161455676-jazz-guitar-lessons (2).pdf

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JAZZ GUITAR LESSONS

1.- SCALES

1.1.- Jazz Guitar Scales: The M !es

Jazz scales are not really different from scales used in other music, it's the way they are playedthat makes the sound and feel that is so typical to jazz. The modes as we use today wereformalized around 1675 and as far as I know there were not so many jazzers around ack then.

!ou pro a ly ha"e all played modes efore, ut may e without realizin# you were playin# them.$an you play a major scale % Then you know the first mode, the Ionian mode.

The $ Ionian mode &aka $ ajor (cale) contains no sharps or flats . The num ers 1 to 7 make upthe "scale formula" , a theoretical way to represent a scale*

C Ionian Mode(= C MajorScale)

+ow we start the $ major scale on the second note to #et the ne t mode the Dorian mode . The-rd and 7th note are a half step ehind compared to the Ionian mode.

D Dorian Mode

Each mode has its own unique sound . This sound depends on how the inter"als are mappedacross the scale. lthou#h the notes in oth scales are e actly the same, the sound of the scale iscompletely different ecause the tonal center has chan#ed. In the $ Ionian mode, the tonal centeris $. In the / /orian mode, the tonal center is /.

0ach mode has a related chord . e can find that chord y stackin# thirds on the first note of the

mode. 2et's do this for the $ Ionian mode* $ 0 3 4. The result is a Cmaj7 chord &if this is $hineseto you, please ha"e a look at the jazz #uitar chord theory tutorial )*

D E F

1 2 3 4

If we uild a chord on the first note of the Dorian mode we #et a /min7*

1

CDEFGAB

1 2 3 4 5 6 7

D E F G A B C

1 2 b3 4 5 6 b7
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D F A C

1 b3 5 b7

ere's an overview of the 7 modes for $ major, their scale formulas and correspondin# chord *

I IonianII /orianIII hry#ianI 2ydian

y olydianI eolian

II 2ocrian

1 8 - 9 5 6 7 $ / 0 : 3 4 $maj71 8 - 9 5 6 7 / 0 : 3 4 $ /m7

1 8 - 9 5 6 7 0 : 3 4 $ / 0m71 8 - ;9 5 6 7 : 3 4 $ / 0 :maj71 8 - 9 5 6 7 3 4 $ / 0 : 37

1 8 - 9 5 6 7 4 $ / 0 : 3 m7

1 8 - 9 5 6 7 4 $ / 0 : 3 4m7 5

!ou should memorize the names of the modes < the formula. ere's a mnemonic trick to help youremem er the names*

I Don't P lay Like y ! unt Lucy.

1.".- The M !e Charts

+ow we'll see how the modes are played on the uitar . =se all of your senses when learnin##uitar scales* use your ears &most important), your eyes &reco#nize the pattern on the fret oard),your intellect &memorize the uitar scale formulas ) and the feelin# in your fin#ers.

Le end *

* represents the root or 1 of the #uitar scale. The letter inside the o is the note name.

* represents a #uitar scale note.

1. ".1.- I #ia# M !e

:ormula * 1 8 - 9 5 6 7 >elated chord * $maj7

=se * on major chords

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1.".".- $ $ ria# M !e

:ormula * 1 8 - 9 5 6 7 >elated chord * /m7

=se * on minor chords

1.".%.- E &hr'(ia# M !e

:ormula * 1 8 - 9 5 6 7 >elated chord * 0m7

=se * on minor chords &this one has a (panish fla"or and is one of the #uitar scalesfre?uently used in flamenco)

1.".).- * L'!ia# M !e

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:ormula * 1 8 - ;9 5 6 7 >elated chord * :maj7

=se * on major chords

1.".+.- G Mi, l'!ia# M !e

:ormula * 1 8 - 9 5 6 7 >elated chord * 37

=se * on dominant chords. The i olydian scale is one of the scales that is often used in jazz lues.

1.". .- A Ae lia# M !e

:ormula * 1 8 - 9 5 6 7 >elated chord * m7

=se * on minor chords

1.". .- / L cria# M !e

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:ormula * 1 8 - 9 5 6 7 >elated chord * 4m7 5

=se * on half diminished chords

".- The /e0 Scale

David #a$er was the first one to come up with the term ' #e%op &cale ' in his ook ' ow to lay4e op', descri in# a techni?ue Charlie Par$er and $@ used to make those lon#, ne"er endin#e op lines. Today it's almost unthinka le for a jazz musician to not at least speak a it of thee op lan#ua#e and the e op scale is a #ood place to #et you started.

The 4e op (cale is a '(ol'dian &cale with a descendin chromatic note %etween the rootand the %7)

G Mixolydian(reversed)

G BeboP

G FEDCBA

GGbFEDCBA

This 3 i olydian scale is the of the C major scale. The 3 4e op (cale can e played on mostchords that are diatonic to the key of $ major, ut not on the $ major chord itself ecause the : isan a"oid note for the $ major chord.

The 4e op (cale is a dominant scale and has the same function in a key as the i olydian scale.It can e played on the dominant and the su% dominant . Aur e ample, the 3 4e op (cale, is thedominant of $ ajor and can e played o"er 37 and /m7, #i"in# us a #reat tool to play o"er II * Ipro ressions .

!ou can also play the e op scale on halfBdiminished chords . The 3 e op scale can e playedo"er a 4m7 5 chord.

The 4e op (cale works est descendin .

The ad"anta#es of the 4e op (cale *

dds some chromatics . hen you start the e op scale on the eat and on the 1,-,5 or 7, there are nothin# ut

chord tones on the %eats and tensions on the off eats. This is an effecti"e way to makelon phrases . /on't start the e op scale on off eat's or tensions. lways start ondown eats and on chord tones.

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ere is the 3 4e op (cale on the fret oard *

* represents the root or 1 of the #uitar scale.

* represents a #uitar scale note.

These two positions are the %asic positions and are the est to #et you started. +eedles to sayyou can play the e op scale in any position you want.

S 2e e,a2 les 3 the 0e0 scale i# acti #

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%.- Trit #e Ch r! Su0stituti # 4 The L'!ia# $ 2i#a#t Scale

Tritone C ;9 &or 5) inter"al

tritone su%stitution is the use of a dominant chord that is 6 half steps higher or lower comparedto the original dominant chord . Tritone su stitutes are useful for oth chordal playin# and sin#lenote impro"isation.

Ch r! Su0stituti #

Take for e ample the 37 chord* 3 # / +

The 8 most important notes of this chord are*

the - & # ) the 7 & +)

&if you didn't know this already I su##est you read the #uitar chord tutorial first).

The - and the 7 of a dominant chord are a tritone apart. tritone is a symmetrical inter"al, it isprecisely in the middle of the chromatic scale. This ein# the case we chan#e the - for the 7 andthe 7 for the - and fill in the 1 and 5 to #et a new dominant chord.

This chord would e / 7* / + # &more precisely* / + C%)

The tritone chord su stitution of 37 C / 7

(o compared to the 37 chord the # and + chan#ed places. Dnowin# that the + is the - and the # is the 7, it's easy to fill in the 1 and 5 &a#ain if you don't a#ree with me a out this ein# easy, readthe #uitar chord tutorial first).

The 1 is / and the 5 is . >elati"e to the 37 this is a 5 and a E, so this means that the / 7can su stitute an altered 37 chord.

%.1.-The L'!ia# $ 2i#a#t Scale

hat scale would you play on the / 7. The first dominant scale that comes to mind is themi olydian scale &if this scale sounds like $hinese to you, read the tutorial a out #uitar scales ).Pro%lem here is the , of the / mi olydian scale* the 3 or :;. This note is the major 7 of 3,while we need a 7 for 3 dominant.

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The solution* raise the 9 &:;) with a half step to the ;9 &3).

mi olydian scale with a ;9 is called a ' l'dian dominant ' scale. It's actually the 9th de#ree of an melodic scale or the 5th de#ree of a 3 altered scale.

/ 2ydian /ominant / 0 : 3 4 $

1 8 - ;9 5 6 7>elati"e to 3 &3 altered scale) 5 1- 7 1 E ;E -

In the dia#ram a o"e you can see that / lydian dominant C 3 altered C melodic.

ere's the l'dian dominant scale on the #uitar neck*

The red dots are the chord roots. If you ha"e trou les findin# the other positions of this #uitarscale, try the #uitar scale finder .

ere are some lydian dominant ideas*

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).-The &e#tat #ic Scale

-he pentatonic scale is usuall' the first scale %e innin uitarists $now and use for impro"isin#.

The pentatonic and %lues pentatonic scales are used "ery fre?uently in rock, lues F pop music,ut you hear them less fre?uently in jazz music and when you hear them it is usually on a modaltune or a jazz lues, ut almost ne"er on standards.

fter we'"e learned the other scales that are useful for playin# jazz, we tend to for#et thepentatonic scale, ut it's actually a "ery #ood de"ice to add some variet' to your impro"isations.

If after the followin# lesson you'd want to know e"en more a out pentatonic scales, I su##est youtake a look in The Gazz Theory 4ook &it's the jazz theor' %i%le ).

2et's start with the %asics of the pentatonic scale * pentatonic scale is any scale that contains .notes . ny scale that contains 5 notes can e called pentatonic, ut when people talk a outpentatonic scales they refer to the minor pentatonic scale or the major pentatonic scale .

The major pentatonic scale consists of the 1, 8, -, 5 and 6 of the major scale . The $ major

pentatonic scale for e ample has the followin# notes*

C Major Pentatonic Scale C D E G A

The minor pentatonic scale consists of the 1, -, 9, 5 and 7 of the natural minor scale &theaeolian scale). The minor pentatonic scale has the followin# notes*

A Minor Pentatonic Scale A C D E G

!ou mi#ht notice that the C major pentatonic scale en the ! minor pentatonic scale ha"ee actly the same notes , just like the $ major scale &ionian mode) and the natural minor scale&aeolian mode) ha"e the same notes. If you're not sure what modes are, you mi#ht want to checkthis other lesson* The odes .

(ome advanta es of the pentatonic scale*

the fin erin on the #uitar fret oard is simple . the pentatonic scale works well with techni?ues like pull offs and hammer ons .

ecause the pentatonic scale has only 5 notes, it's quic$er to chan#e from lower to hi#herpositions on the fret oard &or re"erse).

the pentatonic scale can rin# some variet' in your sound, that is if you don/t overuse it.

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(o, how do you use the pentatonic scale %

The o "ious way of usin# pentatonic scales is playin# them on modal tunes or on a lues, ut theyare also "ery useful to pla' over chord chan es .

ere's a list of what pentatonic scale you can play on what chord . 2et's do the first one to#etherso you can see how the list works*

The first entry in the list shows you which pentatonic scales you can use to impro"ise o"ermajor chords. /I/ means you can use the major pentatonic scale uilt on the root of thechord, which ispretty o "ious. An a $maj7 chord for e ample, you can play the $ major pentatonic scale&C minor pentatonic scale).

/*/ means you can use the major pentatonic scale uilt on the 5th note &compared to therootof the chord). (o in case of a $ major chord that would e the 3 major pentatonic scale* 3

4 / 0 &5 6 7 E -).

Chord y!e Chord ensions Major Pentatonic Scale "ote #$nctions

Major %&' I ' * %

+ * % , '

'&- II ' - % ,

Minor %&'& bIII b * b,

I+ * % '

b+II b, ' *

Minor./ajor %&' I+ * % '

Do/inant '& I ' *

b'&-'&b*&b b+ b* b b, b' -'

S$s 0 '& I+ 0 * '

b+II b, ' 0 *

1al2 Di/inished b%& b+I b% b, b

+.-The Altere! Scale

The altered scale can e used to play o"er dominant chords that ha"e altered tensions & E,;E, 5, 1-). ost of the time that would e dominant chords that #o to a minor chord.

The altered scale is the 7th mode of the melodic minor scale, so the 3 altered scale has the samenotes as the melodic minor scale. It is also relati"e to the lydian dominant scale &the 9th modeof the melodic minor scale).

altered scale 0 melodic minor scale up half a step

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:or e ample* the 3 altered scale C melodic minor scale

G altered scaleG Ab A- B Db Eb #

b' -' b* b b,

ere's the scale chart for 1 altered . The red dots are the roots. If you ha"e trou les findin# theother positions of this #uitar scale, try the #uitar scale finder .

a"e a look at the followin# altered scale ideas *

In the followin# e ample I use 2 major triads that are found in the altered scale. In case of the 3altered scale those triads are / &/ : ) and 0 &0 3 4 ), so triads uild on the 5 and the1- of the altered scale*

I told you that the altered scale is mostly used on dominant chords #oin# to minor chords. !ou canalso use the altered scale on dominants oin to major chords , just look out for a clash with theone who's doin# the compin# ehind you &if he's #ood, he listens to you and plays altered tensionsin his "oicin#s).

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.-M !es O3 The Mel !ic Mi# r Scale

This uitar scale lesson is a out the modes of the melodic minor scale . If this is the first youhear a out modes, you'd etter learn a out the modes of the major scale first.

ll the modes on this pa#e ha"e the root, so you can hear the difference etween the scales.

.1.- A Mel !ic Mi# r

ka* Gazz inor (cale=se* on minHmaj chords

"otes

Scale #or/$la

A B C D E F# G#

1 2 b3 4 5 6 7

.".- A $ ria# 0"=se* on Esus9 chords

"otes

Scale #or/$la

A Bb C D E F# G

1 b2 b3 4 5 6 b7

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.%.- A L'!ia# 5+

ka* 2ydian au#mented scale=se* on maj7;5 chords

"otes

Scale #or/$la

A B C# D# E# F# G#

1 2 3 #4 #5 6 7

.).- A L'!ia# $ 2i#a#t

ka* 2ydian 7, A"ertone scale=se* on 7&;11) chords, also see Tritone $hord (u stitution

"otes

Scale #or/$la

A B C# D# E F# G

1 2 3 #4 5 6 b7

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.+.- A Mi, l'!ia# 0

ka* i olydian 1- scale, indu scale=se* on dom7 1- chords

"otes

Scale #or/$laA B C# D E F G

1 2 3 4 5 b6 b7

. .- A Ae lia# 0+

ka* 2ocrian ;8 scale=se* on m7 5 chords. lso see alf /iminished $hords

"otes

Scale #or/$la

A B C D Eb F G

1 2 b3 4 b5 b6 b7

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. .- A Altere! Scale

ka* (uper 2ocrian scale, 2ocrian 9 scale, /iminished holetone=se* on dominant chords with altered tensions, also see The ltered (cale

"otes

Scale #or/$laA Bb C Db Eb F Db

1 b2 b3 b4 b5 b6 b7

.-Jazz Guitar Scales * r The Mi# r /lues

In part 1 of this this jazz #uitar lesson we talked a out minor lues chord pro#ressions . In part 8we'll talk a out the #uitar scales you can use to impro"ise o"er a minor lues.

These scales are not meant to e a conclusi"e summary of all the scales one can use o"er thesechords. Instead they are merely a startin# point to allow us to outline the different chords found inthe standard minor lues chord pro#ression, without mo"in# your hands all o"er the neck.

/ars 1-% a#! -6

This e ample contains a common fin#erin# for the $ melodic minor scale &1 8 - 9 5 6 7), and forour purposes will e used o"er the $m7 chord found in ars 1B- of the asic minor luespro#ression.

Thou#h some instructional ooks ad"ise us to use the /orian mode o"er m7 chords within a jazzconte t, the melodic minor scale is preferred y many jazz musicians when outlyin# a tonic minorchord. (ince the scale contains a raised se"enth, there is always a touch of the 7, 37, chord

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heard within this scale, which allows us to ha"e a sense of tension and release within our lineswithout usin# su s or alternati"e scalesHmodes.

/ar )

The followin# scale can e used to outline the $7alt chord found in ar four of the minor luespro#ression. This scale is often referred to as the altered scale &1 E ;E - 5 ;5 7), as it outlinesall of the alterations that a dominant se"enth chord can take.

(ince the altered scale is uilt off of the se"enth mode of the melodic minor scale, we can simplytake the $ melodic minor scale from the first e ample and shift it up y one fret to / , whichoutlines the $ altered scale. This allows us to play the first four ars of a minor lues while onlymo"in# our frettin# hand up y one fret.

$ altered scale C / melodic minor scale

/ars +-

e can now mo"e onto ar fi"e of the minor lues, the :m7 chord, while keepin# our frettin# handcentered on the ei#hth fret. ere we can use the : /orian scale &1 8 - 9 5 6 7) o"er the :m7chord.

The use of the /orian scale instead of the : melodic minor scale helps to keep the :m7 chordlinked to the tonic key of $ minor. (ince : /orian contains an 0 , the se"enth in : and the third in$, instead of the 0 natural found in the : melodic minor scale, it is more closely related to the tonickey and therefore is the preferential scale for this chord.

/ars 7-18

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:or ars nine and ten we can use the 3 altered &C melodic minor) scale to outline the minor iiBpro#ression. +otice that e"en thou#h this scale is lower on the neck than the pre"ious three hadeen, it uses the same fin#erin# that was found in the $ and / melodic minor scales that wereused o"er the $m7 and $7alt chords.

/ars 11-1"

The last scale we will e amine is the $ melodic minor scale startin# on the third fret of the fifth

strin#, which is in the same position as the 3 altered scale listed a o"e. This scale can e used forthe $m7 chord in ar 11 as it is in close pro imity to the 3 altered scale which allows for a smoothtransition etween these two ars.

3elated Lesson * inor 4lues $hord ro#ressions

6.-E, tic Guitar Scales

E(otic uitar scales are #ood to add some new fla"ors to your music. 4elow is a selection ofscales from different parts of the world. 0ach scale is in the key of and comes with scaleformulas and charts.

6.1.-Ara0ia# Guitar Scale

This ra ian scale is an octatonic minor scale &it has notes). It is the same scale as the

diminished scale.

#or/$la 1 2 b3 4 #4 #5 6 7

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6.".-&ersia# Guitar Scale

ajor scale.

#or/$la 1 b2 3 4 b5 b6 7

6.%.-/'za#ti#e Guitar Scale

ajor (cale.

#or/$la 1 b2 3 4 5 b6 7

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6.).-Orie#tal Guitar Scale

/ominant scale.

#or/$la 1 b2 3 4 b5 6 b7

6.+.-Ja a#ese Guitar Scale

This Gapanese scale is pentatonic. It's neither major or minor, the -rd is not included.

#or/$la 1 2 4 b6

6. .-I#!ia# Guitar Scale

This Indian music scale is called the sa"ari scale or ra#a sa"ari. ra#a is somethin# etween ascale and a composition, it is richer then a scale, ut not as fi ed as a composition. It is more like atonal framework for impro"isation and composition, just as chord chan#es and standards are for a

jazz musician. 4esides a particular scale, ra#as also ha"e a specific melodic mo"ement, hierarchyin tones and specific intonation, ornamentation, stren#th and duration. I'm not #oin# into all thespecifics of this ra#a, I'll only tell you that it is played differently ascendin# and descendin#./escendin#, this scale is the same as the hry#ian scale, ascendin# it's the hry#ian scale minusthe - and 7.

#or/$la Ascendin3 1 b2 4 5 b619


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#or/$la Descendin3 1 b7 b6 5 4 b3 b2

6. .-G' s' Guitar Scale

This scale is the un#arian #ypsy scale &minor). $heck the second /jan#o >einhardt lick for ane ample.

#or/$la 1 2 b3 #4 5 b6 7

6.6.-R 2a#ia# Guitar Scale

inor (cale 20
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#or/$la 1 2 b3 #4 5 6 b7

6.7.-Je9ish Guitar Scale

dominant scale that's also known as the (panish #ypsy scale. The Gewish scale is an in"ersionof the harmonic minor scale &on the 5th note)* 0 Gewish C harmonic minor.

#or/$la 1 b2 3 4 5 b6 b7

Origin Guitar Scale Formula !" eArabian 4 b 0 -0 -* % , /inor Gy!sy 4 b -0 * b% , /inor

5o/anian 4 b -0 * % b, /inor

Indian b4 0 * b% ne$tral

b4 b 0 * b% b, /inor

Persian b4 0 b* b% , /ajor By6antine b4 0 * b% , /ajor

7riental b4 0 b* % b, do/inant

8e9ish b4 0 * b% b

,do/inant

8a!anese 4 0 * b% ne$tral

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7.-A! a#ce! Guitar Scales: ; riz #tal &la'i#(

In this lesson on uitar scales we'll talk a out horizontal pla'in .

hen we first start learnin# #uitar scales, we usually play the scale "ertical on the neck, from thelowest to the hi#hest note in a particular position. This is a necessary step, ut don't limit yourself

to that ecause it's hard to see the connection etween the different positions that way.

layin# horizontally is a more ad"anced method of playin# #uitar scales and means we start left onthe #uitar neck and ad"ance to the ri#ht or the other way round. This can e done on two adjacentstrin#s or three or four or with a skipped strin#, the possi ilities #o as far as your ima#ination #oes.I'll help you on your way with some e amples.

In this #uide we work with the $ major scale, ut remem er that $ major has the same notes as //orian, 0 phry#ian, and so on &if you ha"e a pro lem remem erin# this, check out this tutorial onmodes ).

7.1.-&la'i#( Guitar Scales # O#e Stri#(

This is a "ery #ood ear trainin e ercise. Think like a sitar player and play all #uitar scales on anyof the 6 strin#s. /on't think a out where to place your fin#ers too much, ut pick a scale and workwith your ears. This simple e ample is the major scale played on the hi#h e strin#. lso try otherstrin#s, other modes, the altered scale, diminished scale, ...

7.".-&la'i#( Guitar Scales # T9 A!


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I'm not #oin# to #i"e you the ta s for the other strin#s, you can fi#ure that out yourself. Thee amples I showed you are "ery strai#htforward, use your ima#ination to make these e ercises alittle more e citin#. ere's an e ample of the same techni?ue, ut with some "ariations*

Instead of usin# adjacent strin#s, you can also skip a strin#*

Instead of playin# the scales melodically &note y note) you can also play them harmonically &thenotes to#ether, like a chord)*

7.%.-&la'i#( Guitar Scales # Three A!


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Dissonance is the use of notes that fall outside of the key si#nature of the tune. In turn, resolutionis the return to consonance, to rin# the melody ack home. $onsonant phrases can sound "ery#ood, in small doses, ut ?uickly ecome tedious o"er the len#th of an entire solo.

The contrast etween dissonance and consonance, used at opportune moments in a solo, is whatkeeps oth yourself and the listener interested. 2ets take a look at some phrases, o"er the samechord pro#ression, ut this time take ad"anta#e of dissonance.

18.1.-$iss #a#ce 4 Res luti #

ll e amples in this #uitar lesson are played o"er a II * I in 1 major *

| Am7 | D7 | Gmaj7 | % | |

ere's the %ac$in trac$ *JJ*JJ H JJ*JJ

Phrase 1

Listen & Play

JJ*JJ H JJ*JJ

#ar 4 has no dissonance, as indicated y the a sence of accidentals. owe"er, when wehit eat one of %ar two we are playin# a 4 flat, which is not in the key of 3. This tone isdissonant and creates tension in the melody. The last ei#hth note in ar two is : natural,this tone is also dissonant. The : natural appears to want to resolve to : sharp, which itdoes on the first eat of ar three.

0"en thou#h we are usin# notes outside the key si#nature, it still sounds #ood, ut why%The reason it works, is due to chord su%stitution . e won't #o into any depth on chordsu stitution here, as it is a hu#e topic in itself, ut we can ha"e a look at what su stitutechords are ein# implied y this phrase.

#ar one starts on a nonBchordal tone, relati"e to m7. The note 4 is not part of the m7chord, ut it sounds #ood ecause it implies an !m5 chord. In eat three we hit the minorthird of mE &$), and mo"e up to 4 a#ain in the final note of ar one. This reBenforces thesound of the implied mE.

The first note in %ar two is a 4 flat, implyin# the /E chord has een su stituted for a /E;5chord. The 4 flat is ?uickly resol"ed to the ninth &0) to release that tension. oldin# adissonant note for too lon# can often sound incorrect or unpleasant K

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The %est place to use dissonance in a chord pro#ression is the dominant chord . This isecause the dominant is the least sta le chord and naturally wants to resol"e.

"If 'ou hit a wron note6 then ma$e it ri ht %' what 'ou pla' afterwards)))"

BJoe Pass

Phrase 2

Listen & Play

JJ*JJ H JJ*JJ

There is an flat on %ar 4 & eat 8), implyin# the su stitute chord of m aj7. The note flat is the major se"enth.

An %ar 2 & eat 1) we play an : natural to imply a /7;E. An the 'and' of eat -, we repeatthe : natural efore resol"in# it to : sharp, in the form of a +ote 0nclosure.

18.".-N te E#cl sure

s mentioned a o"e, phrase 1 and 8 oth utilize the note enclosure concept.

! note enclosure is a roupin of three tones6 usuall' includin a dissonant tone6 thatresolves to a tone %etween its two precedin tones)

(ounds confusin#, so lets look at some asic e amples in 3 Ionian*

In %ar 4 , we enclose the note 4 etween $ and 4 flat. The chromatic tone 4 flat, is playedon the upB eat, the 'and' of the pulse.

In %ar 2 , we enclose : natural etween 3 and : sharp. 4oth e amples fit perfectly o"er the3maj7 chord, ecause they resol"e to the chord tones. +ote that ecause the dissonant&chromatic) tones are on the upB eat, there is no chord su stitution implied, ut it does addfla"or to a phrase.

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This is the simplest form of note enclosure, usin# only a three fret ran#e, makin# it eas' to pla' without much thou#ht.

ere is a hand' tric$ for #uitar that makes this type of note enclosure easy to use*

nywhere a scale has two notes that are one fret apart, the lower tone can e enclosed y one freta o"e, and one fret elow. (o lookin# at ar one in the e ample, the notes 4 and $, of the 3Ionian mode, are one fret apart. The lower tone 4 can then e enclosed etween $ &one freta o"e) and 4 flat &one fret elow). The se?uence of notes is then $, 4 flat, 4.

18.".1.-N te E#cl sure E,ercise 1

The followin# e ercise is #ood practice for this type of note enclosure, and unlocks its full potential.ractice #roupin#s ased on the two e amples a o"e, addin# a 9th note, within the key si#nature,to the end of the note enclosure.

ere are some e amples to #et you started*

ractice endin# on different notes of the scale, especially the chord tones of the pro#ression. lsotry playin# the same #roupin#s at other parts of the fret oard. s with the consonance e erciseyou will e"entually e a le to link these small #roupin#s to#ether to create some asic e opphrases.

ere is a phrase e clusi"ely usin# this type of note enclosure concept, o"er the 3 Ionian II Ipro#ression*

JJ*JJ H JJ*JJ

18.".".-N te E#cl sure ": I2 l'i#( Su0stitute Ch r!s

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The followin# e amples show another form of note enclosure that is used to imply su%stitutechords . The dissonant tone is played on the downB eat.

Take a look at the followin# #roupin#s*

#ars and , are the same as %ars 4 and 2, ut played an octa"e hi#her in the /orianposition.

layin# %ar 4 o"er an m7 chord implies the su stitute chord of m aj7.

#ar 2 , when played o"er an m7 chord implies the su stitute chord of m7 5.

These implied su stitutions create a "ery effecti"e dissonance o"er the m7. The #roupin#s cane played startin# on any down8%eat , or for more "ariety, any up8%eat . layin# them on an upBeat creates far less tension much like the pre"ious forms of note enclosure.

The followin# phrase uses this form of note enclosure e clusi"ely*

JJ*JJ H JJ*JJ

#ar 4 implies m aj7 #ar 2 implies /7;11 for two eats, followed y /7 E for two eats.

18.".%.-N te E#cl sure C 20i#ati #s

Ance you are comforta le with oth types of note enclosure you'll ha"e a hu#e impro"isational"oca ulary to play with.

2et's take a look at the note enclosure forms com ined into a sin#le phrase*

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JJ*JJ H JJ*JJ

The two note leadBin to %ar 4 is our first form of note enclosure. #ars 2 and use the second form and you'll notice they are identical to the pre"ious

e ample a o"e.

In %ar , we play two more note enclosures ased on the first form.

s you can hear, the com ination of the forms can produce a much more diverse and interestin phraseK

11.-Chr 2atics: Tur#i#( Scales I#t Jazz

In this article we are #oin# to take a look at how we can take all of the scales and arpe##ios weha"e learned o"er the years and turn them into LjazzyL soundin# phrases. This is a i# o stacle

and one that not e"eryone will #et o"er. opefully y workin# throu#h this material we will e a leto use simple and comforta le material to hip up our lines.

:or the purposes of keepin# thin#s simple all of the e amples in this article will e written o"er topof a iim7 B 7 B I B I7 E chord pro#ression in the key of $ major*

: D/, : G, : C/aj, : A,b' ::

11.1.-E,a2 le 1

e will now take a look at four different ways to add chromatic notes to the major scale. ll of

these riffs will e two eats &four ei#hth notes) lon# in order to #et them under our fin#ers ?uicklyand transpose them easily.

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The first ar of this e ample uses what is normally referred to as the dominant e op scale , playedo"er a major chord. It is normally used o"er a dominant chord, 37 in this key, ut it can also eused o"er any chord in the parent key, $ major.

The second ar outlines a "ery common chromatic passa#e. This is where we start on the third, inthis case 0, of the major scale and then play ;1, 8 and ack to -. Think of it as startin# on the thirdand playin# ack to the third usin# a chromatic approach to the 8 nd note, /, of the scale.

The third and fourth ar are the same chromatic idea applied to two different scale tones. The estway to approach these licks is to think of it as connectin# the two half steps within the major scale.The first connects the 9th note, :, of the scale to the -rd note, 0, y way of two chromaticapproaches from elow 0. The last e ample is the same concept, only this time applied to the root,$ and the 7th , 4.

Ance you ha"e these under your fin#ers in the key of $ we are ready to mo"e on to e ample -.!ou can practice punchin# them into scale fin#erin#s you already know, or treatin# them asseparate entities and thinkin# of them as indi"idual units that you can mo"e around to differentchords.

11.".-E,a2 le "

ere we ha"e a e op soundin# line written in the key of $ major usin# the patterns outlineda o"e. In the first ar there are the 1st and 8nd line &from e ample 1), the second ar has the -rdand 9th line, the third ar has the 1st and 8nd lines and the last ar has the -rd line. e mi#htnotice that the line sounds like an e ercise, and it should. t this point we are tryin# to #et theseshapes under our fin#ers and these sounds into our ears. Ance you ha"e them down it will eeasier to de"elop more creati"e and musical lines.

Listen & Play

JJ*JJ H JJ*JJ

11.%.-E,a2 le %

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+ow that we can apply these two eat ideas we can add some asic harmonic su stitutions to thechord pro#ression. The chords that we will e addin# will e one half step, one fret, a o"e thefollowin# chord. (o in this e ample we ha"e added a / 7 that resol"es to the $maj7 in the ne tar & tritone su stitution ). #ain for the purposes of this e ercise the line is written in ei#hth notes,once you ha"e this line down try chan#in# the rhythm to #ain more interest in the line.

11.).-E,a2 le )

In this line we are now addin# an 7 chord that resol"es to the 37 chord &tritone su stitution aswell). 0"en thou#h we are steppin# further LoutL with this and the followin# lines, the fact that ourtwo eat moti"es outline the harmony so well helps to keep the idea from fallin# apart.

11.+.-E,a2 le +

e are now at the limit of addin# chromatic approach chords with the 4 7 resol"in# to the 7 E.Ance we ha"e these su stitutions under your fin#ers and in our ears we can choose which oneswe want to use and when we want to use them. >emem er just ecause we know all of these coolharmonies does not mean that we ha"e to saturate our lines with them. The i##est lesson to learnis that LoutL lines only work when they are played after or in etween LinL lines that #i"e them theircontrast.

11. .-E,a2 le

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(ince the first four two note ideas ha"e een hi#hly chromatic and mostly descendin# in nature wecan now look at three ways to play ascendin# and more LinsideL the scaleHchords. s wasmentioned a o"e, playin# out only works if we define what is in, so these three ideas are #reatways to outline the harmony and help LsetupL our outside ideas.

The first idea is what is commonly referred to as L18-5L, where each chord is outlined usin# the 1st, 8nd , -rd and 5th note of the scale or mode that corresponds to it.

The second idea is the arpe##io, 1-57, on each chord in the pro#ression, and the last idea is thearpe##io with a chromatic approach tone elow the root. Thou#h these ideas ha"e een written outo"er the chords in the pro#ression, they can e used o"er any chord in the key we are playin# in.(o for e ample in this pro#ression, in the key of $, we can outline $maj7, /m7, 0m7, :maj7, 37,

m7 and 4m7 5, all of the chords found in the key of $ major.

11. .-E,a2 le

e will now apply these three ideas to our chord pro#ression. In this e ample we start out with ami ture of the new and old ideas. +otice how each ar starts off soundin# inside on the first twoeats and then is led into a more chromatic sound in the last half of the ar efore resol"in# on thedown eat of the followin# ar. This helps create a tension and release element to the line andmakes the major scale that we are asin# our lines off of sound much more in the jazz idiom.

Listen & Play

JJ*JJ H JJ*JJ

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11.6.-E,a2 le 6

In the ne t line we will add the chromatic approach chord leadin# into the $maj7 chord in ar -.This idea is similar to what we ha"e already done ut notice how the arpe##io in the first half of the8nd ar really sets up the su stitution nicely.

11.7.-E,a2 le 7

ere we are addin# a chromatic approach, 7, to the 37 chord in ar 8.

11.18.-E,a2 le 18

In this last e ample we are addin# the 4 7 resol"in# to the 7 E in ar four. s efore, now thatwe ha"e all of the chord su stitutions added we can choose which ones we would like to play atany #i"en time. (ometimes a really simple, well placed LoutsideL lick is much more effecti"e than alon#er more comple line that wea"es in and out a#ainst the harmony.

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11.11.-Tu#e $ 9#

ere is a solo written out o"er the chord chan#es to a famous iles /a"is tune, here it is calledTune /own, see if you can #uess the ori#inal name. Try and read throu#h the solo with a playalon# $/ or 4and in a 4o to #et a sense of how each line sounds a#ainst the underlyin#harmony.

Ance you ha"e these e ercises under our fin#ers try playin# them in different keys, and if youha"en't already, play them on different parts of the neck. 2earnin# to play a line from memory isonly the e#innin# of the process, once we can manipulate a line, y chan#in# the rhythm, playin#it in different octa"es and different areas of the neck, we ha"e truly in#rained the concept.

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". Ar e((i s 4 Jazz &atter#s

1.-Jazz Guitar 181: Ar e((i s

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This is the first lesson in a series of jazz #uitar e#inner lessons. I'll e co"erin# all the asicuildin# locks needed to play jazz #uitar, a jazz #uitar 1J1. In this tutorial we'll e co"erin# howarpe##ios are used in jazz #uitar music and how to pla' arpe ios on a uitar .

n arpe##io is a roken chord, where the notes of the chord are played in succession.

rpe##ios are a #ood ase for impro"isation o"er chord pro#ressions. 4y playin# the chord tonesin your #uitar solo you reflect the harmony of the tune in your solo, somethin# that makes yourimpro"isation interestin to listen to .

It's important that you know e"ery arpe##io in all positions of the #uitar neck. This can e a itdauntin# in the e#innin#, ut with re#ular practice you can play any arpe##io without thinkin#. Inthis tutorial we'll e startin# with some asic positions, no need to learn them all at once.

ll arpe##ios are of the mova%le type, I'll e plain you at the end of this pa#e what that means.

" + 1 & siti # A

e're #oin# to learn the asic arpe##ios y lookin# at some common chord pro ressions . Themost common chord pro#ression in jazz is the 8 5 1. In this e ample we'll e workin# in the key of1 major *

Am7 D7 Gma$7 %

&& ' &

To play o"er this kind of chord pro#ression, we'll need - kinds of arpe##ios* minor, dominant andmajor. ere's the arpe##io for the !m7 chord *

A/,

A C E G

1 b3 5 b7

* represents the root or 1 of the #uitar chord. The letter inside the o is the note name.

* lue s?uares represent a chord tone other than the 1.

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To practice this minor arpe##io, play it like this until it jumps out of your fin#ers without ha"in# tothink a out it*

!ou can also practice it y first playin# the chord and then the arpe##io, a #ood e ercise for yourears*

;e 3o on to the D7 c(or) hythm $han#es. The rid#e is uild out of secondar' dominants&Cdominant of the dominant) . The tonality is 4 major, so the primary dominant is :7, the chord inthe last 8 ars of the rid#e. 2et's start ack cyclin# from there* the dominant of :7 is $7, thedominant of $7 is 37 and that of 37 is /7, the first chord of the rid#e. (o if we sum that up, wecome to this*

:D, : :G, : ::C, : :#, : :

The o "ious scales to play are*

/7* / i olydian

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37* 3 i olydianH 3 altered

$7* $ i olydian

:7* : i olydianH : altered

In the e op era they put the II in front of the and we #et what we call a back cycle *

:A/ :D, :D/, :G, ::G/, :C, :C/, :#, :

ere's an e ample of what you can play o"er this chord pro#ression &sorry #uys and #irls, it seemsthat I am in chromaticBdescendin#B#uideBtoneBlines mood)*

In ar 6 I use an : minor harmonic scale.

Af course we can also use the tritone su%stitution for all the dominants. Then we #et a chromaticrid#e like this*

:D, : :Db, : ::C, : :B, : :

nd we can ha"e more fun y addin# the II*

:A/, :D, :Ab/, :Db, ::G/, :C, :#-/, :B, :

).-@es M #t( 2er'-St'le Ch r! S l s

Thinkin# a out addin# improvised


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the part of the performance that has to do with creati"e flow, e"ol"ed personal style, and thosethin#s that sprin# forth from the spiritual well.

e mi#ht think of es ont#omeryOs impro"isation style as ein# concerned with Punit structureQor Pconstructionism Q. 0ssentially, melodic pieces are linked to#ether in phrases, creatin# a chainwhich uilds in e citement and tells a kind of story.

(ome of these melodic fra ments stand alone and are not de"eloped, ut are rather simplymelodic statements. Ather fra#ments may e repeated, uilt on, and de"eloped. (till other phrasesmake use of the lues "oca ulary and are riffBstyle in nature, possi ly with or without furtherde"elopment.

This is part of the constructionist approach* one esta lishes a personal voca%ular' anddrawsHimpro"ises phrases from that, in a fashion where these phrases, statements, riffs and motifsare all threaded to#ether in a cohesi"e way and fit the underlyin# chord chan#es of the son#.

E(ample 4 demonstrates a fa"ored es de"ice* the parallel mo"ement of a diminished form, inthe e ecution of the lues scale sound. It resol"es to its tonic &:7).

hen it comes to the chord lines techni?ue, I ha"e found it can only e learned throu#h years oftranscri%in chord patterns from those who did it successfully &especially es, $al $ollins,

4arney Dessel ). ractice playin# chord line patterns o"er and o"er in as many keys as possi leand the art of linkin# the stock patterns to#ether o"er standard tunes. It is one of the mostad"anced of jazz #uitar techni?ues, and re?uires a lot of study in order to arri"e at a functional"oca ulary that also em odies the playerOs personal style.

E(ample 2 elow shows how the tonal centers can e used for strin#in# to#ether phrases drawnfrom major and dominant 7 tonalities. 4roadly speakin#, when you practice for this techni?ue, youpractice and memorize phrases that fit "arious harmonic situations*

rases that are tonic I &major) in nature. hrases that are dominant 7 in nature &an area that includes interchan#ea le ii and

chords). hrases that are tonic i &minor) in nature.

hrases that employ the lues tonality.

hrases that fit diminished areas.

An a tune such as #ays of $ine and !oses , you can approach the chan#es as demonstrated ine ample 8*

A"er the first :maj7 chord, you can apply a "ariation of stock phrases that ha"e a tonic I

function. The 0 7 pro"ides an opportunity to apply "ariations of standard dominant 7 patterns.

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The followin# /7 pro"ides two entire measures and can e a se?uence &the 0 7 patternplayed down a half step). Ar, the /7 space pro"ides plenty of room to impro"ise afresh withthe many stock phrases &in "ariation form) that ha"e een preBlearned which fit o"erdominant 7 chords

In order to spontaneously e ecute this techni?ue, a player =(T ha"e a methodolo#y for creatin#a line of chords. Atherwise, the player has only a concept for compin#, ut not creatin# a line. Thetechni?ue is all a out how a line of chords is constructed and then how the chord lines areconnected o"er chan#in# tonal centersK

E(ample shows a typical pattern that has a iiB function. It can also e used as a $ /orian typeof center. This is e emplary of a line that lends the ii and chords.

E(ample , demonstrates a line that can function as a / dominant 7, ut usin# chromaticism&alternatin# etween 0 7 and /7).

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ItOs a dauntin# task to de"elop this "oca ulary of chord lines, that is why so few players are "ersedin the techni?ueK The est place to start is in the keepin# of a musical journal .

A"er many years I ha"e found the followin# to e helpful, with all the work kept in a note ook that Icontinually use for dail' practice *

Transcri in# the chord lines of the masters &this can e entire solos, or select phrases). Turnin# e op lines into chord lines.

racticin# chord lines in their application in the road areas of tonic &especially major7 andminor7), dominant &the road area of iiB functions)R diminished, and lues phrases.

racticin# linkin# these phrases to#ether o"er standard tunes.

ritin# out entire chord solos.

(in#in# e"erythin# that I practice.

racticin# repetiti"ely the phrases I am tryin# to incorporate into my impro"isational

"oca ulary.

The work is worth the effort. layin# lines of impro"ised chords adds a whole new, and e citin#,dimension to your playin#S.and we collecti"ely ad"ance the craft of jazz #uitarK

+elate) ,e on s

+.-G' s' Jazz Guitar: Mel !' 4 I2 r isati #

A Gypsy Jazz Guitar Lesson by Steve Mac5eady

This lesson is an introduction on how to play 'ps' jazz uitar . This style is most associated withthe #ypsy #uitarist /jan#o >einhardt , who found fame in the 1E-J s playin# his own uni?ue style ofswin# music alon#side the "iolinist &tephane 1rappelli .

Ather 'ps' jazz uitarists include 4ireli 2a#rene , /iz /isley and Ian $ruikshank B I stron#lyrecommend $ruikshankOs ook ' The 3uitar (tyle of /jan#o >einhardt and the 3ypsies ' for any oneinterested in this style.

4ecause this is Gazz music, there is not one definitive scale or one distincti"e mode thatcharacterizes the 3ypsy Gazz sound, howe"er a #ood knowled#e of arpe##ios is a useful way tostart and a #reat way to enter into the spirit of this style.

+.1.-Ar e((i s

rpe##ios are the read and utter of #ypsy jazz #uitar. /jan#o would often use triads, here are 8e amples*

E()4= >Chica o? * this first e ample is an :maj7 arpe##io that starts on the 7. +ote that whiledescendin#, the 7 is no lon#er played, only the : triad.

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Listen & Play

< . ;ua es? * ere's an e ample from /jan#o's famous composition +ua#es. It starts with asimple $ triad that is repeated half a tone hi#her.

Listen & Play

< . ;ua es? * from an : triad to a 4 m triad and ack.

Listen & Play

< . semitonal values?6 pla'ed to etherwith a specific rammar of 1ama$as >microtonal slides? .

3a as and scales are ?uite common at the top level) In effect, oth ra#as and scales are merelya specific collection of musical notes played in a specific order, in ascent and descent. owe"erthe #rammar of the 3amakas and its phrasin# rin#s a completely different identityHte ture to ara#a and it cannot e musically compared to its e?ui"alent scale, played as a collection of plainnotes.

The ra#a therefore, is purely dependent on the specific 3amakas phrasin# applied to it &whichdiffers for each ra#a), in the a sence of which it is merely a collection of notes aka a scale.

.).-The I#!ia# EFui ale#t 3 r the 1" Se2it #es

The followin# ta le relates the 18 semitone sa"aila le to us in the estern tunin# system to itsIndian e?ui"alent name references & &waras ).

4efore readin# the ta le, you need to understand that Indian music notes are not a solute "alueslike their western counterparts. They are all relati"e to the tonic note & &hadjam ), which is fi ed to areference "alue namely $ or / or any other semitonal "alue.

ere we assume our tonic to e /, for easy reference while playin#. &in the "ideo more elow wealso use the tonic / as (hadjam).

Table 1

Semitone &n)ian S-ara E.ui*alent !one 'alue

D (tonic) S @S(a)$am/Sa0

D# 5 @ S$ddha +i (ab(am/+i10

E54 @ Chat$sr$thi+i (ab(am/+i20

G @ S$ddha Gan)(aram/Ga10

F5 @ Shatsr$thi +i (ab(am /+i30

G4 @ Sadharana Gan)(aram/Ga20

F# G @ Anthara Gan)(aram/Ga30

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GM @ S$ddhaa)("amam/ a10

G# M4 @ Prati a)("amam / a20

A (do/inant.!er2ect*th) P @anc(amam / a0

A# D @ S$ddha D(ai*at(am /Da10

BD4 @ Chat$sr$thi D(ai*at(am/Da20

" @ S$ddha i (a)(am/ i10

CD @ Shatsr$thi D(ai*at(am/Da30

"4 @ aisi>i i (a)(am/ i20

C# " @ a>ali i (a)(am / i30

This ta le classifies, the 18 semitones of the estern tunin# system, to relati"e Indian (wara

names.

The %asic seven notes are (a, >i, 3a, a, a, /a, +i with "ariations*

Sa F 5i F Ga F Ma F 4 Pa F Da F "i F

The manner in which they are named as &>iH3a) and &/aH+i) for same "alues, depends on therelati"e notes occurrin# in the ra#a, and differs from case to case. %To be discussed in detail inlater articles

.+.-Mel !' s. ;ar2 #'

The eauty of the Indian usic system lies in its comple melodic structure, rou#ht out with thewell defined phrasin# techni?ue of 3amakas.

In estern music scales are uilt with a stron# foundation in harmony. $arnatic music focuses onpermutation of all a"aila le semitonal "alues &swaras). This #i"es rise to the foundation of thefamily of ra#as, called the Melakartha System &in $arnatic usic).

The elakartha system is a set of 72 parent ra as . 0ach of these ra#as contain all se"en notes&swaras) of the octa"e in oth ascendin# and descendin# order. These 78 ra#as &parent) alon#with their deri"ed ra#as &child) e haust all possi le melodic com inations a"aila le to us throu#hall music forms across the world.

That rin#s to li#ht the depth in melodic structure in $arnatic usic. ence it is important tounderstand that melody and phrasin# of $arnatic music is "ery comple compared to the esternmusic system, which in turn shows its comple ity in harmony of musical notes.

. .-; 9 t &la' &e#tat #ic Scales - I#!ia# St'le Car#aticD

In this section we e plore the possi ility of playin# the well known pentatonic scales, as e?ui"alent$arnatic ra#as. The >a#as we will take for reference are Suddha Dhanyas and Mohanam .

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The swaras for Suddha Dhanyas are &see Ta le 1 a o"eR the estern e?ui"alent note isetween parenthesis). !ou'll notice the notes of the (uddha /hanyasi are the same as those of theminor pentatonic scale &of / in this case)*

Sa (D) Ga4 (#) Ma (G) Pa (A) "i4 (C)

The video lesson shows how to play the runs in the ascent and descent, and some asic phrasin#and impro"isation for Suddha #hanyasi F 'ohanam . Try the phrase impro"isation demonstratedon the lesson, after playin# the notated ascentBdescent run.

4elow you can find the notation for these ra#as. The ta s demonstrate the ascent and descentplayin# for Suddha #hanyasi F 'ohanam in order.

The notes in !LL C!P& are the sylla le of the swara played The %old8italic notes are the notes to e plucked &on ri#ht hand)

The arrows depict the slide flow of notes from one to another &without pluckin# the strin#)

point after a swara means one octa"e hi#her* (a.

Let me give you the first line %ascent in the notation below as an e(ample)

Play an open # on the *th string Then stri+e the open # again, and slide all the way up to - and come bac+ to . on the

same string, all in one flow, without pluc+ing any more notes

Stri+e - and A on the same string

Now, Stri+e A on the open/- 0rd string, and slide all the way up to # and come bac+ to "on the same string

Stri+e # on 0rd string again

(imilarly try the descent approach, applyin# the similar techni?ue..

&uddha Dhan'asi 3a a

!scent

Carnatic ;otation=S! A Sa UW a UW 3 X M! A P! A Pa UW (a. UW +I A S! A


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ohanam 3a a

!scent

S! A Sa UW 3a UW >I A G! A P! A Pa UW (a. UW / A S! A

D Ad UW f; UW 0 A $% A ! A a UW d UW 4A D A

Descent

S! ASa UW / AP! AG! AGa UW >I A Ga UW >i UW 3a8 UW ( A

D Ad UW 4 A ! A$% A#% UW 0 A # B UW e UW f UW / A

).-Jazz /lues

1.-Jazz /lues Guitar

Ane of the ori#ins of jazz music is the lues and you can clearly hear that influence in jazz today.In this lesson we'll ha"e a look at the %lues' side of jazz .

1.1.-/lues Scales 4 the /lue N te

The scales that are used the most in lues music are the i(ol'dian scale and the pentatonicscale , oth enhanced with %lue notes . 4lue +otes are a drop of pitch of the -, 5 and 7 of a majorscale. ost of the time when someone refers to the lues scale they mean the pentatonic minorscale with a b1 %blue note .

ost of the lues' harmony consists of dominant chords . hy is it that playin# a minor scale o"era dominant chord sounds so #ood% 4ecause the - of the pentatonic scale is a lue note to thedominant chord and the tension of the - of the scale a#ainst the natural - of the chord creates thetypical lues sound. !ou can use this tension in your solos y playin# with the contrast etweenthe lue note and the natural -.

(ome techni?ues to do this*

ammer on or slide from the - to the natural - i the i olydian scale with the lues scale

ere's an e ample of mi(in scales *

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The first part uses the $ i olydian scale &with a natural -), the second half of the second ar usesthe $ minor pentatonic scale &with a flat -).

ere's another lues lick. It uses a %lues scale in 1 .

:or more e amples of the %lues scale , listen to recordin#s of lues #uitarists like (te"ie >ayau#han or 44 Din#. :or e amples of the lues scale in jazz, check out jazz #uitarists like 3eor#e4enson or Denny 4urrell .

There are some other ways you can use the lues scale. a"e a look at the followin# #uitar ta s*

These are the first ei ht %ars of a %lues chord pro ression in + . The traditional way to use thelues scale would e usin# the : lues scale on the :7 chord, ut instead I play the / lues scaleon the :7 chord.+unctions of the D %lues scale over +7 * 1-, 1, E, -, - and 5.!ou see there is oth the lue note and the natural third in it.

An the 4 7 I use the : lues scale*

+unctions of the + %lues scale over #%7 * 5, 7, 1, E, E and 11.2ook out for the E, don't stop on the flat E, resol"e it into the E or the 1.

(omethin# similar happens in this lick*

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It starts with an : arpe##io, followed y a /m7 arpe##io in ar 8. +ote that the 7 of :7 is delayeduntil the last ar. /oin# so creates "ariation and is a #ood techni?ue to announce the chordchan#e to 4 7.

More alternative $ses o2 the !entatonic scale

1.".-/lues Ch r!s 4 Ch r! &r (ressi #sThe majority of lues chords are dominant 7 chords .

ore a out $hords

The foundation of chord pro ressions used in lues is the 18 ar lues with its many "arieties.

ore a out 4lues $hord ro#ressions


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In this lesson, youOll rin# these sounds into your practice routine and out into the jam room as youe plore the arpe##ios, ajor 4lues, i olydian and 4e op (cales that fit within this chord shape,as well as classic soundin lic$s that are uilt from these melodic de"ices.

(o #ra your a e, turn up your amp, pour 'our favorite %evera e and di# in to these concepts asyou e pand your Gazz 4lues soloin# "oca ulary.

".1.-$ 2i#a#t th Ch r! Sha e

To e#in, weOll look at the chord shape that will underline the scales, arpe##ios and licks that wewill work throu#h durin# this lesson.

The first two %ars in the e ample elow show the open position chords that the mo"ea le shapeis deri"ed from. In the first ar you can see an openBposition $ major chord, and in ar 8 you cansee the openBposition $7 chord that comes from that $ major shape.

e will focus on +7 in this lesson to keep thin#s simple, ut you can play this chord on any fret andin any key across the neck of the #uitar, the lowest note of the shape tells you the name of thechord that you playin# such as $7, :7, 4 7 etc.

In the third %ar I ha"e written out the plain : major chord followed y the :7 chord in %ar , toshow you the same uildin# locks as you saw in the first two ars with the $ and $7 chords.

".".-$ 2i#a#t th Ar e((i Sha e

The first melodic device weOll check out is the 9Bnote arpe##io that is uilt around our chordshape, which in this key is :7 &: $ 0 ).

Try playin# the chord, then runnin# up and down the arpe##io, then playin# the chord a#ain to see

how the two fit to#ether, doin# so in all 42 $e's across the neck to #et a #ood fret oard workoutas well as learn the arpe##io at the same time.

The #oal is to not only see the relationship %etween the arpe io and the chord , ut to also ea le to impro"ise and create music with the arpe##io in different keys across the neck.

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".).-Mi, l'!ia# M !e Sha e

+ow weOll check out the i(ol'dian mode , the fifth mode of the major scale, uilt around this :7shape.

This is a seven8note scale that contains the followin# notes*

# G A Bb C D Eb

Ance you can play this scale from memor' , put on a ackin# track and use this new scale toimpro"ise o"er "amps and common chord chan#es, mi in# in the arpe##io and ajor 4lues (calewhen you feel ready.

".+.-$ 2i#a#t /e0 Scale Sha e

e can also e pand the i olydian ode y addin in one e(tra note , the major 7th inter"al or 0natural in this key, to produce the /ominant 4e op (cale. This scale also fits nicely under the :7chord shape we are workin# with in this lesson.

Ane word of caution * a"oid restin# or sittin# on the 0 natural note in your lines. That note is #reatfor passin# from the 0 to : and "iceB"ersa, ut it will sound fairly harsh if you stop on that notedurin# your solos.

(o, use the note as much as your ears are comforta le with, ut for now I would say avoidstoppin and sittin on that note as you donOt want to create too much tension that it takes awayfrom the o"erall effecti"eness of your lines.

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". .-% * Lic>s * r *urther Stu!'

To finish this lesson, IO"e written out three e(amples of lines that you can use uilt from the :7chord shape used throu#hout the article.

This first lic$ comes from the ajor 4lues (cale and is a classic jazz lick that IOm sure youOllreco#nize from the solos of some of your fa"orite jazz #uitarists.

#ain, learn all of these licks o"er the :7 chord. Then take them around the neck. Ance you ha"ethem memorized, impro"ise with them o"er "amps and common chan#es, mi in# the licks with thescales and arpe##ios we studied in this lesson.

Listen & Play

< . oseQ melody in the first ar, followed y the :/ominant 4e op (cale and a 4e op pattern to finish the line. The first si notes of the first ar area#ain a common 4e op and ostB4op pattern that would e worth e plorin# further on their own,out of the conte t of this lar#er line as a whole.

Listen & Play

< . e, i, :a, (ol, 2a, Ti &or(i)

nother notation that is used is the followin#* $ / 0 : 3 4

It's important that you're a le to switch etween these two notation methods without thinkin#. !ouneed to know that $C/o, /C>e,...

C D E # G A BDo 5e Mi #a Sol a i

ere's how the $ major scale is played on the #uitar*

".1.-; 9 T C #struct Ma< r Scales

ll major scales ha"e a t'pical structure . 2et's ha"e a look at the $ major scale to find out morea out that structure*

C D E # G A B C

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I added a $ at the end of the scale. This $ is one octa"e hi#her &18 half tones) compared to thefirst $. +ow we are #oin# to ha"e a look at the inter"als etween the notes of the $ major scale.

n inter"al is the distance etween 8 notes.

$B/* / is 8 half steps hi#her than $ /B0* 8 half steps

0B:* 1 half step

:B3* 8 half steps

3B * 8 half steps

B4* 8 half steps

4B$* 1 half step

(o, e"ery note in the $ major scale is 8 notes hi#her than the pre"ious note, e cept the : and the$ &this is important, remem er these two notes)*

C D E # G A B C @ @ 4 4 4 4 4

e can use this as a scale formula*

a$or Scale Formula 2 2 1 2 2 2 1

nd we can use this formula to construct other major scales. 2et's find the major scale of D *

The first note is of course* / The formula tells us that the second note is 8 half steps further* 0

The ne t note also needs to e 8 half steps further.

o e remem er from efore that : is only 1 half step further than 0.

o To make the : 8 half steps further, we ha"e to add a sharp &;).

o sharp adds 1 half tone to a note, so when we write :;, it means one half stepfurther than :.

o To summarize* the -rd note of the / major scale* :; The formula tells us that note 9 can only e 1 half step further then the -rd. 3 is 8 half steps

further than :, ut only 1 half step further than :;, so 3 is the 9th note of the / major scale.

+ote 5 is 8 half steps further*

+ote 6 is 8 half steps further* 4

+ote 7 needs to e 8 half steps further, ut $ is only 1 half step further than 4, that's whywe need to add a sharp* $;

The ne t note in the scale is the same note as the first, ut one octa"e hi#her and is onehalf step further then $;* /

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(o here's the / major scale*

D E #- G A B C- (D) 4 4 4 4 4

2et's try another scale, the : major scale*

The first note is : The second note needs to e 8 half steps further* 3

The third note also*

The fourth note only needs to e 1 half step further. 4 is 8 half steps further than , so weneed to add a flat & ) to make it only one half step further than . (o the fourth note is* 4

The fifth note needs to e 8 half steps further. $ is only 1 half step further than 4, utecause we flatted the 4 we are ok* $ is 8 half steps further than 4

The ne t note needs to e 8 half steps further* /

The se"enth note is also 8 notes further* 0

e close the circle y addin# the first note, ut one octa"e hi#her. : is one half step furtherthan 0.

The followin# two are important to remem er, we call them accidentals *

B* the sharp si#n* makes a note a half step hi#her %* the flat si#n* makes a note a half step lower

ere's a list of all the major scales*

CMajorScale

C D E # G A B

DMajorScale

D E #- G A B C-

EMajorScale

E #- G- A B C- D-

#MajorScale

# G A Bb C D E

GMajorScale

G A B C D E #-

AMajor A B C- D E #- G-

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Scale

BMajorScale

B C- D- E #- G- A-

C-MajorScale

C- D- E- #- G- A- B-

EbMajorScale

Eb # G Ab Bb C D

#-MajorScale

#- G- A- B C- D- E-

AbMajorScale

Ab Bb C Db Eb # G

BbMajorScale

Bb C D Eb # G A

%.-I#tr !ucti # T Jazz Guitar I2 r isati #

In this series of #uitar articles, we e plore some jazz #uitar improvisation concepts *consonance ,dissonance resolution and note enclosure . These concepts #i"e impro"isation atension and colour that many other #enre's of music o"erlook. !ou will re?uire #ood knowled#e ofthe modes , and the structure of jazz chords to fully enefit from this article. (o if you are unsure ofthese, I'd ad"ise you take a look at those articles firstK

In this first section we'll look at improvisation over a simple pro ression , focusin# on notes thatstay within the key si#nature. The second article &ne t week) demonstrates the use of /issonanceF >esolution o"er the same pro#ression. In the third section we'll look at the +ote 0nclosureconcept.

%.1.-I2 r isi#( O er II ? I: Sta'i#( I#si!eThe ii I is the most common chord pro#ression in jazz, so we'll use it as our ase. Take amoment to familiarize yourself with the followin# pro#ression.

ii ' & &

Am7 D Gma$7 Gma$7

ere's a %ac$in trac$ for this chord pro#ression, it is looped multiple times for you to impro"ise

o"er*

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