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The Complete Jazz Guitar Method . _I"", o..r.utItIWr "auO'rirt& I ............. JODY fiSHER

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Page 1: Vol.4 - Mastering Improvisation

The Complete Jazz Guitar Method

. _I"", o..r.utItIWr • "auO'rirt& I ............. JODY fiSHER

Page 2: Vol.4 - Mastering Improvisation

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The Complete Jazz Guitar Method Beginning. Intermediate· Mastering Chord /Melody· Mastering Improvisation ..

--- -..... . , - r • • .1

JODY FISHER , I' . -' \ :' " ~' " . (,,'

c?- I' c.... !. I ~_".

Alfred, the leader in educational publishing. and the

National Guitar Workshop. one of America's finest guitar

SGt;ools, have jo ined forces to bring you the best. most

progressive educational tools possible. We hope you will

enjoy this book and encou rage you to look for other fine

products from Alfred and the National Guitar Workshop.

Copyrlgh/ C MCMXCV Alfred PubIJsfW)g Co" lne. All nghts reserved. Pnnlcd In USA

Acqut$IIICn. fId.I~I. muse; ' )'pftumng . ... renor des'f1'I N.Ir..NtII GI..nxt, Worl<shop MS CO ~ MId ~rtld by Slflve RobMson . t SUlodJitf1 Room Only Studios, Fom.an.a, c.kfolflQ

Ph(Jfo .CQUlsir>Oll: MIChIJIII A/I8in. Workshop Arts Cover pII% Jeff OShIro ' c-erdeqm; Ted E.,bJrltlManhfl WlClm.fIIl

CoIlsull"'!1 editor. Unk ~msberper. AlflfIfJ Publtshttfl

Page 3: Vol.4 - Mastering Improvisation

ABOUT THE AUTHOR ................................................................................................. .. INTRODUCTION ............................................................................................................ S

-- --- - .-""~~--<~~ . .,...., Chapte r 2-The Minor Scales and T heir Modes_": >.i.t;, .-~'J .

Lenon I: The MelodIC M,I'IOf' Sale

Lenon 2: The Modes of the Melodic MII'IOf' Sale

Lesson 1: ArpeggIOs In the Melodic M,nor Snle

Lesson 4. The HumonIC MIIlOI'Sale

Lesson 5: The Modes of the Harmonic MII'IOf' 5ule

Lesson 6: Arpeu'os in the HarmOl'1lC MInor Sale

'!' ~~ .. ,.-

Il 17

18

"

l6 J6 18 <2 ., .. 47

_ 48

Chapterl-UsingArpegglos . \' - '}';. "~~7' '" .' .. ,-Lenon I: Chord Supenmpomioo ___ " __ '_'~_"'_"' ____ ~""M' __________ "

Lesson 2: Melodoc Plttems B.ued Around Arpegpn SO Lesson 1. Melodic Plttems Sued Around Chord ShIpes _ 52

Chapter " -Eigh t-Tone Scales 53 The Elght·Tone ii·V? SCale ___ ._N.~ ... __ ...... ~ ...... _. __ ... __ ... ~ .. ~ __ ..... ~.~._~ ______ ..... __ .. _ 53 The Elght·Tone 1 Sc:a.le __ ._ .. _. ___ ._._ .. __ ~ .. _ ...... _ .. _. ____ • __ .. ______ .. _.M_ .... __ 53

2 Table 0( Contents

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Page 4: Vol.4 - Mastering Improvisation

Cliii)ter' S~ConncctlngYour Idcu ~'" Lc~o~ I :Thc- Ch;omnic Connectl, .. ,

LCHon 2; Accentv~un& lhe DIfference Belween Keys .. Lesson] LeHon" Lenon 5

Repnl,ng ~n tdn ,n D,fferent Oct;Jves . RhythmIC Mowfcs, ,, ................... .. MelodIC ConnectIon .....

Lenon 6 Oiatonic Connection ......... " ................ .

CODA--A Me dley of Suggestion! ond Musical Co ncepu Play'"g on Ihe ExtenSIons Usm& Adv~nced Pent;Jtonin ........ PI~y'n& on the EJnensoons Us.ng Tones From I] Chon; Pl1yon& W,th Wider Intervals .

SymmetriCal Mo tIves ..

:' ' ; ~:'i.~, r?;,::· ,t>:"'S5-. ;;". 7' · ·,~·:rr:\K;~·7?~1j ... ___ ,- ,. _ .~._ •. _., ., ..... ,. _ . :...-. .. !L. , ~;t

..... ......................... ...... 55 . .... 57

...... S9

" .. ..... .... ... 60

62 .. ..... 62

" . ....... 63 ....... 63

.. ........ 6)

A compact disc is available for each book in th is series. Thes e discs can moke Icarning with these baoks cosier ond mort' enjoyable. This sym .' "I will appear ncxt to every example that is o n the :0. Use the CO to h . iJ insure that you are capturing the feel of the examples, interpreOng

the rhythms correctly, and so on. The Track num !..crs below the symbols correspond directly to the example you wont t o hear. Trock / will help

you tu ne to the CD. Have fun!

Table of Contents 3

Page 5: Vol.4 - Mastering Improvisation

ABOUT TH( AUTHOR Jody Fish!!,. h~s worked profeulon~lIy in ... irtu~Jly all $tries of music during his career, from stnight-ahead ;and contempor.ary jnz, to rock 'n' roll, country. pop and show tunes. He uught Guitar and JUI Studies :It the University of Redlands ttl Southern California and ;at the Idyllwild School of Music and (he Arts (ISOMATA). An active performer tn the Southern Cillifornia area. he still mainQins ;a priViltC! teillching pMlCtice. serves on the fac­

ulty of the University of u. Verne, ilnd ;n an ISSOClue director of the National GUitar

Summer Workshop's California ~lnd N:l5lwille campuses Jody Fisher is the lurnal'" o f the Guilor Mode Encyclopedia, also published by the Nuional GuiurWorkshop and A1(red.

4 About the Aumor

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Page 6: Vol.4 - Mastering Improvisation

I NTRODUUION GUItar students typically spend a lot of time looking around for informulon that will take them to a higher level. When I was growing .'p. it was very dIfficult to learn how to play jazz. There were no instructional videos, and the books that were available were just not very helpful. There were no gui tar Khools. Most students were self-taught and some loo k tenons. but really good teachers were very hard to find. I w;u lucky-rve had some

great teachers.

Today. there are videos, books, guiur schools, upes, CDs and very ulented tuchers all over the place. But there is nili something missing: books thu give a complete overview of whu you need to know to become a proficient juz guitarist. Hopefully, this seriu fills that gap.

A,ny student who suru with Ikeinnin:jau Guitar and proceeds through the entire series will be exposed to most of what they need to know to play jan guiur. You will find some complelC subje<:u in this book, as well as some very simple ideas that you un start to use immediately. Chapter I begins with a discussion of improvising over altered dominant chords.

This book is not for beginnen, It is for guit:ilrisu that have worked through 8eginningjazl Guitor and Intermediore j011 Guil:or, or have received the same sort of information else· where. To get the mOst out of this book you should be proficient with the penutonic sules, blues scales, the major scale, diatonic hilrmony lind chord scales, transposition, diatonic arpeggios, neighbor tones, triads , licks and formulas for eICtended and altered chords.

Each leuon in the first two books had tWO seperate sections. The "A" sections dealt with harmonic principles and chord work while the "S" sectiom handled the tOpiC of single.line improvisation. This entire book (oncerns ruelf with single.line improvisation. It suns right where the "S" sections in the intermediate book left off. Moster;n: Jazz Guirar; Chord/Melody starts where the "A" seclions of the intermedilile book left off. You may want to go through the book in order, or you m3Y want to use it as a sourcebook o f concepts and techniques to investigne in your own way.

The concepts and exercises in this book ilre intended to inspire you for a lifetime of study and enjoyment_ Since juz improvisation is an ever expanding field of information. one never really finishes doing this work.. Enjoy the journey.

Introduction S

Page 7: Vol.4 - Mastering Improvisation

• ®

• •

Improvising Over Altered Dominont (hordJ

Altered dominant chords Ut some of the: most distinctive sounds in jan. Much of the ch.lllienge and enjoyment of playing jazz comes from learning how [0 improvise using the altered tones from these chords. At times. th ,s may seem like a formidable usk. and in some repects. it is. The key is to digest this m:lterial 3. litde at 11 time.

DeYim dod IdlOl

Before we move much further. let's define some vocabulary. You will see the term device quite often. For Our purposes, a de'lice is any tool thn we use for improvising. Scales, licks. upeggios and melodic patterns are all considered devices. Another term that will be used often is ideo. An ideo is simply any melodic indination you may have at any particular time.

I( you have been improvising exclusively over un'lltered diatonic chords, you 'lroe probably wondering how to surr adding the ~ Itered tones. There ar e man)' ways, but we will begin by using sc~les. A chord with ~Itered tones is a chord that conuins a ~5 (or II I). : 5,~. ~ or 'lny combination of chese. Many students believe th~t you simply ~dd these tones co existing sc~les and ~rpeggios thOlt you already know. This is pan of the picture. but there are many easier and more organized ways to ~ccomplish the same end. There are different scales ch~t cont'lln these altered tones. Part of the tuk at hand is to leun which altered tones ~re found in what scales. then organize these scales in your mind and pract ice apply­ing them over the 'lppropriace chord change~ . The first of these scales we'lI be ulking about is che diminished scale.

The formub (in half steps and whole steps) fo r the diminished scale is W-H.W_H_W_H_ W-H.

Here it is in G. diagramed along nch individual string where the formula is eisy to see.

THE G DIMINISH ED SCALE

• -® • • ._-------

---e " • • , e :. ."

---e '"' • • ----e . -- - $: . . : 0 :

" :_.e III V VII X XII

6 Chapter I-Improvising Over Altered Dominant Chords

H = Half step W ""Whole step

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Page 8: Vol.4 - Mastering Improvisation

; There ;Ire really only three ~eperate diminished ~cales pO$Si~le . Because of the form ula, a

I d imini shed sc;ale beginnmg " minor 3rd higher than the origln,,1 rOOt will (anUin eXiledy the same notes. although they 1r'! sometimes spelled enharmoniCillly (for Insunce. G' may

J be spelled as F'). Think of the stille as reputing .tself every ume you plJy It a minor lrd higher.

G A B' e 0' E' P G' B' 0 ' E' F' G' G' , I ,--1, e A

• ;=hQ----' •

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·cr 0

/l The G Diminished scale contains the same 0' E' F' G' B' notes as the B', Ol,and E Diminbhed scales. G' A e

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le'I uh A' B' 0 E F G B e' 0 E F G

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The AI Diminished selle COnU;f15 the urne

'f] notes .1$ the S, 0 and F Diminished scales. 0 E F G A' B' e' 0'

J F G A B' e' 0' 0' E

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e 0 E' F G' A' A' B

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0 The A Diminished sCile COllUlins the same

l notes.u the C, E" and G' Diminished scales. E' F G' A' A' B e 0

] G' A' A' B e 0 E' F

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J Chapter I-Improvising Ov.,or Alterc:d Dominant Chords 7

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Page 9: Vol.4 - Mastering Improvisation

4

The diminished scale is especially important in jazz improvis.1tion because it has multiple uses. Obviously. it works well over diminished tr iads and diminished 7th chords. When you start this scale on the root of a diminished chord. the scale contains all of the chord tones of aU four possible enharmonic spellings of that diminished chord.

(A I c 0 e' F G' A' B~ B Cdlm7 E~dim7 G~dim7

~ oct., ~oI!H'~1 ~&§ 11m II ~ o=t; u 0

A litde less obvious is the dlmmished scale's use over altered dominant chords. When we apply the d iminished sule to altered dominant chords (excluding the =5, since the dlmished scale has a 15). we play the scale whose root is one half step higher than the root of the chord. For instance, play an A~ Diminished scale over an altered G Dominan t chord. Example 5 shows how the ~S (or :11). ~.and '9 are included in the Kale.

A" (A:j (D~) B' B' C' 0 e F G

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The scale tones as related to the G dominant chord.

Example 6 shows me chords thiS scale can be used over.

II II

G7:9 G7~5~9

I~ II &k~ Part of your t raining as a jazl! musIcian IS to learn to recognrze the sound of altered tOnes in chords, This will help you know which sCiles to use and whn notes to emphisize. Ear.training ·h beyond the scope of this book. but it IS well worth your time to investigne this subject thoroughly.

Chorley Chriltion

8 Chapter I_Improvising Over Altered Dominant Chords

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Page 10: Vol.4 - Mastering Improvisation

Here are (our fingerings for the diminished scale In G. Memorize and prOlCllce them with melodic patterns that you know. Also.lun spend some tIme noodhng around WIth them. This wilt help you get aquainted with the sound.

THE G DIMINISHED SCALE

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These fingerings require quite a few shifts from one position to another. When pruticing shifts, try to make it sound like there wu no shift 'l l 'lIt Do not slide into position or lessen the time value of ilny nOle to get to the neKl note in time. If you ilre Shifting from your fourth finger to your first finger on the same string. lis ten to how it sounds when you pl.lly the first note WI th your first fi nger and the second note with your third finger. Then try to duplicate that sound with the correct fingering. Your listener should not be able [0

he.llr the ShIrL

Some plOlyers prefer to look at th is scale as the "half_whole" scale when It Is used over .lIitered dominant chords. The sule still alternates whole seeps and half steps. it's just that you start with a half step instead o f a whole seep. as in the diminished sule. If you prefer this way of thinking, then the scale would begin on the roOt of the Ol ltered dominant chord instead of .ll hOlif-step above. It's a matter o f personal preference. ExperimenL

CNpter I-Improvising Over Altered Dominant Cht.>rds 9

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Page 11: Vol.4 - Mastering Improvisation

7

Here Is a sampling of licks based on the d iminished 5c~le . Memo n:c the ones you like ~nd U~rt using them oyer d iminished ~nd ~rtered domin~nt chords In your solos. The ublnurc proYided shows only one of the possible fingerings for these licks. Experiment pbYlng them In ~n possible finger ings. Try mJking up Ilcb of your own, too.

.J. OJ GDm Scale

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Cdlm7 ~ . -Il- h b.

8

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1 • 1 • 1 9 10

8~- - ----------- - --------------- - --~ C7~9 0' C7!9

,~.:.~:~~,\:::~~::li~- ~:::~:::f~~~ ~~~~~~~~~ s C :Dm Scale .......

I 0 Ch~pter I-Improvising Over Altered Domin~nl Chords

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Page 12: Vol.4 - Mastering Improvisation

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btqf~ r FOIm. Scale

E~~S~9 Of E~7·S : 9

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J EOIm. Scale

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Ch3pler I-Improvi$ing Over Altered Domin3nl Chords II

Page 13: Vol.4 - Mastering Improvisation

Here is ~n eX.1mple of the dimini$hed $c~le c.ned in the chord progreuion from the firn SIKteen b"rs of Duke Ell ington's -T"ke the "A" Train," linen to Joe P"ss and Wes Momgomery for their freq uent use of the diminished scale.

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Om in7 eMaj7 A7~9 Omin7

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oj - ... G: OlmScale _____ , A:OimScale ~, ~i~_~_le. ------,

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A fL . r: f! !' , JL'-iI .... " , , • ~ .' OJ J O:OimScale _____________ _ __ __ _________ ,

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Omin7 G7~9 eMaj7 A • ' '...It! . ' .

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12 Chapter I-Improvi$ing Over Altered Oomin"nt Chords

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Page 14: Vol.4 - Mastering Improvisation

15

Thb ,ule Is very useful for soloing over altered dominant chords. Here is the formula for the whole tone sule: W.W_W_W_W_W. W = Whole step

The following diagram shows the C Whole Tone scale along smgle urings.

THE C WHOLE TONE SCALE

R

- R :- ::::: __ .:- R

' I-t~~~~-~~~R~---+~~--~t~---t~-~--rt~---t~~ .I=c=d~~==-+~~_~_~~=d_ ~~~-+ __ -t--~~R~=--t~.~--+-.-+-~

• R . . ..::.:::::::....: ---­III v VII

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x XII

There are really only twO whole tone scales. Because of the arn.ngement of whole Steps, whole tone scales beginning from every other note on the chromatic sule contam ident!­ul tones (remember that we can enharmoniully respell any note). Or, you un mink of the whole tone scale as repeating itself every malor 2nd.

look at the last note of me CWholeTone scale in Example 1 S. On paper. the last nOte , C. looks like a diminished 3rd (AI to C) instead <Jf a major 2nd (AI to B~. which are both whole step Intervals. ThiS makes the last inte~1 in the scale look unlike a who le step on paper. The enharmoniC spelling, C. is used because the B: is more difficult to read.

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F' AI (91) C

The CWhole Tone scale contains the same notes ;1.5 the 0, E, FI, GI (A~) and AI (B1 Whole Tone scales,

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F' GI A' C

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II Chapter I-Improvising Over Altered Dominant Chords I)

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Page 15: Vol.4 - Mastering Improvisation

0 1 E" Ie ' l 0" F G A B

16~ ~<>tl ~O II 0

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The OL Whole Tone scale contlins the same notes as the eO. F. G. A and 8 Whole To ne scales.

F G A

G A B

A B

B 0 " F

The whole tone scale cont~ins both the 15 and ~5 of dominant chords. You may Hart th iS

scale from any tone in 1 dominant 7:5 or dominant is chord. Example 17 shows the G W~ole Tone scale and the chord tone~ It conUins. Example 18 shows some chords the scale will work over.

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~~ A B 0" E' F G

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II 11 0 0

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I, " The scale tones as related to the G domiru.nt chord.

G7~S G7 :S Gg ! 11 G7 : 5~5

I 18 ~

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14 Chapter t - Improvising Over Altered Domin3nt Chords

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Page 16: Vol.4 - Mastering Improvisation

Here ;Ire five fingerings for the CWholeTone sule. Memorize ;lnd pract,ce them from all roots. Be sure to apply your melodic patterns too.

THE C WHOLE TONE SCALE 1-1 -'. 1. ,

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XVII xx

Ch<l.pter I-Improvising Over Altered Dominant Chords IS

Page 17: Vol.4 - Mastering Improvisation

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Here are some lieks based on the whole tone scale. Learn the ones you enJoy and ;tart using them over dominant chords with a IS orIS. Making up licks of your own is something you should be doing all the time. It's a good way to get to know the scales you are learning, The licks you leun should alw.lys be practiced in all finge rings and octaves, The tablature is only here to give you a quick SUrt.

G7~S " G71S " G9 111

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G7~ 5 .' G71S ., G9111

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Chapter I- Improvising Over Altered Dominant Chords

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Page 18: Vol.4 - Mastering Improvisation

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This solo is bned on the chord progression from the first sixteen bars of Once I Loved, by Antonio Carlos jobim, and utilizes the whole tone scale on 715 chords. It also u~e~ the diminished scale over both diminished chords and altered dominants.

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Gmin7 Amin7 , ....., ';;;;" I'- ~ 1'-. r. I'- r. ~ I'- r.

~ ~ ~ '. '-J G' d ".;;;;; ....., • Irnnl$ _ _ ___ __ ~

: mt r. b~ r= r. • 8""1'- r. b . L I'-E"Maj7

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Emin7~5 b DMaf7 , PI'- r. I'- ~ PI'- ~ , -~

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oj Af dirrinished __________ ,

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Chapter I- Improvising Over Altered Dominant Chords 17

Page 19: Vol.4 - Mastering Improvisation

IJ

.:. : ,LESSON 3: THE, SUPER LOtRIAN MODE

. "~';~ , DIMINISI:IEDWHQLETONE SCALE ;

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The formul~ fo r the super l ocri~n scale is: H _W_H·W.W_W.W . It is aClUally the seventh mode of the melodic minor scale. By suning on the seventh degree o f the melodk minor scale and proceeding to the Hrne note one octave higher. you crcate a super laerian mode. Th is scale is a weaving together o f the diminIshed and whole tone scales. The flnt h1if of the scale is dim inished and the second moves in whole tones. learn the scale along indio vidual strings. Here it is in E.

THE E SUPER LOCRIAN SCALE

• -® - • R • r . ,

- - R

' .. R ' • ..,. - 'R' -- .' - , ® . .. _- . • ~

III v VII x XII

This scale has multiple uses. It works well o ver miniS (half-diminished) chords since it corresponds to the vi i chord in the harmonil.ed melodic minor scale. We will discuss th is

humony in grener decilluer in this book.

B C 0 EI F G A B Bmin7' S

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II II e e

R I, IS ., R

T:le scale tones as rel~ ted to the Bmln7~S

By far the most common use of thIS scale is over altered dominant chords. It connins the ~S~ J I ). IS. ~ and !9--every pouible alteruion! 8egin this scale on the root o f the altered do minant chord you wish to improvise over. Some players prefer to think o f th is as sarting on the root o f the melodic minor sca le one half step above the root o f the altered dominant chord. In other words. when improvising over an altered G7 chord you could think in terms of playing anA~..Melodic Mino r scale. instead of a G Super l oc rian scale. It all leads to the same place and is a muter o f perso nal preference.

(At) (B) (C ' ) (0;) G AI BI e' 0 1 E' F G

14~ I". ~Q , .. bUI Q <>

II iz .. & e, ..

R I, "

3 ~S(J' : 11 'S .,

R

The scale tones as relat~d to the G dominant. ... , ......... .. - .

G7~S G7'S G7 ~9 G7 !9 G7~s'-9 G7 1S 19 G7~S 1 9

IS ffd II !§ Ii hi II "i II q II I~~ II ~ 18 Chapter I-Improvising Over Altered Dominant Chords

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Page 20: Vol.4 - Mastering Improvisation

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Here .lire six fingerings of the super Jaerian lc.1le. As usual. mtmonte one or two at fin! and Start workmg with them.

'·m '.-'. ~~- -l ~ 1 ::1 =p';=p.--=~l 1-• · 1- ... I ' . • I _ c e _ ._.

H'

'. 1-;;- . '.-'.-, . • '. v VH

, , , , ,

v

:> ,"j { • . ~. .' X

'. • '. ;~f'.- '.-'. '. '. '. '. '. '. :'" '. . - • ' . H' v VH

, '. 1- ' . '. '. , • '. '. '. '. ' . • '. , , VH X

' Oi}-

• '. ' . '. • '.--• , , , -'. . - ' . '. '. '. • " ". . ~ ...l e- '. , '. •

• • '.-'.-' . '. , • ' . '. X XII X XH xv

Here are several licks bued on the super Icerian sule. Tr;anspose them to all possible keys .lind sun using them in your solos. ElCpenment with d,fferent fingerings. too.

G7~5, G7: S, G7~9, G7:9 and all combinahons

.A ~ ~ ~~ \~ ~~ ~ ,

~ OJ G Superlocrian

F Super Loenan

-

••

Chapter I- Improvising Oyer Altered Dominant Chords 19

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28

C71S. C7: 9. C7~9and all comb,nalions

~~~M-k; b§4=9 IT ~r b. 3' I F;J • II II C Super Locnan

, • • " , ,

• , • 8---9

o Super Locoan

• ,

:\~ ~---, ~~, .~ .

, ,

.

, 11 e

---1 ,

There ~re many wlyS to solo over illtered dominant chords, and we will cover many of them in thiS book. The

diminished. whole tone 'I'd super toenan scales shoulJ be conSIdered b.uic. lnrn these well and you wIn find chern useful in almon every s.[uuion where altered chords ne present. Vet eran juzen Tal Farlow. Wes Mont80m . ery. John Scofield and Pu Metheny all use these sounds. listen to alot of jazz played on .1111 instruments OInd you will become bmlhar w ith these devices.

Pat Matheny

20 Chapter I-Improvising Over Altered Domlnam Chords

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Page 22: Vol.4 - Mastering Improvisation

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This is :II umple solo based on the fi rst sixteen b"'n or How H'lh [he Moon . It utihlCS the diminished, whole tone and super locr iiln sales. Experiment with the fingerings!

''') MOON Tro<.

"

GMaj7 C7~9 b ' J

~ ..., '"'

,., ..., -,- ~, ~ ~, ,~

~ : • , 2..... , I - CDimnished ____ _ _ ~

-<I

FMaJ7 7 ' F 9 , ~ , :fl mm b~ B ' 5

~ " - ~, , , ,

~ •

I ~ , . ::1

B ¥.'I1Oelone ________ •

-< • • 1 -<- .... 1

~

Amin7 Amin7~5 . ,.,

~ • Pf'. ",-1,' . H - .h :j • . :{i . J J • ......

o Super Locrian _ .' o Supet Locrian...

7 {-1 • , , 5 • . -5-{

L..

GMaj7 Amin7 D7~S 07"5 Bmin7 Amin7 ;l ..., --". " I'" f'. r-' J ,

" • - , :;;; • .. •..• - ~

J ' P ' ..... o Durinished. __ • E Super locnan-, o Super

Loonan

-9 • 7 -<I 5 , 5 6 (6 .....

Chapter I- Improvising Over Altered Dominant Chords 21

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Now thilt you have surted experimenting with the ;IIltered tones found in the diminished, whole tone :lind super loerian sQles. you m ... y be wondering JUSt where these sounds ue most useful.

The answer i~: any time you need to improvise over an altered dominanl chord. Many

times this will be in the context of ii· V7-1 progressions. although altered chords ue cer­uinl)' found elsewhere as well. It is tr;lldicion ... 1 to alter the V7 chord in ii· V7-1 progreso siam. Just m;ake sure (h.lt the altered tones don't clash with the melody or 5010 being played at the t ime. Cood (lHC should dictltc your choices.

You need to be able to recognire the altered sounds within the chords, ;and then choose the ;appropriue scale to solo with. One relson lltered tone recognition is so imporu.nc is thlt we need co spell ovt the chord chlnges in ovr solos by snning phrlses on chord cones. Spelling out the chlnges refers to making sure we un actull1y heu che chord chlnges in the solo-even if there is no chordal lccompanimenc being played . .If chis concept is new for you check out the wS·· sections in Ch1pter 2. Lessons 3 through 7 in Intermedlote Jou Guicor.

Many pllyers like to scart their phnses on the highest lltention in the chord. For ex­ample. when playing over 1 GrS:<IJ. suning 1 phrase on the ~ would really capture the flavor of the chord. You should feel free to scart on any chord tone. You will have to experiment ;lnd let your ear be )'Our guide.

Below. you will find mlny enmples of the use of lltered scales over ii-V7-1 progressions. You will ;lisa find examples of neighbor-tone approaches to chord tones to help with spelling out th~ changes (neighbor. tone approaches <Ire covered thoroughly in Chapter 2

of Intermediate Jozz GUltor). Once you have learned these enmples. St1rt making up your own. The task at h1nd is to leun to get from whnever device you 1re using to improvise over the ii chord to the .lIlcered sule of your choice for the V7.and fin.llily to a device that works well over the I chord. Secoming proficient n this takes a while. $0 h;lVe patience. T he good news is that 1S you pursue this study. you will gain more concrol over your solos than you could ever imalline. The options .lire numerous 1nd so are the potential melodies. Hlve fun!

Omin7

_______ w ____________ ,

10-<1

22 Chapter I-Improvising ~r Altered Dominant Chords

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Page 24: Vol.4 - Mastering Improvisation

oJ

Gmin7 t

• ...., J...-' "'"" GOonan ______ _ ___ , C WhoIelone ________ ~ Chord Tones ______ ~

6 5 4 - 2 --a 5 a

Cmin7 B~Maj7 , ,.1 ,

~ I-.. • ...,

" I-,'" C Donan -------- , F Super l ocrian __ _ _ ~ B ooan _ _ ____ _ __________ ,

~ , ,

, ,,.b. ..-I - -- n

• i.-' 1

F " ,,,.,, ------ -- ' B~ 'NhoIelone __ - - -' E~ Icnan - --------- ------~ 6--4

6

A~Maj7

5 3 5 6 •

J = N eighbo r tones

ChJpter I- Improvising Oyer Altered Dominant Chords 11

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0

31

.~

38 ! ,

''" "

39

, •

L.

0

~ tJ

A Dirrinished _______ _ _ , Chord ToneL __ _ _______ ,

,-4 , 3 a

, b ' ~. ~

J .b " -

;r--Oorian _ __ _ __ _ ___ .... O~ Super Locrian.. ______ , " G lonian _____________ •

6 5 • 1 - ,

C lmin7 ,..., J 8Maj7

• " ' " " ,". " " i:;ti~ -.J , " ~~-'i'

C: Dorian _ __ ____ , G Dirril'\ished ______ oJ B Ionian __ _ ______ _ _ ' _ _ __ __ ___ -'

E/vtaj7

.

~ - ...... , H' -Chord ToneL _______ , 8 Super Locrian __ _ ___ -' E loman ____________ ,

24 Ch<apter I-Improvising Over Altered Domin~nt Chords

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Page 26: Vol.4 - Mastering Improvisation

8mm7

11- i-, I'- 1'-. I-" r ~ " .... • _f~·" J

40 Q

- - • , -

~ ~ - 0 0 _ - ~

B [):)nan ________ , FOImnishe<! ___ ____ ~ A Ionian ____ • ______________ ,

, 4--5----4-S--7~ 7-} , 6-. 6 , •

Emin7

------------------,

Am i07 J

GMajl

0 ,..., #, , .... , ::n 0 ~ A Donao'-.J ..-

,

o Super Locrial'L _______ , G Ionian ____ _ ____ J ------------,

Dmin7

....... ....... ...... Chord Tones... ______ ~ A~[)mnished __ ___ _ -' C Ionian ________________ ..

5

Cmpter I-Improvising Over Altered Domin<lnt Chords lS

Page 27: Vol.4 - Mastering Improvisation

44 @ ". " •

4

~

:~ 45 " ,: ". "

" 46

oJ •

". " :~

47 , '

Gmin7 FMaj7 ..... /1

'''7''- • -,,-.... ~

', ,~, ' ~ GOOrian _______ • C Super Locrian __ _ ~ F Ionian _ __________________ -: ...

, , , , , , , 2-' 2->- 3 3 • , 3 , ,

Cmm7 r- '"

. c::I ~ " • .... .... - .....,

COofian _________ , F Super Locrian.. ____ ~ B~ Ionian ---------------, -, , • •

Fmin7

~b. •• ~ '- If ' f'- • ~, , ,. • ,

F Donan ________ , B~ Super locrian _ ____ \ J ... E Ionian __________________ ,

• I o-\\-

..., A~Maj7

=4 • I · p" b. i, u .

B~Dorian _ _________ , EOininished __ ___ ___ ..I A IOOal'! ______________ ~

26 Chapter I-Improvisinl Over Altered Dominant Chords

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Page 28: Vol.4 - Mastering Improvisation

b D~Maj7 ,

• • • • E~ Doriao ___ __ _____ , ~ . Super loctlan ______ , D~loruan _____________ _ -'

• a 2 5 3-l ,

G~Maj7 ,

"--.J A~Dotian __ ___ _ ____ ,

, v '

D~ Super Locrian ______ -'

, -,I'" V ' ... G lonian _ __ ___________ -'

, ..., " "'~

BMaj7

- • ~ " ,1' ' , - I

C' DQnan _______ ___ -' FI Super Locrian _______ ... Chord Tone ________ -'

• --a- •

Sieve Khan

Ch~pter I- Improvising O ver Allered Dominant Chords 27

Page 29: Vol.4 - Mastering Improvisation

You should be getting comfortable using the diminished, whole tone and super !cerian scales with in the context of ii- V7-! progressions. Make sure you are training your e~r to recognize the various altered tones when you hear them. While aU of this tra ining Iuds to some very powerful improvising skills, there is still another step thac will help you locate your altered tones more easi ly.

In Intermediate jazz GUitar you learned some fingerings for the diatonic arpeggios. At that point. you were learning how to SUrt your phrases from chord tones and how to embel­lish them with neighbor tones. Now tha t you are playing over chords wi th altered tones, you need a system to quickly locate those tones not found in the diatonic sule. Don't paniC! You don't need to learn a new set of arpeggios. The system that foHows is a quick and easy way to memorize where all the altered tones are in relation to a chord·s root. Thir.k of these as small isolated clusters o f alee red tones-not scales. and not arpeggios. These dusters should be memorized. You will actually fi nd them very easy to learn.

Here's how you use altered clusters: Your ear tells you that a crs chord is being played. You decide to start your phrase from a chord tone. You locate a 75 cluster and begin a phrase with one of those tones and continue on with :"""'hatever device co mes to mind. These duste rs are particularly helpfu l whe n the cho rd changes are moving along quickly and there is no time to really develop a scale idea. Hitting one of the chord tones ensures thlt you will still be spetling out the changes. This is a more effective way to begin phrases and reinforce the alte red sounds than only working with scales.

There are eight di ffe rent kinds of al te red duners sho wn here (7'S. 7lS. A, "1-9. rs~, I-Sl9. ,..S~ and 7:S~) and there are five clusters shown over the fingerboard (or each one. Each cluster has a roo~ (R). a )rd (3) and a 7th (7) in addition to whatever altered tone(s) there may be (S .lS. ~ or ~). The natural S is also added to chose clusters in which there is no altered S. Playing these clusters will help you hear the basic structure of the chords.

Pat Martino

28 Chapter I- Improvising Over Altered Dominant Chords

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Page 30: Vol.4 - Mastering Improvisation

,®==~®=====4J

'" " V" X" ,v X\'II "

'" v V" x '" xv XVII xx

"', C7IS''''tt.¥

~ ® -4)

V ~

'" V "" , '" 'V XVII "

'" XVII "

Ch~pter I-Improvising Over Altered Domin",nt Chords 29

Page 31: Vol.4 - Mastering Improvisation

.----r-----r----,--,- ... - _.. . .. ... .--' 0:::== (') n' -- n_ ~ -_.,-

1-+-',--'--_· -- ~ -"@=®;--_.._-'_._-_ .... __ !~ .. _~b_" ~ .:n :-~---'-' - --- - ..

'" v VII X XII XV XVII :..;x

'" V VII X XII XV XVII XX

"' II VII X XII XV XVI[ xx

III V VII x XII XV XVII xx

30 Chapter I- Improllis ing Over Altered Dominlnt Chords

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Page 32: Vol.4 - Mastering Improvisation

I 1 1 1 ]

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----; ~. ··@-· · J.L . -- --...:.. .,-;- l __ •. _!..~_ - +---1 :'-+--{-- f--. ~ , ~_. ~. :-_.'- ... : . I J I ,. '~-L--._ ... _ . _ _"__L.-'-_-'-_'--'-__ VlI X XU XV XVJ[ XX '" v

'-T = =-~- Q . : . ..i.~~,_:::.~.-=.:::: .. -=.:::.~ A ' ::::-. -=~:::-.. :=_~~.--.. , ,

- , --.--~ . _. . .. -. ---

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i _L , , , ! ! ---.. , . , , , I I. I --;--... ----;--- - ...... ·--1--

, - I .~-.. -.-.-..... . _-

'" v V" XII xv XVII xx

. -... ~--;:====®'1t:=-$ .

~~ ID-

VII X '1(11

- --- ... --,

III v XV XVII xx

III v V" XII XV XV!!

Ctupter I-Improvising Over Altered Domin'llnt Chords J I

Page 33: Vol.4 - Mastering Improvisation

~.i C7'S'9

, -

I

'1--"" -&

-& I\.,

III v VII x

I I :1irII I Ii ' I I !

J-....", I ~ R f .. -I

'""- Rf~ I I I [ I I I I I

'" V VII X

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'" V VII X

32 Chapter 1-lmproYising Over Altered Dominant Chords

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XII XV

XII XV

I I I

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XII XV

XVII XX

-XVII XX

I L

XVII XX

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Page 34: Vol.4 - Mastering Improvisation

51

© ,-"

Here are some examples showing me use of altered dusters. Eath example is shown in one posItion and ocuve. It is very important to pl~y all of the examples In ~II possible fingerings and octaves. By mis stage of your development, this process should be consid· ered basic and routine with everything you le.lorn.

,'5 Gmln7 C7~S

A 'A ~ l FMaj7 Gmin7 C71S

B. b,.. . •. FMaj7

/'- . ~ ~ '5 3 R 3 " IS 3 R ~7 ." : '.

0 • h

Gmin7 C7~9 FMaj7 Gmin7 FMaj7

C'A ~ b D. ' /'- •

~ ....., " --.-:::<J' 3 '. R " "

3 " R

0 • ,. o- j<O

71519 7~S~9

E Omln7 "A

G70SI9 CMaj7 F.Omin7 G7~S~9 CMaj7

~ '"'-J 'I ..... -. \..-" ~7 19 3 15 R~9~S~7

Omln7 CM.."lj7 Omln7

H.

Chapter I-Improvising Over Altered Dominant Chords ))

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. . . · ~ ,t .' '\~" LESSON 6: RI;VAMPING LICKS

, , I 1 , 1

A 'A 52 . G! .f.¥ ''" u

C'A ~

~ 15

C71g E'A

~

c. 1'-.

~

r-.

~

' 5

.

1'-. ~~

1;-'

5 •

r-.

1'-.

You Ciln iilter ill lick you illrndy know by chilng_ ing some of the notes to fit various different hlr­monic situuions. Revamping your licks in this manner is :a very good way of gecting more mile­age out or them, It will also gua~ntee thu you always have enough ideas to use for 0111 the vari­ous alte red chords,

In Example 52, the original lick (A) is put through a number of altcrnions (B-l). PUt some of your Own licks through the same changes.

AI OJ Meola

B. h r-.

- '5 - '5

C7~9 D. 1'-.

15 - '.-,

r-. F. h

""I. '5 ,;-0 "

34 Chillpter I-Improvising Over Altered Dominant Chords

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"- ( ~5 ... ~9

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Page 36: Vol.4 - Mastering Improvisation

I, I

1 -1 -]

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J J J J J ]

J ]

J J [ I

G"

~ .

'5

L ~ H.

i!§ ., '5

~

Cmin9 K

tJ

~

.~ •• '5

8----<

r-..

.;-- '5

'" '3

....

, • 5 8

H~l /<-. ,

i .. '5 - '.- '5 ~5 "" ~9 15 19

CMaj9 /<-. J . r-.. /<-.

15 1,..oo~9 \', I;'

-

Cmin7~5

'" L. ~

~ ... '5 '3 ....,

'5 '5 ...

Chapter I-ImprovisIng Over Altered Dominant Chords ]S

Page 37: Vol.4 - Mastering Improvisation

:. ::'( ~; . . . "

The Minor Irotes ond Their Modes

In this chJpter yoCl will be IC<lIrning .. bout the melodic and harmonic minor sules and their modes. LeJrning this m.nerial will give you more w~s to handle illtered dominant chords lind other interesting hJrmonic situations you will encounter Iner in this book.

Take your t ime with this. This chapter serves liS il basic overview of the subject.. For;li complete study of each mode. I suggest you work through the Guitar Mode Encyclopedia, also published by Afred and the NationJI Guiur Workshop.

These sounds have been used for centuries in many d ifferent contexu. listening to players such as Frank Gambale. Scott Henderson, Mike Stern and John Scofield will show you how lhese sounds work in the contemporary jau style.

The three minor scales that are most commonly used in our culture are the natural mino r, the melodic minor and the harmonic minor. The natural minor scale is the same as the Aeolian mode and was introduced in Intermediate Jazz Guiter.

Tnditionally. the melodic minor scale is thought of as a n.atun.1 minor scale with raised sixth and seventh degrees. but only in die ascending form. The descending form returns to the natural minor. The reasons for this have to do with melodic composItional devices used in classical music. In chis book., and most others involving jazz studies. the term "melodic minor" refers to che ascending form only. Some jazz musicians call chis scale the "1al.Z minor."

You should approach the study of the melo dic minor sale the same way you worked with the major scale in the previous volumes of this series. The first step is to check out the finger ings. They are labeled based on the string and finger used to play the lowest rOOt in the fingering. Fingering 611 means that the lowest root found in the fingering is on the sixth string and played with the first finger. sn would indicate that the root is fo und on the fifth string and played with the second finger.

This system o f labeling fingerings works well for the major and minor scales. Fingerings fo r the other scales we have studied thus far in th is book do not fall so neatly into this system. In any case. most of the things you learn need to be explored In all fingerings­not JUSt the ones used for examples in this book, In the subsequent !essons we'lI uke a look at the chords and modes genen.ced by th is scale and their applications. Following all that we ' ll investigne some arpeggios relued to this scat~,

36 Ch:r.pter 2- The Minor Scales and Their Modes

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Page 38: Vol.4 - Mastering Improvisation

}

)

The formula for the melodic minor scale is: W-H_W.W_W_W_H. Mon players prefer to think of this scale :as a major scale with a \3. The following dlagnm shows the seale In F along single strings.

THE F MELODIC MINOR SCALE

III v Vil x Xil

Here are six fingerings for the melodic minor scale in locked positions. They :are shown here in the key of A Minor. but you should move these around the fingerboard to alt the keys and pnctice them with a variety of melodic patterns.

A MELODIC MINOR

'. • , , • ' . , " '. 6/4

, . - ' . 6/2 '~ '. • '. , ,

• , ~

'. , '. '. , III V III V

f"() " '. '. -'. • I

5/4 '.--'. '. I '. ' " , '. 6/1

, • , , '. , , '. , ;; , '. '. , , , v VII x X XII

5/2

, '. '. ' " '.-~. , '. , , ,. , , ,

511 '. '. , , '. -'. '. '. , " , '. '. '. '. ,

X XII XV XII XV

xv

'. '. 1= '. • ' , ' ~± '. VII

'. VII

, ,

XVII

Chapter 2-The Mioor Scales and Their Modes 37

-

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It.'" : , . " LESSON 2: THE MO~S. OF THE J . i ' . , . '/ ',. .-r t.l MELODIC MINOiWscALE ' ' .

Just ;u iirti5U need ii wide varlet)' of colors from which to choose. j:u:~ musldlns need mlny sounds at their dispol,?;!. Generating modes from the melodic minor scafe creates seven new scales which we un then use over virious types of chords. Example 52 shows the chords ilnd then the modes generated from me melodic minor scale. Remember thac each mode may be used over the corresponding chord wi th the ume rOOt. For insunce. F Lydian 7 (the fourth mode of the C M~lodic Minor seille) un be used over F7 (the IV chord of the same selle).

G7 Ami n7~5 Bmjn7~5

5J~ ~ bH i II

~ MelodIC Minor Cmm\7 Oorian~2 Omin7

I) 0 .. II o==t:o If 0 ~e (I 0

~ 0

~ Lyd;,n Auome"ed E~7 15 bu

LyO jan~7 F7

(I 0 II II 0 II 0 II e OliO

() II .. a I) e e 6., e o Locrian : 2 Amin7~5

Super Locrian

wr Bmin7~5

If II o hI) a o • .0.

38 Chapt er 2- The Minor Sales and Their Modes

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Page 40: Vol.4 - Mastering Improvisation

Here are ilpplications for the modes of the melodic minor scale. All of these work be­ciluse the altered tones of the chords listed In the appliculonl are conulned In the mode .

• MELODIC MINOR SCALE

h"ir/~;t

I DOR1AN~2

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I . As a progressional sCille over any of the chords In the harmoniz.ed melodic minor scale.

2. Starting at the roOt of minor triads or mInor sheth chords. 3. Stilrting 112 Slep above the roots of dominilnt 75. ]Is. n. Ji9. 1-5"1. 75"9 .

.,t5~9 and 7sl9. -i . Surdng on the Sth of dominant chords with II I or ~5. S. Starting on the 6th of major chords with iI IS. ~5 or III.

(Ice pa~ 37 (or (lIIferinrsJ

I . Starting at the root of mln7 chords. (This is nrely used beciluse the second degree of the mode Is one half step away from the root of the chord creating the sound of a '1 or ~-f'lOt a very pleuing sound over iI minor chord.)

2. Surting on the root of a Nsus chord.

Here ilre two fingerings for this mode in B. ilnd twO typical volcings of the chord it can be used over.

' e '. , 611 '. • • , , ,

, \ ' 11 X XII

Bmin7 • , ,

• •

• l YD1AN AUGMENTED

, , II

'. 511

,

~,. '"

Bmin7 l . 1111

II'"

. - ' . , •

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ilPJinHL' Surting from the rOOt o f major chords with 15. ~S or IJ I. '. , 6/ 1 '. , '. • •

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• '. , . '. '. , 511 '. ' . , ' . .~. VII

GMaj715

X

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m'" m'" xu

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Ou.pter 2-The Minor Scales and Their Modes 39 -~- -".-

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• LYDIAN'7

JllfiftdlL- Sun!ng at the root of dominant chords with or without a I II or ~S.

, , ,

6/1 , , .,.

" , 5/1 , • ,

" "" • , , x xn xv v

D911 1 D7~S • 1 ) 4 !

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• ••

• MIXOLYDIAN 16

lJ,limi'L" Scareing at the root of dominant chords with il 15.

, 6/1 ,

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A7lS r • 1 J 4

ffim' ·mffi

40 Ch~ter 2- The Minor Sales :and Their Modes

5/1

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Page 42: Vol.4 - Mastering Improvisation

• lOCRIAN '2

J;;fiflli:I: Starting at the root of half diminished chords.

'. '. ~? , '. 5/1 '. --r • '. '. , .-'. 6/ 1 '. '. '. '. , '. '. ~. '. " '. '.-fl. '. • '. • ' .

X Xl1 '" v vn Cmin7~5 Cmin7'5 I J J ~

, , , , . '"

,. • • •

I I

• SUPER lOCRIAN

I. Staning at the root of hair diminished chord5. 2 . Starting at the root of dominant chords with any combinatio n o f altered

Slhs and 9ths.

6/2

, ,

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'. ,. , " '. ' .

5/3 .. • 2 . _ 1 ' . , ". '. " , '. xn '" v vn

0715 D715 • 1 J ' m ... ,.

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QaplU 2-The Minor Sales and Their Modes 41

Page 43: Vol.4 - Mastering Improvisation

(- .' '. LESSON. ARPEGGIOS I~THE ~ . l - . ':- ,MELODIC MII'o!OR SCALE ' , . )

As you have learned, the melodic minor sale produces the (ollowing types of chords: minry, min7, Haj71S, dominant 7 and mintS. You should already have plenty of Maj7. minl and dominant 7 arpeggios at your d ispoul from either your own studies or the previous book In this series, In(/!fmedio(e Jazz Guitor. With that in mind. here ilrl! some arpeggio fingerings fo r the more unique chords found in thi s scale. like the others, you should know these In all keys.

• '. • • , '. , , ,

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I-- •

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V" =s::b><,,'.''''",.~ ................... _

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42 Chapter 2-The Minor Sales .nd Their Modes

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,

Just as the major and melodic minor scales provide us with many interening sounds, the harmonic minor scale hu many useful devices to offer.

The formuliil for the hoarmonic minor scale Is:W ·H-W-W-H-W+H-H. Many players prefer to think of this scale u a natural minor scale with oa raised seventh degree. lu d,~tinct'Ve feature is the oaugmented 2nd between the sixth and seventh degrees (W+H steps). Remember, the natural minor sale is lhe same as the Aeolian mode generated from the major scale.

The fo llowing diagram shows the E Humonic Minor scale along single strings.

E HARMONIC MINOR

I- -. ,

•• , -.--.: @ ! J:

,

III

.. .... -_. v VII

Here are six fingerings for the A Harmonic. Minor scale.

A HARMONIC MINOR ,

,O-~ , , 6/4 ,

, , '. ' " '" v

6/1

, " , ~!-- f'.

, '. • '. '. '. • , V VII

~ '. • 5/2 '. , >. '. '. • X XII

:- : R

T R _ -:-::.: -

x XII

, • •

6/2 , • .1. • , • ,

" '" v '. . -.1. " •

5/4 .1 .• • '. • '. • ' " '. ,

X XII

, • , • '. 5/1 • .1. • '. , ' • ....!.l. • '. XII xv

-­.-- .. XV

,

, , , , VII

' . ,

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, -

Chapter 2- The Minor Sales and Their Modes 43

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.. , .

. f1: LESSON S:TI-!EMOPEsbFTHE HARMPNI~ , b , .. MINOR SCALB . . . , . .

As with the modes of the maJor lnd melodic minor scales, when we genente modes from the ha rmonic minor scale we crute seven new scales to use over various types of chords. Example 5" show s the chords lnd then the modes genented from (he harmonic minor scale. Remember that each mode may be used over the corresponding chord with the same root. Fo r insunce. the Jrd Mode (Ionian IS-the third mode of the A Harmonic Minor scale) can be used over CMaj7'S (the III chord of the same scale).

Amin~7 Bmin7~S CMlj7 1S O:nin7 E7 FMaj7 G1dim7

54 ~ ¥ U ~ ~ I~ U I~ II

Harmonic Minor 2nd Mode (locrlanl 6) Bmin7~S-

o " u Ii "

.. Ilo~ IJ 10 (I o

3rd Mode (lomani5 ) C M::lj7 :S

~o 4th Mode (Oorian:4) (lydiarb~7) Dmin7

~ 51h Mode(Phrygian Dominant) (Phryglan:3) E7 6th Mode (lydianS2) FMaj7

n " II

II (.-:==0

I" (I " ,,-----E .. 0

" II

7th Mode G~im7

~" " II a ~a II u "

it

. ~~J roll ' Pnctice tnnsposing these modes to all th:.::!!: ...

<4<4 Chapter 2-The Minor Scales lndTheir Modes

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I Here arc applications for the modes of the harmonic minor scale. AU of thesc work because the altered tones of the chords listed in the applications are conuined in the scale .

J • HARMONIC MINOR SCALE

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lJ;fiflli'l: I . As a progressional scale over any of the chords in the harmonic minor scale. 2. SUrllng 1t the root of minor t riads or min? chords 3, Starting u the 4th of dominant chords with a '5 andlor ~ .. . Su rtlng at the 5th of dominant chords with 15. ~S or : I I.

• 2ND MODE (LOCRIAN 16)

iI/lifl/ill: Starting at the roo t of half-diminished chords

611

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Cmin7i-S Cmin7~5 'l ll ~ l. IJI)

• o"m' x • • •• ,

• 3RD MODE (IONIAN 15)

JIII;(I(;,,: Su.ning at the root of Ma['t-S chords.

6/4

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5/4

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X XII III

E+Maj7fS foM aj7 1S , • , . , • , , , 0

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'. '. • • 1-'. • ~ , V VII

~~-'\-:-·'-'-~-.-------------------------------------------C-h-'-P'-'-'-2---T-h-'-M-'-O-O-'-S-,-,'-.-,-,-o-d-T-h-'-"--M-O-d-'--' 4'

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Page 47: Vol.4 - Mastering Improvisation

• HH MODE (DORIAN 14) (LYDIAN 13~7)

III/ill/ill: Starting at the tOOt of minor chords.

6/4

, • , .-'. , 0 - r..

-'e . - '. -'e-~~ '. • • "

5/4 • • ". ,

".-~: .le - , .-'. Vu X \II V

Dmin7 Dmin9 , , , . . 1 . 111~

1m mix • III

• • !

• 5TH MODE (PHRYGIAN DOMINANT)

Inli"I!''': SunJn, at the root of dominant 7th chords w ith or without 15 lnd~.

6/4 -'e #r:. · ' .,. ' . -'e • , 5/4

.-'. , ". '. • • , '. ~. , G. eJ!.

\II V X

G7>9 G7IS , . , , , . . , , • •

II I . • III mm .' . • •

I 6TH MODE (LYDIAN 12)

1,,1;(11;11.- Surting at the root o f Maj7 chords ..... ith or without a I I I.

, '. • , • r • ". , 6/1 • ,

• 5/4 , e , e , '. , .. , , '. e- '. \II v v '"

FMaj7 FMaj7:11 • I I , I , I 1 • ,

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Page 48: Vol.4 - Mastering Improvisation

• 7TH MODE

lllfi(trill: Su,rting at the root of DimInIshed 7 chords.

• '. 6/1

, '. " • , .-t!. '. ' VII x Bdim7

,

~ , " 5/4

'" ,

, UI

Bdim7

The hoarmonic minor scale produces the fol1o .... ing types of chords: min'? hill( diminished, Mai~S. min7, dam7, and dim7. The only one of these types of arpeggios ..... e haven't al· ready (ove red are those for the dim7-so here they are.

r'~~., _ .... '.¥ It>"

ddim7 • • I I J •

II'" .""" r.:o,..:1"' •. '" .-2 .... .:: .-;

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Chapter 2-The Hlnor Scales and Their Modes 47

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Page 49: Vol.4 - Mastering Improvisation

The iimini.s.Vi9-imin7 progression is often referred to ;JS the minor ii·Vl· I. These h;Jrmonies can all be derived (rom the harmonic minor scale. One common way to impro· vise through these changes Is to just use the harmonic minor scale whose root matches that of the I chord.

Bmin7~5

A Harmonic Minor __________ ________________ __ _______ _________ •

--4-

You can also tren each chord in the iiminT.s.V71,;J.imin7 progression sep;Jrately. For insunce, for the ii minT.s, you can use minor ideas that h;Jve;J rOOt ill minor 3rd ;Jbove the root. So, In the key of 0 Minor, G Minor ideas would work over EminrS (il in D) because Gmin6 and EminrS contain the same notes (E-G-B~.D). For {he Vi'9 you can use a dimin_ ished scale. For instance, a B~ Diminished sClle would work overAN {V7 in OJ. You can think of this from cwo different perspectives:

J , C' E

Ar9 (rootless)

" 7 G

I. As you learned on page 8. you can use a diminished scale one half step above the rOOt of a dominant chord thn conu,ns a~. 8~ Diminished scale is one h;Jlf nep above the root of the Ai'1 chord. enln,monic: e<!u,v~lenu

2. You can always use ill diminished scale from the root o ( a diminished chord. As illustrated in the chart on the right. a rootless AT9 hu the same notes as a B~dim chord.

When you get (0 the imin7 chord, simply use any minor device you like .

'J 0 '

" P

The ii min7'S- V7'9. i min7 progressions are extremely common so it re.JIlly pays to practice them.

48 Ch.JIpter 2- The Minor Sules and Their Modes

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• • , • II .© J Tzr ,

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(HAPUR J Using Arpeggios

By no ..... , you have accumUllted many different arpeggio fingering~ ;and are becoming adept n narting your melodic hnes from chord lones (with and without the .lIpp',cnion of ol:" h. bor lanes), At this point. )'ou may be wondenng what tin; you can do With ",II of these arpeggio fingerings. One of the mort interening things you can do is to superimpose an arpeggio o f ont type over a different fype of chord with a different root. To superimpose means "to lay one thing on lOp of another," When you superimpose the sound of one chord over another unrelated chord. you can imply the sound of yet another. Experiment. ing with this device will ICiid you to discover many new sounds. lome of which will be uniquely yours. ThiS will give you new ways to target ~'tered tones as well. Check out these el(~mples, then seilrch ror some or your own,

CMaj7

Emm7 arpeggio ___ ___ ...

c.,."

c~ €nwl1

Emln1 arpe9gio oy.r CIhj7 Implies the souncj

01 CIol~j9

Omin7 B . . •

FMaj7 arpeggIO ______ ,

Omin9 Omil'l1 "Maj1

,-.--

!'MaP Ir~1I1O 0 ..... O""ln1 lmpl_ the ~nd

01 Ornln'

G7 G9 G7 G13).9

Bdlm7arpeggio __ ___ _ _ ,

G' Smon1'S .. O. G1 E

Bml"1 15.,pel/llfo 0 ...... G1 Implie. lhe .ound

olG'

GI""

-. •

EMaj7 arpeggio ______ -'

, , , • , •

E Mljor Itpellllio oy.,01

Implies Ihe .oundoI013~ '

E. G7 G' FMail F. G7

• FfAaj7 arpeggio _______ ~

• FUapl'P"!l\J1o 0 .... ' 01 knplln the sound 01013 .....

• , .. -3 •

A%j7arpeggio _ ___ ___ • A~~oIII1ltpegglo

0 ..... 07 Implle.11te sound

01 G7 l s· ..... 1 I, • , ,

3 , •

o :apttr l-Using Arpeggios ': 9

• ' .

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59

T ... < ., •

PLAYING OUTSIDE AND PLAYING INSIDE

Before you are introduced to laying melodic patterns around arpeggios, it b important to diSCUSS another concept that is imporunt in jazz: playing inside ;and playing outside. Playing inside refers to .. type of improvising where the melody fits perfectly within the h .. rmonic context of the chord changes. Pbying outside means thu the melody actually bUs beyond (or outside) the harmonies produced by the chord changes.

Why would anyone want to pl .. y outside the harmony! Won't it sound out o f tune or "wrong!" When well executed. playing outside produces ;a feeling of excitement or ten­sion in ;a solo. It keeps the listener intereHed .. nd gives .. solo ;a feeling of "forwird motion." A skillful improviser can step outside and then b .. ck inside before you even know it. It takes 1 while to get the hlng of this. Experience lnd listening will be your best tucher. Playing outside for the sake of weirdness is usually not very tasteful. so it is imporun t to develop a sense of balance. listen to players like John Mcuughlin, Miles Davis, John Coltrane. Wayne Shorter ;and SCOtt Henderson for some of the most daring. yet tasteful examples of outside playing.

One device thu works well for adding this element to your playing is the use of melodic pUternS based around arpeggios. You simply begin a melodic pattern from each tone in an arpeggio's fingering . If you use this tOO often. or for too long a time, this device can give ;a solo a very mechanical sound. so use it sparingly, Patterns with close intervals (a lrd or smll1er) will sound more tr.llditional, while wider intervals (<4chs ;and larger) will sound more modern ;and maybe even outside. Study the following examples lnd then try creat· ing some of your own.

Melodic Pattern Amin7 Arpeggio Shape

7

, •

e = Arpeggio Tones

Amin7 ...,.; . ~ I'- ~,.~~(.) ~ ~

~~ • ~ (! ~ ~.

---- . . • ,

'0'" ..... .... .. 6-. • 0

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Melodic Pattern

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Melodic Paltern

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10

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G7

UJ g::E===== ~

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10 ,

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Omin7 Arpeggio Shape

~'. :. __ '. -L

le; t- -- • • -1------". -----2. \~, _L .l..

\'11 x

, , 331 133 1

G7 Arpeggio Shape

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Chapter ]-Uslng Arpe:;gios 5 I

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This is Just like the preyious concept. except you play the patterns around the physical shape of a chord on the fingerb oard instead of an entire arpeggio. Sometimes th is will be easier to yisua lixe than an entire arpeggio shape. Experiment with many different chord shapes. Its reatly hard to run OUt of ideas w ith th is. It is usually important to resoille on chord tones as it will bring your line back i n~ide.

Chord Shape

E719 • I I 1 • •

1m" o J

64 E'~~~~~ f'B. , Melodic Pattern

_ ........ 2 4 2 I 2

65 j ,-, ~

E7 :9 J

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•. J J

x = Double sharp. Raise the note

twO half steps (one whole step).

Examples 66 and 67 iIIuar.He that the melodic pattern doesn't haye to lllli on a chord tOne.

Chord Shape

• • t 1 1

66~~ .• . ~ Melodic Pattern

f~.· 4 2 , • , , . , , - "- -• , , . , ,

52 Chapter 3-UsingArpeggios

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Page 54: Vol.4 - Mastering Improvisation

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(HAPHR4 Eight-Tone Iroles

The use of clght [One scales III lUI bec~me popul~r in the ''10's ~nd hilve since become a f"mllia,. sound. They lire milde by :lidding iln i1ddltional tone to a major suit. There Jre many more eIght-tone 5cilles than there is room for In this book, but you should get a lot of mileage out of the two shown below

This sCille works very weU over both the Ii .. nd the V7 chord in a ii-V7 -J progreuion. It also so unds greal over dominilnt 7tn chord vilmps, It is a milior sule that includes both the natur;al 7 and the l7. Here it is in C.

68~ <> II

II o o n o ()

1m' ". -

" .. • I I

'. ' .-~.

, J. .-_ .. -I-J. f'e , -'e • , , • , , '. • '. , "' v VII

ThiS scale works wen over mljor chords. It is a major scale that includes both the 5 and IS. It has iI very smooth sound.

' . ~

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Page 55: Vol.4 - Mastering Improvisation

Here ~re some phrases rrtunnting the use of these eight tone sQles.

Gmin7 C7 FMaj7

70 ~.#. f1t€1tO' CfttF& oot1td I Cf j q F II ,.-.O<~ J J ) n Eight Tone ii-V7 Scale ______________ , Eighl Tone I Scale _ ___ __ _________ ....

5 • S-3 5 6--a--S

5 1 3

Gmin7 C7 Ftv\ai7

71 - r-• • v '"

~ ..... --.;: ..... - " • , EightTone ii.V7ScaJe ________________ ' Eight Tone I Scale _____ _ _ -_____ __ _ -'

a

Gmm7 C7 FMaj7 ~ q b ~

" ~ ,.1 • f:i~ • • f:~ ' • f:\~ " - r -72

, • . , • oJ

• ..... , Eight Tone il-V7 Scale _ ____________ , EightTonelScate _________________ ,

• 0----0--< • 9 ' 0-<

5 5 •

C9

b ~ 1'01'- . 1 - b ~ !,- o !,- • -7J - ,

-• • .... --EightToneii .V7Scale __ __ ____ ~ ____ __________ ~ __________________ •

7-6 • • - -4-- 3--5-<1 7--5--4-.1

54 Ch:apter i-Eight.Tone Sules

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(onne(fing Your IdeoI At this point you have many improviutional devict's iU your command and even have some pretty good flashes of inspiration flOW ilnd then. If you feel you are surtmg to sound like a mass of devices and short unrelated ideas, then it is time thn you stUt [0 consider u(h of your solos n il whole. A good solo generally hn three paru: an opening, a body and ..

condusion. Huter improvisers mOlY include sevenl cycles of all three parts til a longer solo. This concept Is explored in the CODA section of 6efinninl JOu GUitor, Long smooth lines thn connect the plrU of your solo a re a sign of musical maturity. Have pu,cnce; thiS

is .. lifetime study Ind being 100% utisfied with every part of your .lola is .. rue occur­rence. TlUt'S OK. This sometimes frustrating fa ctor is part of the process thilt helps us Improve. Remember to enjoy your own progress and to pu )'ourself on the back once in a while. Here are some Ideas that should help you create longer lines and more logical solos.

This is euctly what it iounds like. You uke tWO or more short ideils ilnd connect them chromatin II)' with half step. solewise movemenL It is usuilll)' il good ide.. to sun and end on chord tones. This will ","use your line to stlrt rrom the inside. step ouu,de (or a while and then resolve smoothly back inside.

CMaj7

• J

looa*, ___________ -' ChromalICConneclion ___ • Idea 112 ________________ -'

- 'HI

Chapter 5--Connectinl Your IdeH 55

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" 76 o • oj -..

b Gmin7

'"" Idea It I

07;9

. , --- -- V Y' _________ ...J Chromatic Connectlon ___ , Idea 112 __________________ .J

6-(6 •

/~j~~§ .. ~t' ~~"_~.~~b.~~~.~~~~~~~~~ r-~~:-~~~~~~~~~~E'~~ ,.,. ....... -- V It Idealt , ______ _ ______ , ChromalicConnection ______ .J Idea It2 _____________ •

2 a

• • . h,,-~ •

"'" - - <> Chromallc Connection - - --- -' Idea #3 - - - - - - - - - - - - - - - - - - - - -- ,

,

Stanley Jordon

56 Ch~p{er S-ConnectingYour Ideas

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When first lelrn.ng to Improvise, milln)' pllyers tend to SlOp lnd ~It when the key (enter chlnges, then beg,n pllying aglin when che new key IS established. ThiS un be ;I very good

stylistiC technique. however. when beginners do iLlt can renect ill I,m.utlon in their ability to travel from key to key smoothly, Thl~ ICHon will Introduce: ill technique lhn wilt help I:) overcome th.s shortcomtng_

Consider the following chord progre~sion in Example 78_ It lr.lvels between two key centers. The first twO mcnures eStilbhsh the key of F while the thll'"d and fourth measures establish (he key of G. The Int four mc;uufes .,re back In the key o f F 181in.

iiolF V70lF

78~Gm~~ , z

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Amin1

12 7 2

V701 G

07

7" 7 r Z

19

iiolF

~G7 , , Z /

Now look u cull snit.

V701 F C7

7 7 L 7

, 7 , ,

101 F FMaj7

z , 2 7 , , , ,

7

The obvious differences between sules ilre the P in the F scale ilS compilred to the F m the G sCille, 2nd the B~ in the F scale :IS compared to (he BI in the G sule.

F MaJOr

G MaJOr

o 0

The effectiveneu of this technique is bued on the ideil thilt the movement of a half step is iI very powerful sound. So, while pb.ymg the F scale in the first tWO meuures. we make sure thilt our Iilst nOte In menure [We Is e ither a Sl or an f. The firs t note In menure three should either be a S or iln P • thereby crening iI smooth half.step tTinsition from the key of F to the key of G; F to p, or 61 to B. The transition back to the key o f F from meilsure four to meuure five would work the ume Wily, but in rl!'verse: Ff to F or B to Ff It won't uke long to leilrn this technique ilnd the invesU11em of time ilnd energ)- wli! pay dividends in the form of much more musiul lines.

Use the CD that is availilble with this book. or a recordin, of yourself playing the chord pro,renion, to try this technique by playing along With Example 80 .

, Z 28

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Chapter S-CoMecting Your Ideu 57

Page 59: Vol.4 - Mastering Improvisation

80 -, -( -

81 .

Here arc twO examples demonstrat ing w~s to accenruate the difference between keys using movement In half steps. The notes Involved <Ire highlighted.

i~

ii of F Gmin7

-5

;;01 F 1'1 Gmln7

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ii of F Gmin7 ....,

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V7 of F C7

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V7 01 F C7

V7 01 F C7

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ji of G Amin7

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I of F FMaj7

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it of F Gmin7

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V7 01 F C7

5

58 Chapter 5-ConnectingYour Ideas

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101 F FMaj7 J

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Page 60: Vol.4 - Mastering Improvisation

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This idea is easy to exec.ute ... nd quite effeCtove, Repeating an ,del in dofferent octaves crenes the illusion of one very long hne.

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George Benson

Chapter ~nnecting Your Ideas 59

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Page 61: Vol.4 - Mastering Improvisation

I ' ",LESSGN 4: RHYTHMl<; MOTIVES ;.

The element of rhythm c~n connect Ideas very well. You can play sever,,1 different melodic Ideas with exactly the U.me rhythm. The rhythm then becomes a motive in itself, and the dmerenc idCils it Is "pplied to will seem connected.

J 97

6

F7 J - 97 J -J

The idea here is to find one melodic idea th"t will work over a series o f different chords.

You need to have a HrOflg knowledge of chord formulas to accomplish this.

FMaj7 Omin9 Gminll C7

60 Chapter 5-ConnectingYour Ideas

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Page 62: Vol.4 - Mastering Improvisation

86 Q ~ , .... "

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Dmin7 G7 Bm1f'l7~S Aminll # . ~ . ~ . . # - - # - -8+--5- ,

The du'toniC connection is ~ technique th~t works well over diatonic chord progressions (progressions th~t include only chords found in the key). It en~bles you to turn one lick into u m~ny u seven--one for e~ch of the dinonic chords in ~ key.

SUrt with ~ lick that sounds good over the r chord. then r~ise eJch note in the lick one sc~le tone. You now have ~ tick for the ii chord. Repeat the process from this chord ~nd ~ iii chord licks ~ppears. While pl~yjng over a dinonic progression, these licks would ~rovide a nice clean, connected sound. This is also a good way to compose licks.

CMaj7

G7 Amin7 CMaj7

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.

....

,...

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Chapter S-Connectlf'lg Your Ideas 61

Page 63: Vol.4 - Mastering Improvisation

(ODA A Medley of Suggestions and Musical Concepts

There is no way a single book (3n discuss every improvintio nal device that musicians use. This series has pruented the major concepu of the nudy of improvisation. Here are some more ideas that you should explore on your own.

Most players use major and minor pentatonic scales in the most commo n way: surting on the root of majo r, minor and dominant chords. Some dnmatic ne ..... sounds can be discov­ered by sClrting your bomiliu pentatonic fingerings on chord tones other thiln the root.. This w ill1llo w you [0 play on the upper extensions of the chord, producing more interest­ing and modern sounds. Check OUt Power Pen/olonics by Erik Halbig. avaib.ble 1t your local music store. (o r il rea lly complete picture of this subject.. Here are some ide~s to get you started. , .... . -For major chords ...................... m~ior penQronic sQning on the root. 5th

( or 9th of the chord. !

Fo r minor chords ...................... m inor pentatonic sun ing on the root. 5th o r 9th of the chord.

For dominant sus 4 chords .. . .. major pen tato nic starting on the root or ..., o f the chord.

For domin<l.nt 7th chords ........ m<l.ior penutonic n<l.rting <1.'5 <l.bove the root w ith <l.ltered Sths <l.nd 9ths of the chord .

. ~,

., / - '

You can look <l.t <I. I) chord as <I. 7 chord with <I. m<l.jor or minor (ri<l.d <I. whole step <l. bo ve it.

CMlj13 CO

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Cmin13

88 t¥ C~17 :t~ta~"'~i"'~Triad~II~~c7 #fa Moi",Tri,d II . &fa M"",Tri,d J Cmu17 {~

It is interesting to play ideu over a chord thn are no rmally used fo r the triad formed by the upper extensions of the I J chord with the same root. In other words. you can pllY D Major t riad ideas o ve r a C Mai7. because the upper extensions o f C Ma j I) (which is, H

you know, <I. go od substitution for C Maj7) fo rm <I. D Maior tri<l.d. Experiment. Ml ny modern players suc h u Robben Fo rd thmk this way.

62 CODA

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Page 64: Vol.4 - Mastering Improvisation

I ;) • • •

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Some players like the sound of very wide interval leaps in their playing. This style o f playing really helps to build strong technique, though It first you m~y find the fillge rings difficult.

One w~y to pnctice this is to learn to pl~y m~jor sc~les in consecutive ~ths. 5ths.6ths ~nd 7ths. This will get you used to the sound and the physial dem~nds . Playing this way will add interest to your solos. but overuse le~ds to tedium for most listeners. For more interesting effecu. crelte licks thn mix consecutive ~ths. 5ths. 6ths ~nd 7ths. listen to Joe Diorio's playing. He is ~ muter of this style.

This technique crenes ultra-modem sounds by uk;ng a line ~nd nising or lowenng a few of the notes to other octaves. It produces a rather surding ~nd unpredicuble effect. Sometimes the fingermg is difficult but it is usually worth the effort.

Amin7 Amin7 ~

, ~

" ~ ~ ! , -; ' - ~ -Original Uck _______ - - - - - - , With Oclalle Oisplacement ________ ,

A gren Wl.y to pl~y ouuide is to uke ~ lick and move it around the fingerboard. The only atch Is thn you need to move it around in ~. symmeukal p~ttern . like h~lf steps. whole steps. minor 3rds or whnever you can dream up. The e~r will accept these sounds ellen though you .. , ~ In.ving the key center because of their symmetry. The listener will " track" the symmetry more than the relationship between melody ~nd harmony. Be sure to re­solve to a chord tone!

Amin7 Amin7

Original lick Lick moved up the fingerboard in whole stcps _____ .. _____ ,

3 • 3 • 3 • 3 • 3 •

Resolution to a chord tone

3

CODA 63