This is a chromatically-inspired lick based around G mixoydlian using sextuplets.
98 G13
° 3
œ#œ œ œ œ œ nœbœ œ œbœ œ
U
& œ œ œ ˙™ ˙
6
6
U
™
3 6 6
¢⁄
3 4 5 6 5 4 3
6 5 4 3 2
7 5 5
7 5
Example # 99
This enclosure example is based around Dmaj7.
99 DŒ„Š7
nœ #œ
° œ #œ œ œ œ œ œ
& Ó Œ ‰ ™ R #œ œ œ œ œ œ #œ œ
r
Œ ‰™
10 9 7
Ó
¢⁄
8 7 10 8 7
7 6 9 7
9 7 9
10 9
Example # 100
Finally, this lick uses a series of wide stretches combining wide and close intervals.
100 E‹11
œ œ œœœ U
° U œ œ œœ œœ œ w
œ œ œ
œ
& œ œ# œ œ#œ
œœœ˙
U
12 17 12
¢⁄
12 17 17 12 12 17 17
17 12 12 17
7 17 12 17
7 10 7 5
10 9 7 5
Notes
Notes
Notes
Suggested Further Reading
The following is a short list of guitar method texts and academic articles which I
consider to have influenced my own musical development and that I believe
would provide further insight to readers who have enjoyed working through this
resource. Enjoy!
Bay, Mel. Mel Bay’s Modern Guitar Method Books 1-7
Dean, James. Pat Metheny’s Finger Routes: The Role of Muscle Memory in Guitar
Improvisation https://doi.org/10.1080/17494060.2014.960070
Greene, Ted. Chord Chemistry
Harper, Colin. Dazzling Stranger: Bert Jansch and the British Folk and Blues
Revival
Jones, L.A. Exploration of Unorthodox Tunings and Muscle Memory Practice for
the Electric Guitar http://usir.salford.ac.uk/id/eprint/49778/
Kessel, Barney. The Jazz Guitar Artistry of Barney Kessel, Volumes 1-2
Krantz, Wayne. An Improviser’s OS
Leavitt, William A. A Modern Method for Guitar Books 1-3
Manus, Ron & Manus, Morton. Alfred’s Basic Guitar Method, Books 1-6
Nicholson, Stuart. Is Jazz Dead? (Or Has It Moved to a New Address)
Ranieri, Silvio. Ranieri Method for the Guitar Book 1
Sebesky, Donald. The Contemporary Arranger
Sethares, William. A. Alternate Tuning Guide

https://sethares.engr.wisc.edu/alternatetunings/alltunings.pdf
Sudnow, David. Ways of the Hand
Taylor, Martin. Kiss and Tell
Tedesco, Tommy. For Guitar Players Only
Walser, Robert. Out of Notes: Signification, interpretation and the problem of

Miles Davis https://www.jstor.org/stable/742559?seq=1
Zorn, John, Arcana Volume 1

100 Examples For The Modern Intermediate

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100 Examples for the

Lee Jones, Ph.D.

100 Examples for the

Written by Lee Jones

© Lee Jones 2020

100 Examples for the Modern Intermediate & Advanced Guitarist

‘…an excellent composer and one heck of a

‘…a fully developed personal style…’

‘…an emerging talent…’

Introduction & Acknowledgements

I encourage you to explore the examples in a variety of tempos, keys and

Example 1 – E minMaj 9 – Em6/9 chordal phrase p. 1.

Example 2 – Descending whole tone scale harmonised with 7#11 chords p. 1.

Example 3 – Cmaj9#11 voicing with open strings p. 1.

Example 4 – Series of maj13 chords descending in whole tones p. 2.

Example 5 – Aadd9#11 arpeggio p.2.

Example 6 – Parallel minor 11th chord progression p. 3.

Example 7 – E Phrygian sonority explored p. 3.

Example 8 – A13 – A13sus4 – A13#11 p. 4.

Example 9 – Descending close major 7 voicing over pedal p. 4.

Example 12 – Bm9 – E13b9 – Amaj7#5 p. 6.

Example 13 – Gm11 – C13b9 – Fmaj7#5 p. 6.

Example 14 – Moving 13b9 voicing in minor thirds over pedal p. 7.

Example 15 – Diminished scale harmonised using 13b9 chords p. 7.

Example 16 – A major triads across three octaves (chordal) p. 8.

Example 17 – A minor triads across three octaves (chordal) p. 8

Example 18 – A major triads across three octaves (single line) p. 9.

Example 20 – Cmaj13 voicing p. 10.

Example 21 – Minor 13b9 chord (from Dorian b2 scale) p. 10.

Example 22 – E9#11 voicing p. 10.

Example 23 – Pairing off a C and F# triad p. 11.

Example 24 – Em9 using natural harmonics p. 11.

Example 25 – Em11 using natural harmonics p. 11.

Example 26 – Pairing off a G and A triad p. 12.

Example 27 – Open position Amaj13 voicing p. 13.

Example 28 – Moving triads over bass pedal in G p. 13.

Example 29 – Moving triads over bass pedal in E pp. 13-14

Example 30 – Moving triads over bass pedal in B p. 14.

Example 31 – C7b9b5 voicing p. 15.

Example 32 – II – V- b V progression p. 15.

Example 33 – Ascending diminished arpeggio run p. 15.

Example 34 – Am7#5 p. 16.

Example 35 – F#7add4 p. 16.

Example 36 – Fmaj7#11#9 – G#m6#5 p. 16.

Example 37 – Dm6/9#11 p. 17.

Example 38 – C major scale using quartal harmony p. 17.

Example 39 – D Dorian lick using fourths p. 17.

Example 40 – C major line using alternating fourths p. 18.

Example 41 – C major line using alternating fifths p. 18.

Example 42 – Cmaj7#11b9 p. 19.

Example 43 – Chromatically descending fifths in Am p. 19.

Example 44 – C major line using alternating sixths p. 19.

Example 45 – C major line using alternating sevenths p. 20.

Example 46 – C major line using alternating octaves p. 20.

Example 47 – A/Eb octave lick using string skipping p. 21.

Example 48 – C minor rhythmic displacement lick p. 21.

Example 49 – Playing 5/16 over 4/4 in Cm pp. 21-22.

Example 50 – C whole-tone scale harmonised in thirds p. 22.

Example 51 – A augmented lick pp. 22-23.

Example 52 – A augmented scale harmonised in triads p. 23.

Example 53 – D harmonic minor chord scale p. 24.

Example 54 – D harmonic minor arpeggios from the scale p. 24.