pages from melodic improv

8/20/2019 Pages From Melodic Improv

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No. 3 Stepwise Major / Four Non-Related Major 7th chords

Practice suggestions:

1) Record the chord changes above, one bar each at a slow tempo, using Maj7 as the chord quality

(BfMaj7, GMaj7, EMaj7, DfMaj7). Loop the changes for three minutes or so.

2) Play steady 1/4 notes through the changes that are correct diatonically (like the example above).When

1/4 notes are easy for you, move on to 1/8 notes.

3) Try focusing on one part of the guitar fretboard at a time and forcing yourself to stay in approximately

the same “neighborhood” then try another part of the fretboard.

Stepwise - Four MAJOR 7TH chords

10

&TAB

44 B bMAJ7

œ b œ œ œ b

6 85 6

GMAJ7

œ n œ # œ œ 7 9

5 7

EMAJ7

œ œ # œ # œ 9

6 85

D bMAJ7

œ œ b œ b œ b6 7 9

6

&TAB

B bMAJ7œ œ œ œ b

8 10 811

GMAJ7œ œ œ # œ

10 8 79

EMAJ7œ # œ # œ œ

8 69 7

D bMAJ7

œ b œ b œ œ b

69 8 6

&T

AB

B bMAJ7

œ œ œ b œ

58 6 8

GMAJ7

œ œ œ # œ

5 7 95

EMAJ7

œ n œ œ # œ #

7 9

6 8

D bMAJ7œ œ b œ b œ b

6 7 96

&TAB

B bMAJ7œ œ œ b œ

8 10 11 10

GMAJ7œ œ n œ œ

8 7 58

EMAJ7œ # œ œ # œ #7 5

8 6

D bMAJ7œ n œ b œ b œ b5

8 69

B bMAJ7

wU

8



Stepwise - Four DOMINANT 7TH chords

12

Here is an example of stepwise diatonic movement () and a very simple pattern () through four

dominant chords (moving down in minor thirds).

CD #4 Stepwise Dominant / “Isotope” Changes


1) Record the changes above: one bar each at a slow tempo. Loop the changes for three minutes or so.

2) Play steady 1/4 notes through the changes that are correct diatonically (like the example above).When

1/4 notes are easy for you, move on to 1/8 notes.Try stepwise movement () and the pattern ().

3) Record the changes with 7s11 and try using melodic minor scales up a fifth (C7(

s11) = G mel.min.

&TAB

44C7

œ œ b œ œ 8 6 5

8

A7

œ # œ œ œ #7 5

7 6

G b7

œ b œ b œ b œ b

9 8 69

E b7

œ œ b œ b œ

8 69 8

&TAB

C7

œ b œ œ œ 6 8

5 7

A7

œ # œ œ œ 9

5 7 9

G b7

œ b œ b œ b œ b

6 8 97

E b7œ n œ b œ b œ

8 96 8

&TAB

C7 œ b œ œ œ

6 58 6

A7œ œ œ # œ

58 7 5

G b7

œ b œ b œ b œ b

9 79 8

E b7œ œ n œ b œ b

8 68 6

&TAB

C7

œ œ œ œ 6 5

7 5

A7

œ œ œ # œ 5

7 69

G b7

œ b œ b œ b œ b

8 69 8

E b7

œ b œ œ b œ b

610 8 6

C7

wU

stepwise movement in the pattern



On the ii-V progressions at the beginning of “Ask Me Now” use a mixolydian for the both the ii and V

chords. E.g.,Gmi7 & C7 = C mixolydian.

CD #5 Stepwise Dominant / “Ask Me Now” changes

Stepwise - EXERCISE 4 - “Ask Me Now” - DOMINANT

14

&

TAB

44 Gmi7 C7 F#mi7 B7

œ œ œ œ œ # œ # œ œ

85 7 8 9

6 7 9

Fmi7 B b7 Emi7 A7œ œ œ b œ œ # œ œ œ

5 7 86 7 8

5 7

&

TAB

Gmi7 C7 F#mi7 B7œ œ b œ œ œ # œ œ # œ #

8 6 58 7

9 8 6

Fmi7 B b7 Emi7 A7œ n œ b œ b œ œ # œ œ œ #

58 6 5 4

7 5 4

&

TAB

Gmi7 C7 F#mi7 B7œ b œ œ œ œ œ # œ # œ n

6 58 6 5

8 69

Fmi7 B b7 Emi7 A7

œ b œ b œ œ œ n œ œ # œ n

8 6 58 7 5 4

7

&

TAB

Gmi7 C7 F#mi7 B7

œ œ œ œ œ # œ # œ œ n

85 7 8 9

6 7 9

Fmi7 B b7 Emi7 A7

œ œ œ b œ œ œ œ œ #

5 7 86 8

5 7 9

E bmi7

wbu11

C Mixolydian B Mixolydian Bb Mixolydian A Mixolydian

C Mix.

C Mix.

C Mix. B Mix.

B Mix.

B Mix. Bb Mix.

Bb Mix.

Bb Mix.

A Mix.

A Mix.

A Mix.



Stepwise melodic minor • Three different melodic minor scales used by step

Melodic minor is a handy scale and is a great way to use stronger harmonic language that gives

your improvisation movement.An easy definition of melodic minor is that it’s a major scale with a flat

third. I find it a bright sound when played over a mi9(f5) chord while over a mi(Maj7) chord it sounds

dark to me. It may sound different to you. Here are some chords contained in the scale (harmonizedin thirds).

One popular use of this scale is over an altered chord.An altered chord is a dominant 7 chord

with the 5th and 9th flat or sharp. In other words, if one played a G7alt., the notes D and A have to

be Df or Ds, and Af and As.The altered scale can be seen as a mode of a melodic minor scale or

vice-versa.

Another common use for this scale is over a mi9(f5) chord:

Stepwise - MELODIC MINOR

17

& 44 œ œ œ b œ œ œ œ œ œ œ b œ œ œ œ œ

&

Cmi(ÂÅ7) Dmi7

˙̇̇̇b ˙̇̇̇

E bMAJ7(#5 ) F7

˙̇̇̇b ˙̇̇̇b

G7 Ami7(b5)

˙̇̇̇ ˙̇̇̇b

Bmi7(b5) Cmi(ÂÅ7)

˙̇̇̇ ˙

˙̇̇b

C Melodic Minor

& 443

C7alt

b9œ b

#9œ b œ n

b5

œ b#5

œ bb7

œ bR

œ b9œ b b7#9œ b b53œ n #5œ b œ b R

œ b œ ŒDb Melodic Minor

Enharmonically Fb(Relative to the chord)

& 44 b3

Cmi9(b5)

b3

œ b4

œ b5

œ bb6

œ bb7

œ bR

œ 9

œ œ b 4œ b5œ b b6œ b b7œ b Rœ 9œ b3œ bEb Melodic Minor

(Relative to the chord)



common uses of melodic minor

chord scale example

mi(Maj7) Melodic minor built on root Cmi(Maj7) = C melodic minor

mi9(f5) Melodic minor built on f3 Cmi9(f5) = Ef melodic minor

7alt Melodic minor built on f2 C7alt = Df melodic minor

7(s11) Melodic minor built on 5 C7(s11) = G melodic minor

Maj7(s5) Melodic minor built on 6 CMaj7(s5) = A melodic minor

7sus(13f9) Melodic minor built on f7 C7sus(13,f9) = Bf melodic minor

CD #7 - Stepwise Melodic Minor Scales


18

&

T

AB

44Dmi9(b5)

4 2 1 1

5fr.

œ œ œ b œ b

85 6 8

G7[b9#5]12 3 4

4fr.

œ b œ b œ b œ

96 8

6

Cmi9(ÂÅ7)1 2 34

6fr.

œ œ œ n œ

85 7 8

Cmi(ÂÅ7)wu10

Moves to the closest note in the next scale

Ab Melodic Minor C Melodic MinorF Melodic Minor



There are a few things to observe in the previous (and following) exercises:

1) The stepwise pattern moves up to the next highest note in the next scale. For instance, in CD

Example #7, from the 4th note in the first measure (Bf) the closest note UP in the Af melodic

minor scale is Cf (Bn).The line must keep moving in a stepwise manner to be effective.

Try starting each measure with the root of the scale and I think you will find it much less effective

as a melodic device.

2) If you play a note that is not in the proper scale, the line loses all melodic integrity.

3) This entire exercise assumes that the student (that would be you) knows all the melodic minor

scales EVERYWHERE on the guitar. By making up exercises for yourself in different keys, you

quickly learn which scales you know and those that you don’t.

4) You need to know the proper scale for the proper chord in all keys.

5) We are going to be working with the ii-V-i progression a lot.This is a very common progressionknown as a TWO-FIVE-ONE (ii-V-I). For example, in C minor the ii-Vi would be:

Dmi9f5 (ii) G7alt (V) Cmi(Maj7) (i).


19

MINOR ii-V-i PROGRESSIONS IN OTHER KEYS:

ii V i

G minor

Ami9f5 D7alt Gmi (Maj7)

C melodic minor Ef melodic minor G melodic minor

D minor Emi9f5 A7alt. Dmi(Maj7)

G melodic minor Bf melodic minor D melodic minor

A minor Bmi9f5 E7alt. Ami(Maj7)

D melodic minor F melodic minor A melodic minor

E minor Fsmi9f5 B7alt. Emi(Maj7)

A melodic minor C melodic minor E melodic minor

F minor Gmi9f5 C7alt. Fmi(Maj7)

Bf melodic minor Df melodic minor F melodic minor



For each stave, measure 1 is ii (mi9f5), m. 2 = V7(w/ alteration), m. 3 = i mi(Maj7) & m. 4 is V7 alt. for

the first chord in the next stave (secondary dominant function).

CD #8


20

&

TAB

44Ami9(b5) 2 4 1 3

5fr.

œ œ œ œ

5 7 85

D7(#9)4fr.

œ b œ œ b œ b

6 84 6

Gmi9(ÂÅ7) 2 3 1 4

3fr.

œ œ b œ œ

7 85 7

B7[#9#5] 1 32 4

6fr.

œ b œ œ œ

4 6 85

&

TAB

Emi9(b5)7fr.

œ œ # œ œ

5 7 85

A7(=5)10fr.

œ b œ œ b œ b

6 8 9 11

Dmi9(ÂÅ7)1 4 2 3

8fr.

œ n œ œ # œ

12 10 912

F#7(#9) 8fr.

œ b œ œ œ #

11 10 8 7

&

TAB

Bmi9(b5)2 4 1 3

7fr.

œ œ œ œ

58 6 5

E7(=5)5fr.

œ œ œ b œ b

7 58 6

Ami9(ÂÅ7)5fr.

œ # œ œ œ

47 5

8

C#7(=5)1 314

4fr.

œ # œ œ œ

4 5 7 8

&

TAB

F#mi9(b5) 3 2 1 4

5fr.

œ œ œ # œ

7 5 4 5

B7[#9=5] 1 32 4

6fr.

œ œ œ œ b

7 85 6

Emi9(ÂÅ7) 4 3 2 1

7fr.

œ n œ # œ œ

7 95 7

Emi9(ÂÅ7)œ œ # œ # œ

4 64 5

Emi9(ÂÅ7)w#u7

C Melodic Minor Eb Melodic Minor G Melodic Minor C Melodic Minor

G Melodic Minor Bb Melodic Minor G Melodic Minor D Melodic Minor

D Melodic MinorA Melodic MinorF Melodic MinorD Melodic Minor

A Melodic Minor C Melodic MinorE Melodic Minor E Melodic Minor

(Chord voicings used in recorded example)



This exercise is based on a harmonic progression favored by Thelonious Monk on songs such as “Well,

You Needn’t” and “Epistrophy” or on “Syeeda’s Song Flute” or “Harmonique” by John Coltrane.The first

chord functions as the tonic and the second chord as an altered dominant. Gf7s11 is the tritone substitution

of C7.We will do more with tritones later in the book.

CD #9 “Well, You Needn’t” Changes

Stepwise - MIXED - Mixolydian and Melodic Minor

21

&TAB

44 F7 12 34

5fr.

œ œ œ œ b8

5 7 8

G b7(#11) 12 4 3

5fr.

œ œ b œ b œ n

5 6 85

F7œ œ œ œ b

6 85 6

G b7(#11)œ œ b œ œ b

8 9 8 6

&TAB

F7œ œ œ œ b

58 6

8

G b7(#11)

œ b œ œ b œ b6 5

8 6

F7

œ n œ œ œ 7 5

85

G b7(#11)

œ b œ b œ œ b6 8

5 6

&TAB

F7œ b œ œ œ

86 8

5

G b7(#11)œ b œ b œ b œ n

69 7 5

F7œ œ b œ œ

68 7 5

G b7(#11)

œ b œ b œ b œ n8 6

9 7

F7

wu

8

F Mixolydian Db Melodic Minor

F Mixolydian

F Mixolydian F Mixolydian

F Mixolydian


Db Melodic Minor Db Melodic Minor

Db Melodic MinorDb Melodic Minor



More stepwise ideas for a two-chord progression. This time I’m using a rhythmic motive (triplets) and a

simple sequence (up three notes in the scale, back to the next stepwise note and up three more notes, etc).

It’s easier for you to hear it than for me to describe. I’m doing the opposite when moving down.

CD #10 Stepwise Mixed / “Well, You Needn’t” Changes


1) Record the changes above: one bar each at a slow tempo. Loop the changes for three minutes or so.

2) Try playing the sequence above using eighth notes instead of triplets.

3) Try eighth notes but without the sequence (only stepwise).

4) Try playing through the changes in intervals such as thirds, fourths, fifths, etc. Later in the book we will

explore intervals through changes but you might want to start now.

Stepwise - MIXED MIXOLYDIAN & M.M.- Triplets

22

&

TAB

44 F7

Step

3

œ œ œ b 3

œ œ bStep

œ

85 6 5 6 8

G b7(#11) 3

œ b œ n œ b 3

œ n œ b œ b

6 7 9 7 96

F7 3

œ n œ n œ 3

œ œ œ b

85 7 5 7 8

&

TAB

G b7(#11) 3

œ b œ b œ 3œ b œ œ b

6 85

85 6

F7 3œ œ b œ 3œ b œ œ

8 6 5 6 58

G b7(#11) 3œ b œ b œ n 3œ b œ œ b

9 79

79 8

&

TAB

F7 3œ œ b œ 3œ b œ œ

68 7 8 7 5

G b7(#11) 3œ b œ œ b 3œ œ b œ b

6 58

58 6

F7

wNU

7


F Mixolydian

F Mixolydian

F Mixolydian

Db Melodic MinorDb Melodic Minor

Db Melodic Minor



One thing that is very important to remember when looking at the examples in this book is that t he

tab is only one possible fingering out of many. This book isn’t about positions, three notes-per-string or anything

having to do with the mechanics of playing guitar.Those things are entirely up to you to suss out. For this

reason, you will find some of the exercises increasingly difficult as we move into wider intervals, more exotic

scales and chords and into more chord changes (such as Coltrane “Giant Steps” changes).

CD #22 Thirds Pattern key of Af Major

Intervallic - Thirds pattern in one key

36

&

TAB

bbbb 44œ œ œ œ œ œ œ œ

1 43

1 34

6 3

œ œ œ œ œ œ œ œ

43 6

5 6 34

6


3 65

3 56

8 4


65 8

6 8 56

8

&

TA

B

bbbb œ œ œ œ œ œ œ œ

5 86

6 88 5

6


86

6 96

88 5


66 9

8 911 8

8


109

8 1 1 1 3 911 8

&

TAB


109

8 11 911 8

8


1110

98

11 88

10


86

6 9 88 5

6


5 86

6 45

6 3

&

TAB


65

3 6 56 3

4


3 65

3 13

4 1


43

1 5 34 1

3

w

1

Ab Major



“What Things” is an etude based on the entire form of “What Is This Thing Called Love?”

CD #28-29 Etude no. 4 • “What Things” (#28 slow & #29 fast versions)

Intervallic - Etude #4 - “What Things?”

44

&

TAB

44 Gmi9(b5)

œ b œ b œ œ b .œ b jœ

6 9 86

98

C7alt .œ n œ b œ b œ b œ b ‰ Jœ b

76

98 6 8

Fmi7œ œ œ b œ œ œ œ b

76

88 6

5 8

Fmi7.˙ œ œ b

7 5 8

&

TAB

Dmi9(b5)

œ œ œ œ œ œ b œ œ b

76

98 6 9 8

6

G7alt .

œ b œ b œ b œ œ b œ œ œ b

97 6

8 9 6 88

CMAJ

7œ n œ œ œ ˙

55 7 4

CMAJ7(#11)

œ œ œ # œ œ œ œ œ

75 4 7 5

47

5

&TAB

Gmi9(b5)

œ b œ b œ œ b œ b œ b œ

86 5 8 6 8

8

C7alt .

‰ Jœ n œ b œ b œ b œ b œ 9

911

11 98

Fmi7

‰ Jœ b œ

œ œ b œ œ

1110

131110 13

Fmi7œ œ œ b œ

œ œ b œ

10 1113

1011

12

&TAB

Dmi9(b5).œ Jœ œ b œ œ

œ 10

99

87

G7alt .

‰ Jœ b œ

œ b œ b

œ b œ b8

66 8

96

CMAJ7

œ œ œ œ .œ jœ

57

45

75

CMAJ7(#11)

.˙# Œ4

F Dorian

Ab Melodic Minor

Bb Melodic Minor Db Melodic Minor

Bb Melodic Minor

F Dorian

Db Melodic Minor

F Melodic Minor C Major C Lydian

F Melodic Minor Ab Melodic Minor C Major C Lydian



CD #28 & 29 Etude no. 4 (page 2)

Intervallic - Etude #4 - “What Things?”

45

&

TAB

44Cmi7

Œ œ b œ œ œ œ œ b

68

56 8

8

F7(#9)œ œ b ˙b œ b œ n

66 8 6

7

B bMAJ7œ œ œ b œ œ œ œ b

57 8 7

85

6

B bMAJ7

œ œ œ b œ œ Œ

8 5 6 5

&

TAB

E bmi7Œ œ b œ b œ œ b Œ

64

86

A b7œ b œ b œ b œ œ b œ b Œ

4 8 65

86

Dmi7‰ Jœ œ œ œ œ œ œ

76 5 8 6

58

G7

œ œ œ œ œ œ

7 8 78

56

&TAB

Gmi9(b5)

Œ œ œ œ œ b œ œ b5

6 88

66

C7alt .

œ œ b œ œ b Jœ b .œ

8 5 68

5

Fmi7

œ b œ œ b œ œ œ b

65

87 5 8

Fmi7

œ œ œ b œ ˙

76

88

&TAB

Dmi9(b5)

œ œ

œ œ œ œ b œ

76 5 8 6 9 8

G7a lt .œ œ b œ b œ n œ b œ b œ n

69

7 6 9 7

CMAJ7œ œ œ œ œ œ œ

810

78 10

10 9

CMAJ7

œ Ó

Ab Mixolydan

C Dorian

G Mixolydian

Ab Melodic Minor C Major

Gb Melodic Minor Bb Major

Bb Melodic Minor Db Melodic Minor F Dorian

F Melodic Minor



“If Not For You” is based on the Coltrane version of the jazz standard “But Not For You” [John

Coltrane My Favorite Things (Atlantic 1361-2 rec. 1960)]. See if you can figure out what scales or intervals I

have used in this etude.

CD #30-31 Etude no. 5 • “If Not for You” (#30 slow & #31 fast versions)

Intervallic - Etude #5 - “If Not For You”

46

&

TAB

bbb 44 E bMAJ7 F#7

‰ œ œ œ œ # œ n œ # œ n

5 87 8

9 67

BMAJ7 D7

œ # œ # œ # œ n œ # œ n œ n œ

98

6 97

79

10

GMAJ7 B b7

œ n œ œ n œ œ A œ œ œ A

7 109

8 910 7

8

E bMAJ7.œ Jœ Œ ‰ Jœ

8

69

&

TAB

bbbE bMAJ7 F#7œ œ œ œ œ # œ n œ # œ #

88

67 8

96

8

BMAJ7 D7.œ n jœ # œ n œ n ‰ œ N

9 6 79

9

GMAJ7 B b7‰ œ # ‰ œ .œ N Jœ n

7

10

8 6

B bmi7 E b7œ œ œ b Ó

8 7 6

&

TAB

bbbA bMAJ7‰ œ œ œ .œ jœ

88 5

56

A bmi7 D b7œ b œ œ œ b .œ Jœ

68

89

68

E bMAJ7œ Œ Ó

8

Dmi7(b5) G7a lt .œ œ b œ œ œ œ b œ œ

6 98

8 66

810

&

TAB

bbb Cmi7œ œ œ œ Œ

8 68

F7œ œ œ œ Œ

5 6 8

F#mi7

B7

œ # œ # œ n ˙

96 7

Fmi7 B b7œ œ œ œ œ

85 7 8



CD #30 & 31 Etude no. 5 (page 2)

Intervallic - Etude #5 - page 2

&

TAB

bbb 44E bMAJ7 F#7œ œ œ œ œ # œ # œ # œ n

67

8 59

86 9

BMAJ7 D7œ # œ n œ # œ n œ n œ # œ n œ

89 6

7 54 7

5

GMAJ7 B b7

.œ n jœ A œ b œ œ œ

46 8 5 6

8

E bMAJ7

œ œ œ œ Œ

56 8

&

TAB

bbbE bMAJ7 F#7

œ œ œ œ œ n œ # œ n œ #

65 8

75 9

7 11

BMAJ7 D7œ # œ # œ # œ n .œ Jœ n

9 67

9 710

GMAJ7 B b7

œ n œ œ # œ n œ A œ # œ

97

7 10 11 77

B bmi7 E b7œ b œ œ œ œ

3

œ n œ œ n

66 9

8 11 78

9

&

TAB

bbbA bMAJ7.œ b Jœ b œ œ œ œ

8 6 5 88

6

A bmi7 D b7œ œ œ b œ .œ b Jœ A

9 66

8 96

E bMAJ7œ n Œ œ œ œ œ

7 88 11

10

C7alt .œ # œ # œ # œ # œ n œ œ # œ n9

1111

11 10 89 7

&

TAB

bbb Fmi7

œ n œ œ œ Œ

86

55

B b7

œ œ œ œ n œ œ

65 8

97

6

E bMAJ7

C7(=5)

œ œ œ œ n œ # œ

88

6

99

8

Fmi7

B b7

œ œ œ œ b œ œ

109

8

11

69

E bMAJ7

˙

8

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