• • • • • • • • • • • • • • • • • : Intermediate and Advanced Studies • • • • • • • • • • • • • • • • • • • • • • • • •

Web: http:/ jwww.sheetsofsound.net Email: jaz@sheetsofsound.net

Copyright © 2004 by Jack A. Zucker All rights reserved

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Introduction

for Andrew and Jeremy

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Introduction

What others are saying:

"Sheets of Sound for Guitar is a unique and invaluable resource that every guitar-ist should own. I highly recommend it."

jimmy Bruno (www.jimmybruno.com)

In his book Sheets of Sound for Guitar, jack has effectively captured the essence and spirit of john Coltrane's music and applied it to the guitar. I highly recommend this book.

Paul Horn (http:/ /www.canyonrecords.com/arthorn.htm)

jack Zucker has written a book that is both concise and well organized. It is an end-less source of useful information. I wish I had this book when I was growing up!

john Pisano (http./ /home.earthlink.net/~pisanos)

/love jack's new book. As a professor at Berklee, I have seen many guitar methods. I am always on the look-out for a new and refreshing approach. This book contains so many great ideas for improvisation and is well written so you can incorporate the principals and apply them to your own individual style.

Torno Fujita (http://www.tomofujita.com)

"Sheets of Sound for Guitar is a wonderful, well thought out book that should be a welcome addition to any guitarist's library. jack has treated us to a window on concepts and ideas for improvising and picking that are often secret. Any guitarist that wants to take that next step in their technique and improvisation would be well served by checking out this book. It is well thought out and organized and just plain good. Thanks jack!"

Rodney jones (http://www.soulmanifesto.com)

"jack is a fine guitarist who in his search for more musical knowledge, has come across some information that will be useful to all guitarists. We're fortunate to have jack publish his findings in this book."

Henry johnson (http://www.henryjohnsonjazz.net)

jack Zucker has put together a pretty unique little book. I strongly recomend it for all serious guitarists looking to expand their jazz vocabulary

Ulf Wakenius (http:/ /www.ulfwakenius.com)

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Introduction

Acknowledgements

To Sy Zucker- It is most difficult to thank you because you have given me so many gifts. You instilled upon me a sense of commitment to the art and craft of music. You are also the single most sincere, genuine and generous person I have ever known. I will spend the rest of my life trying to live up to your legacy .

To my sister Melanie- Thanks for being there when I needed you .

To Sandra Lester - Thanks for your kindness and patience. Your love and support is my inspiration in life and my music .

To Matt Obstgarten and Joe Niespodzianski (Nez), whose expertise in publishing and layout were invaluable in putting this work together .

To Max Leggett for proofreading and providing a reality check!

To Janet Kuhn and Maceo Noisette, whose positive attitude towards life and music have continually renewed my spirit.

To Jo Zucker, Mike Imlay, Fanny and Somy Benherzal, whose spirits radiate from these pages .

To Mike Brecker, John Coltrane, Jimi Hendrix, Keith Jarrett, Pat Martino, Pat Metheny, Charlie Parker and Wes Montgomery, whose music gives me life .

To Claudio Ballestero, Jim Roberts, Tom and Trish Walters, whose friendship and musicality have enriched my life in ways you can't imagine!

To Jon Sterngold (www.lifepathguide.com) for the advice and guidance I needed to stay healthy, mentally and physically .

To Andy Fuchs (www.fuchsaudiotechnology.com) for the usage of an Overdrive Supreme amplifier .

To Dave Sestito at DLS (www.dlseffects.com) for the usage of delay and chorus pedals .

To Tobias Giesen at TGTools (www.tgtools.com) for his Finale® Plug-in Tools. (Finale® is a registered trademark of Code Music Technologies)

To Ed DeGenaro (http://www.geocities.com/-nudeguitars) for his incredible virtuosity and guidance about the music business .

To Rich Raezer (www.raezers-edge.com) who makes the absolute best guitar cabinets in the world .

To Jimmy Bruno (www.jimmybruno.com) for his incredible musicianship, virtuosity, friendship and guidance .

To Goldwein Research (www.goldwein.com), makers of an MIF conversion tool which allowed me to convert this document from QuarkXPress® to Adobe Framemaker®. Without this tool, this book could not have been written! (QuarkXPress® is a reg-istered trademark of Quark, Inc. Framemaker® is a registered trademark of Adobe Systems Inc.)

To Henry Johnson (http://www.henryjohnsonjazz.net) who's smokin' guitar playing and vocals never fail to mesmerize me .

To Rob Olsen at Hofner Musical Instrument. (http://www.musicgroup.com/lnstruments/hoefner) for helping me find a couple of instruments that capture the sound I have been looking for .

To John Sloboda (http://www.sloboart.com) for designing the covers and helping with artwork and layout issues .

To Joey Pollack (http://www.pollackstudio.com) for his time, effort and vision for the photographs .

And finally, thanks to Andrew and Jeremy for being the greatest gift of all.

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Introduction

Jack Zucker uses DLS effects, Fuchs amplifiers, Hafner guitars and Raezers Edge cabinets.

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Introduction

Sheets of Sound n. (Shets) • (uv) • (Sound)

Musical material that consists of multiple, rapid sequences of tones occurring in a small rhythmic value .

Sheets of Sound for Guitar is a very exciting technique for the guitarist. Traditionally, jazz guitarists have been taught to play melodies across the neck of the instrument while staying in a single left hand position and alternating between upstrokes and downstrokes with the plectrum. This traditional approach to the instrument creates a percussive effect which allows the instrument to generate a very strong pulse or swing and is part of its unique flavor. However, the traditional technique is not necessarily conducive to playing the instrument with the explosive bursts of notes that are possible on the wind instruments such as saxophone or trumpet.

I've spent many years trying to emulate horn players such as Charlie Parker, Dizzy Gillespie, John Coltrane and Mike Brecker. However, It seemed that no matter how much I practiced, I could not attain the smooth flowing legato feel that I was after .

As I explored the issue in greater depth, I realized that it had to do with momentum. A horn player creates momentum by blow-ing a single stream of air and fingering multiple notes. This momentum was never more prominant than in the '60s when John Coltrane rose to prominence. Coltrane pioneered a technique of playing a considerable amount of notes in a small amount of time (Fig. 1). This flurry of notes washed over the listener in such a way as to be described as Sheets of Sound.

Fig. 1

This technique is difficult for guitarists to emulate because of the physical limitations of the instrument as well as the way we were taught to play positionally with strict alternate picking .

I realized that I had made the mistake of allowing the guitar to govern the music instead of allowing the music to govern the guitar .

This realization led me to explore a different way of playing and learning the instrument. The key to unlocking this technique lies in the broadening of our horizons. This involves two core elements:

• A more versatile right hand, combining sweep, alternate and finger picking.

• A more vertical approach to playing the instrument.

The exploration of these elements is what this book is about. I hope you have as much fun learning this material as I've had writing it.

Keep on pickin',

Jack A. Zucker

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Introduction

A Few Words About Technique

Some of the exercises in this book may feel uncomfortable at first due to seemingly large stretches and abrupt shifts of left hand position. The key to overcoming this is in relaxing the left hand. Never strain your left hand while attempt-ing to rigidly stretch the fingers to reach notes that are out of range. Instead, glide your left hand thumb along the back of the neck and shift into a new position for notes which are not naturally in the position of the previous material. Re-member that a relaxed left hand is not only integral to improving your technique, but in the long run will help you avoid repetitive motion injuries.

Some exercises have left hand fingering notation but most do not. In some cases it is obvious, while in others, students should experiment and devise their own fingerings, unique to their individual approach to the instrument. The tablature staff indicates the fret number and string, and usually the left hand fingering will naturally fall into place.

Quite a few exercises make use of a 2-fret stretch between the 3rd and 4th finger of the fretting hand. Some exercises require a 2-fret stretch between the 2nd and 3rd finger. This may be the most awkward of all stretches! Just remember to keep your hand relaxed and use patience. You will eventually develop the strength and independence necessary to to play these exercises with minimal effort. And the side benefit is that these techniques will improve other aspects of your playing as well.

Right hand pick technique is a very personal matter. There are many approaches to pick technique and no single, universally correct method. Just look at players with such diverse approaches as Pat Metheny, George Benson, Pat Martino, Frank Gambale and Allan Holdsworth to illustrate this fact! However, I do have some ideas on the subject and I will share them with you:

Years ago, I held the pick perpendicular to the string and to the top of the instrument. This allowed the tip of the pick to strike the surface of the string across a wide surface area of the pick resulting in a very solid and thick tone. The drawback to this approach is that the increased drag caused by a large area of the pick striking the string creates an increase in resistance against the string. I experimented by rotating the pick clockwise approximately 15-20 degrees. This decreases the surface area of the pick hitting the string as well as reducing drag. I keep this angle consistent through up and down strokes. (i.e. - I do not change the pick's angle for the alternate direction stroke.)

Make sure you keep your left hand in good guitar position, using the finger tips of each finger. Try not to flatten the fin-gers of your left hand, even when playing adjacent strings on the same fret.

Fig. 2 shows a good, relaxed view of the picking hand. Notice the slight angle of the pick which minimizes the pick's surface area as it strikes the strings.

Fig. 2

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Introduction

Sweep Picking

Sweep picking, directional picking and economy picking are terms used to describe a picking technique in which multiple notes are picked with a single stroke. This is accomplished by restructuring melodic patterns to minimize the amount of pick strokes required .

This ostinato figure in Fig. 3 represents the basic sweep picking technique. Note that there are an odd number of notes on each string except when the line changes directions .

.. . . I I j_ J L j_ I I

1""1 1""1 1""1 1""1 v v v v w w .

. - .

Fig. 3

When sweeping, it is important for the picking stroke to consist of a single sweep of the wrist for each direction. In Fig. 3, there would be exactly two strokes of the wrist: One for the downstrokes, and another for the upstrokes. Resist the temptation to individually articulate each note. Instead, sweep the strings in a single stroke, allowing the fretting hand to do the work of separating the notes .

Efficiency of motion should be considered and the goal should be minimizing the range of motion used when picking an individual string. This will make your stroke more efficient which will help with all types of picking .

Pick & Fingers

Some of the exercises in the book are played with pick and fingers in a modified classical approach. Because the index finger is holding the pick, the i finger is unavailable for use in this approach .

When playing with pick and fingers it may be necessary to slightly alter your approach to picking if you find it in conten-tion with using your right hand fingers. Of particular note is a picking style in which the little finger of the picking hand is rigidly anchored to the guitar. This should be avoided if at all possible .

Whether to use fingernails or not is another personal choice. I prefer to use the bare fingers themselves. This is a tech-nique utilized by finger-stylists such as Kevin Eubanks. Other players prefer the feel and sound of fingernails or even fake-nails .

Fingerstyle

The material in this book is not limited to players using a plectrum. In fact, the material is very accessable to fingerstyle players by alternating the thumb and middle or index finger. Fingerstyle players may use the thumb for downstrokes and the i or m finger for upstrokes when performing sweep picking exercises .

Muting

The technique of muting the unplayed strings is an extremely important part of guitar playing in general, but it becomes even more important in playing fast, repetitive streams of notes as in Sheets of Sound. This is something that is sec-ond nature to rock guitarists but is something that many jazz guitarists do not spend much time thinking about. Muting

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Introduction

can even become part of the player's sound. After carefully studying Pat Metheny's playing, for example, I came to the conclusion that he muted the strings constantly and thus, the technique became part of his trademark-sound. I use the bottom side of my picking hand to mute the strings as I play. I can gently mute ringing strings or by applying more pressure, get a muted staccato tone, a Ia Pat Metheny.

Position Shifting

As mentioned earlier, an important part of Sheets of Sound playing is the ability to shift positions rapidly without straining the left hand by rigidly anchoring the thumb to the back of the guitar neck. Fig. 4 depicts a fragment of an exercise which demonstrates this approach:

v III v

Fig. 4

Note in Fig. 4, the line starts out in 5th position but quickly shifts to 3rd position via the pivot note, D, played with the 2nd finger on the A-string. There are many similar shifts in the exercises in this book. Not all of them are spelled out in this kind of detail because I believe each individual guitarist can make the decision of how to finger a particular passage.

Rhythmic Variation

All of the material in the book is presented as continuous streams of notes, either triplets, 8ths or 16th notes. I strongly encourage the student to vary the rhythms by offsetting them an 8th note or 16th note in either direction. For example:

becoming

Fig. 5 Fig. 6 Fig. 7

The simple arpeggio in Fig. 5 is augmented by offsetting the pattern by a 16th in Fig. 6 and displacing it by a 16th note rest in Fig. 7. Note in Fig. 7 that the pattern actually takes on a quintuplet feel by adding a 16th note rest every 5th note of the pattern!

Organization and Other Miscellaneous Thoughts

The majority of exercises in this book are in the key of G. To get the most possible benefit from the material, all exercises should be transposed to every key. For more information on applying the material, read Chapter 8-lntroduction to Dodecaphonics.

Each chapter's material is presented according to technique. This differs from a traditional theory guide in that there is no attempt to gradually introduce the student to progressively more complex structures. It is assumed that the student is sufficiently familiar with the rudiments of theory and harmony.

Many of the lines in this book utilize similar techniques and many of the lines are meant to be played in an ostinato manner, denoted by the repeats at the beginning and ending of the phrases. When you see a repeat sign at the

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Introduction

beginning and ending of a phrase, do not simply repeat it once and go on to the next line of the exercise. Each phrase is meant to be its own unique musical entity and as such, may be played alone, along with other exercises or integrat-ed into your own musical vocabulary .

Generally, the material is presented as a melodic fragment and then expanded upon by presenting the melody as it moves diatonically through the modes of its sequence. When you practice this material, do not limit yourself to play-ing the music strictly diatonically. A simple variation would be to take the material and play it once per string group per position, perhaps moving it in fourths as you change string groups. Some material is in fact presented in that manner .

Experimenting with alternate fingerings is also important. Dennis Sandole used to stress the ability to play any line with any finger of any string. Keep that in mind as you go through each exercise .

Conventions

Exercises are numbered with [Chapter].[Exercise].[page]:

Chapter is the current chapter number, Exercise is the current exercise number and Page is the page number of the current exercise (not to be confused with actual page numbers). The exercise number is relative to the current chapter . In other words, the first exercise in each chapter will always be "1" .

For example:

1.5.4 (Chapter 1, Ex. 5, page 4) 2.1.1 (Chapter 2, Ex. 1, page 1) 3.2.5 (Chapter 3, Ex. 2, page 5)

There are two staves used throughout the book. The top stave shows standard notation (and left hand fingerings for select exercises). The bottom stave displays notation in tablature with additional notations for picking. Hammer-ons or pu/1-offs are indicated in the tablature staff as well .

Note that all figure numbers are relative to the current exercise .

Legend

The following symbols and terminology are used throughout the book .

Symbol Description

Referring to playing across the

Horizontal instrument, typically moving across the strings in diatonic 4ths or 5ths .

Referring to playing up the Vertical neck of the instrument in linear

fashion .

Var. 1 Variation 1

2-Str

I 2-String pattern 3-Str

I 3-String pattern 4-Str

I 4-String pattern

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5-Str

I 6-Str

I v f) v

1""1

v

1-4

p

i

m

a

c

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Introduction

Description

5-String pattern

6-String pattern

Sweep Picking pattern

Pick and Fingers Picking pattern

Alternate picking pattern

downstroke

upstroke

Left hand fingers

Pick

Index finger (not used with pick)

Middle finger

Ring finger

Little finger

Hammer-on or pull-off

column@row, representing table cell locations

Fig. 8

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Table of Contents

Chapter 1 - Linear Scales Exercise 1.1.1 .................................................... 2

Major Scale and Modes ..................................................... 2 Exercise 1.2.1 .................................................... 4

Melodic Minor and Modes .................................................... 4

Exercise 1.3.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Harmonic Minor and Modes .................................................. 6

Exercise 1.4.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Harmonic Major and Modes .................................................. 8

Exercise 1.5.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Diminished scales .......................................................... 10

Exercise 1.6.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Whole tone scale, swept ..................................................... 11

Exercise 1.7.1 .................................................... 12 Diatonic Sweep ............................................................ 12

Exercise 1.8.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Diatonic Banjo Roll ......................................................... 16

Exercise 1.9.1 .................................................... 20 Diatonic Septuplets ......................................................... 20

Exercise 1.1 0.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Diatonic Scale Fragments .................................................... 22

Exercise 1.11.1 ................................................... 24 Diatonic Scale Fragments, Var. 1 .............................................. 24

Exercise 1.12.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Diatonic Scale Fragments, Var. 2 .............................................. 25

Exercise 1.13.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Diatonic Scale Sweeps, Var. 3 ................................................ 26

Exercise 1.14.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 One, Two, Three, Five, Horizontal ............................................. 30

Exercise 1.15.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 One, Three, Five, Diatonic ................................................... 32

Exercise 1.16.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Five, Three, One, Quintuplets ................................................. 35

Exercise 1.17.1 ................................................... 38 Diatonic Quintuplet ......................................................... 38

Exercise 1.18.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 Coltrane triad with chromatic approach note ..................................... 40

Chapter 2 - Pentatonic Scales Exercise 2.1.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Basic Pentatonic ........................................................... 44 Exercise 2.2.1 .................................................... 46

Pentatonic scale fragments ................................................... 46

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Exercise 2.3.1 .................................................... 48 Pentatonic Sequencing ..................................................... 48

Exercise 2.4.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Pentatonic Sequencing, Var. 1 ................................................ 51

Exercise 2.5.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Pentatonic, Long Form ...................................................... 55 Alternate fingerings for practice ............................................... 60

Exercise 2.6.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 Pentatonic Chords .......................................................... 62 Pentatonic Arpeggios ....................................................... 64

Exercise 2.7.1 .................................................... 67 Pentatonic 7b9 (5th mode of Harmonic Major) .................................... 67

Exercise 2.8.1 .................................................... 69 Pentatonic Minor 6 ......................................................... 69

Exercise 2.9.1 .................................................... 71 Pentatonic 9sus, Synthetic ................................................... 71

Exercise 2.1 0.1 ................................................... 73 Pentatonic Maj7#5 (3rd Mode of Melodic Minor) .................................. 73

Exercise 2.11.1 ................................................... 75 Pentatonic Quintuplet ....................................................... 75

Exercise 2.12.1 ................................................... 78 Blues Scale, Long Form ..................................................... 78

Exercise 2.13.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 Pentatonic Septuplets ....................................................... 81

Chapter 3 - Arpeggios Exercise 3.1.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Diatonic Triads ............................................................ 84 Exercise 3.2.1 .................................................... 85

Diatonic Triads, Horizontal ................................................... 85 Exercise 3.3.1 .................................................... 87

Triads, 2nd Inversion ........................................................ 87 Exercise 3.4.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Triads, 2nd Inversion, Horizontal .............................................. 89 Exercise 3.5.1 .................................................... 91

13th Chord Arpeggios ....................................................... 91 Exercise 3.6.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

7th Chord Arpeggios ........................................................ 93 Exercise 3. 7.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

7th Chord Arpeggios, Var. 1 .................................................. 96 Exercise 3.8.1 .................................................... 98

Diatonic 7th Chord Arpeggios, Horizontal ........................................ 98 Exercise 3.9.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

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Table of Contents

7th Chord Arpeggio Quintuplets ............................................... 100

Exercise 3.1 0.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 9th Chord Arpeggio ......................................................... 1 04

Exercise 3.11.1 ................................................... 108 11th Chord Arpeggios ....................................................... 108

Exercise 3.12.1 ................................................... 111 2 Octave 7th Chord Arpeggios ................................................ 111

Exercise 3.13.1 ................................................... 112 2 Octave 9th Chord Arpeggios ................................................ 112

Exercise 3.14.1 ................................................... 114 9th Chord, Arpeggios, Var. 1 .................................................. 114

Exercise 3.15.1 ................................................... 115 2 Octave 13 chord arpeggios ................................................. 115

Exercise 3.16.1 ................................................... 117 2 Octave 9th Chord Arpeggio, Var. 2 ........................................... 117

Exercise 3.17.1 ................................................... 119 Diatonic Sus Triads ......................................................... 119

Exercise 3.18.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 13th Chord Arpeggios, Var. 1 ................................................. 120

Exercise 3.19.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124 Quadratonic Scale and Modes ................................................ 124

Exercise 3.20.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126 Dual 7th Arpeggios (built on root and 6th) ....................................... 126

Exercise 3.21.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128 Diatonic Sus Triads Var. 1 .................................................... 128

Exercise 3.22.1 ................................................... 129 Diatonic, dual arpeggios ..................................................... 129

Chapter 4- Fourth-based Intervallic Models Exercise 4.1.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

4th Chords ................................................................ 132

Exercise 4.2.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135 4th Arpeggios ............................................................. 135

Exercise 4.3.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138 Diatonic 4th Diads .......................................................... 138

Exercise 4.4.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 Two Octave, 4th Arpeggio Inversions ........................................... 142

Exercise 4.5.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143 Perfect 4th Arpeggio Sequences .............................................. 143

Exercise 4.6.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144 Diatonic 4th Arpeggio Sequences .............................................. 144

Exercise 4. 7.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146 4th Quadrads ............................................................. 146 4th Quadrad Arpeggios ...................................................... 147

xiii

Introduction

Exercise 4.8.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148 Diatonic 4th Arpeggio, Var. 1 .................................................. 148

Exercise 4.9.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150 Diatonic 4th Arpeggio Quintuplet .............................................. 150

Exercise 4.1 0.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151 Diatonic 4th Arpeggio, Var. 2 .................................................. 151

Exercise 4.11.1 ................................................... 153 Diatonic 4th Arpeggio, Var. 3, Horizontal ........................................ 153

Exercise 4.12.1 ................................................... 155 2 Octave Diatonic 4th Arpeggio ............................................... 155

Exercise 4.13.1 ................................................... 156 Diatonic G Major, 4th Arpeggios ............................................... 156

Exercise 4.14.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158 1st Inversion 4th Arpeggios, Horizontal ......................................... 158

Exercise 4.15.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159 Diatonic 4th and 7th Chord Arpeggios .......................................... 159

Exercise 4.16.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162 2 Octave Diatonic 4th and 7th Chord Arpeggios .................................. 162

Exercise 4.17.1 ................................................... 164 2 Octave Diatonic 4th and 7th Chord Arpeggios, Var. 1 ............................. 164

Exercise 4.18.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166 2 Octave Diatonic 4th and 7th Chord Arpeggios, Var. 2 ............................. 166

Exercise 4.19.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168 9th Chord Arpeggios (Combined with 2nd Inversion 4th Triad) ....................... 168

Exercise 4.20.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170 2 Octave Diatonic 4th Arpeggio, 2nd Inversion, Var. 2 .............................. 170

Exercise 4.21.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171 Diatonic 4th Arpeggio I Double Stop ............................................ 171

Exercise 4.22.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172 Diatonic 4th Septuplet. ...................................................... 172

Chapter 5 -Fifth-based Intervallic Models Exercise 5.1.1 .................................................... 174

5th Arpeggios ............................................................. 17 4

Exercise 5.2.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175 Diatonic 5th Arpeggios ...................................................... 175

Exercise 5.3.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176 Diatonic 5th pairs, Cross-String ............................................... 176

Exercise 5.4.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180 Diatonic 5ths Diads, Cross-String in 4ths ........................................ 180

Exercise 5.5.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182 Diatonic 5ths, Horizontal ..................................................... 182

Exercise 5.6.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184 Perfect 5th Arpeggio Sequences .............................................. 184

XlV

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Introduction

Exercise 5. 7.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186 Diatonic 5th Arpeggio Sequences .............................................. 186

Exercise 5.8.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188 Diatonic 5ths Quartlets ...................................................... 188

Exercise 5.9.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189 Diatonic 5th Quartlets, Cross-String in 4ths ...................................... 189

Exercise 5.1 0.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191 Diatonic 5th Arpeggio and Diatonic tertiary Triad .................................. 191

Exercise 5.11.1 ................................................... 195 Diatonic 5th and 4th Arpeggios ................................................ 195

Exercise 5.12.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199 Dual 5th I 4th Arpeggios ..................................................... 199

Exercise 5.13.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201 Diatonic 5th Septuplets ...................................................... 201

Chapter 6 - Miscellaneous Lines and Etudes Exercise 6.1.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204

Picking Etude ............................................................. 204

Exercise 6.2.1 .................................................... 205 Pat Martino Etude .......................................................... 205

Exercise 6.3.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207 Pat Metheny Muted Arpeggios ................................................ 207

Exercise 6.4.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208 Wes Montgomery Horizontal Arpeggios ......................................... 208

Exercise 6.5.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 0 George Benson Diatonic Triplets .............................................. 210

Exercise 6.6.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212 George Benson Blues Scale Fingerings ......................................... 212

Exercise 6.7.1 .................................................... 213 Miscellaneous Dominant 7th Chord Patterns ..................................... 213

Exercise 6.8.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220 7th Mode, Harmonic Minor Hexatonic Scale ..................................... 220

Exercise 6.9.1 .................................................... 222 4th Mode Major Hexatonic Scale, no 7th ........................................ 222

Exercise 6.1 0.1 ................................................... 224 3rd Mode, Melodic Minor Hexatonic Scale ....................................... 224

Exercise 6.11.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226 Mode 4 Harmonic Major (Melodic Minor #4), Hexatonic Scale ....................... 226

Exercise 6.12.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228 Seven Steps to Pat Metheny ................................................. 228

Exercise 6.13.1 ................................................... 231 Seven Steps to Pat Martino .................................................. 231

Exercise 6.14.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234 Trane Thang Etude ......................................................... 234

XV

Introduction

Exercise 6.15.1 ................................................... 237 Rhythm Method Etude ...................................................... 237

Exercise 6.16.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239 Chromatic scale ........................................................... 239

Exercise 6.17.1 ................................................... 241 Chromatic scale, Var. 1 ...................................................... 241 Chromatic Scale, Var. 2 ..................................................... 242

Chapter 7 - Diminished Models Exercise 7 .1.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244

Linear Diminished Pattern .................................................... 244 Exercise 7 .2.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245

Linear Diminished Pattern, Var. 1 .............................................. 245 Exercise 7.3.1 .................................................... 246

Linear 7th #9 Diminished Pattern .............................................. 246 Exercise 7.4.1 .................................................... 247

7th #9 Diminished Quadruplet, Vertical ......................................... 247

Exercise 7 .5.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248 Linear Diminished 4th, Maj7 .................................................. 248

Exercise 7 .6.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249 4th Maj7 Diminished Quadruplet, Vertical. ....................................... 249

Exercise 7. 7.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250 Linear Diminished Septuplet .................................................. 250

Exercise 7 .8.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253 Diminished Septuplet, Vertical ................................................ 253

Exercise 7 .9.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254 Linear Diminished Quintuplets ................................................ 254

Exercise 7.10.1 ................................................... 258 Diminished #9 and 2nd Inversion Major Triad .................................... 258

Exercise 7.11.1 ................................................... 259 7#9 Triads, Vertical ......................................................... 259

Exercise 7.12.1 ................................................... 260 Linear Diminished Quintuplets, Var. 1 ........................................... 260

Exercise 7.13.1 ................................................... 264 Linear Diminished Septuplet, Var. 2 ............................................ 264

Chapter 8 - Appendix Scale Analysis tables . ............................................. 266 Introduction to Dodecaphonics ..................................... 268 Conclusion ...................................................... 276 About the Author . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277

xvi

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Chapter 1 - Linear Scales

1

Chapter 1 - Linear Scales 6-Str

Exercise 1.1.1 Major Scale and Modes I G Major scale and derived modes. Notice that the fingering for these scales consist of three notes per string except on the top string where an extra note is added in order to facilitate the sweep picking pattern. The same thing happens in reverse at the end of the pattern where a note is left off. Commonly, the 2-fret stretch should occur between the 1st and second fingers but it's worth practicing with the stretch occuring between the 3rd and 4th fingers as well.

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~ 0 ~ ~ c

! u ~ . A ... ~ ~ ~ c ' . .... -

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... 1""1 v 1""1 1""1 v 1""1 1""1 v 1""1 1""1 v 1""1 1""1 v 1""1 '=" y 1""1 y v 1""1 v v 1""1 v v 1""1 v v 1""1 v v

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u

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T u •v •~ ·~ u ~ .

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• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Exercise 1.1.2

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4 -.... . ·~ u

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:/ l'l .. . u

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·~ -.... . . [ 'c OL. <

Chapter 1 - Linear Scales 6-Str

Exercise 1.2.1 Melodic Minor and Modes I G Melodic minor scale and it's derived modes. Notice that the fingering for these scales consists of three notes per string except on the top string where an extra note is added in order to facilitate the sweep picking pattern. The same thing happens in reverse at the end of the pattern where a note is left off. Commonly, the 2-fret stretch should occur between the 1st and second fingers but it's worth practicing with the stretch occuring between the 3rd and 4th fingers as well.

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u

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• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Exercise 1.2.2

Chapter 1 - Linear Scales

Tip- Pat Martino loves the melodic minor sounds. Try mode 1 starting on the 5th degree of a 7th chord. For altered dominant sounds, try the 7th mode of this scale off the root of the chord .

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I

Chapter 1 - Linear Scales

Exercise 1.3.1 Harmonic Minor and Modes

6-Str A I v

G Harmonic minor scale and it's derived modes. Notice that the fingering for these scales consists of three notes per string except on the top string where an extra note is added in order to facilitate the sweep picking pattern. The same thing happens in reverse at the end of the pattern where a note is left off. Commonly, the 2-fret stretch should occur between the 1st and second fingers but it's worth practicing with the stretch occuring between the 3rd and 4th fingers as well.

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~

"T"

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:~

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Exercise 1.3.2

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Chapter 1 - Linear Scales

·~.

Tip- Most folks think of the harmonic minor scale as the Arabian scale. However, Charlie Parker used this scale quite a bit. Try the 5th mode of this scale over a 7th chord to get a bebop tonality of the b9 and b 7 3 .

-

. . ·~ .

I""'VI""'I""'VI""'I""'V I""'I""'VI""'I""'VI""'I""' VI""'VVI""'VVI""' VVI""'VVI""'VV ·~

Chapter 1 - Diatonic Scales 6-Str

Exercise 1.4.1 Harmonic Major and Modes I C Harmonic Major and it's derived modes. Notice that the fingering for these scales consists of three notes per string except on the top string where an extra note is added in order to facilitate the sweep picking pattern. The same thing happens in reverse at the end of the pattern where a note is left off. Commonly, the 2-fret stretch should occur between the 1st and second fingers but it's worth practicing with the stretch occuring between the 3rd and 4th fingers as well.

Spend some time analyzing the modes of this scale because it is very rich in jazz-oriented harmonic content.

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@. ~-·-...

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• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Exercise 1.4.2

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Chapter 1 - Linear Scales

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.. ·~ " .

I

1""1 v 1""1 1""1 v 1""11""1 v

- ·~ •. >J ..

1 If

1""1 v 1""11""1 v 1""1 1""1 v

,.., ....

Tip- This is one of my favorite scales! Mode 6 sounds fabulous over Maj? chords even though it contains a #2! It creates a VII/I onality. Mode 5 is a great scale to use over 1 3b9 chords. It suggests a VI/I tonality .

Another way of looking at this scale is that of a G diminished scale without the 4th .

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1""1 1""1 v 1""11""1 v 1""1 1""1 V~VVI""'VVI""' V VI""'VVI""'V v .. •. >J • . .. ·~ 1 .. 1 .

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·~ .. v •. ·~ . ·~ . u

'"

• ~~~~bF~~ ~ ~~~~b ~ 'F~~~ ~ .... 1 .

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,..,

Exercise 1.5.1 Diminished scales

Chapter 1 - Linear Scales 6-Str

I 2 Modes of the diminished scale are presented using sweep picking. Since the scale is symetrical, there are only 2 modes! Note that these are 8 note scales, not 7 note scales.

,., I 10 -~10 I -

u ;t~~-.---1'· ~- ~-"··~-.

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~ c ~ J J ~ c ' _,

ll --..... . J ~ u

~"7 5 ,.,

I 10 .. ~ .,.,_~10 I . . u ~~-.---1'· ~ I'••

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I

Ll J J v v J J- ~- _c -.... J 0 - v

""'

Tip- Most musicians know that the diminished scale is a great choice over dominant 7th chords, expressing the b9, #9 and #77. However, a not so common usage for the scale is over Maj7 chords! It works even though it's got a b3 in the scale. (For example, use the C0 7 scale over an Cmaj7 chord.

For dominant 7th chords, use the diminished scale a 'f, step up from the root and for Maj7 chords, start it on the root of the chord.

10

.

.

.

. .

.

.

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Chapter 1 - Linear Scales 6-Str A I v Exercise 1.6.1 Whole tone scale, swept

Whole tone scale, fingered three notes per string. Each string shifts up a single fret (or in the case of the 8-string, two frets). There are no modes because the whole-tone scale is completely symetrical. (Based on dividing the octave into 6 equal parts.)

_, I')

. . '-

T

~ -...., . u

I • ,.. ~~~ )F~ '~~,.. •. 1 rrTi 1J~-Jv•

I""'VI""' 1""1 v 1""11""1 v 1""1 1""1 v 1""11""1 v 1""1 1""1 Vl""' YVI""'VV 1""1 I""'VI""'VV 1""1

_, f\

u

"I' I

A -.... D

"'

7 ' 'J 7 ·~ ·~ ·" u

Tip- Try playing the whole tone scale on one string the way joe Pass used to do! This fingering is very simple and easy to get under the fingers. Notice the slurring. He picks only once per four note pattern .

--- ~ ~1a·~ ~~ ~ ~-. . 1""1.--- 1""1 ~ 1""1 1""1 .-.. 1""1 - 1""1 / "'· ~ .-( / ., -"- ..L ~ ., -

.

Fig. 1

11

u v

. .

.

.

. . v ....

v v . .

.,

Exercise 1. 7.1 Diatonic Sweep

Chapter 1 - Linear Scales 3-Str A I v

Short and simple but effective introduction to diatonic sweeping. All the notes of each melodic fragment can be played in a sin-gle position though there are a few stretches here and there. Like many of the exercises, you should vary this line by inverting it (starting it on the high string).

.-' l'l j,l . ~ ~ • ~ f'- • . . . . . . u -....

1"'1 1"'1 1"'1 v 1"'1 v v v 1"'1 v 1"'1 1"'1 1"'1 v 1"'1 v v v 1"'1 v T k J J k - J J J ~

I . J J . . "-

_ri_ . . . .... .....

5 ~ f'- f:. ~ • f'- f:. r:. f'- • .-' 1'\ j,l . . .

f.- -1"'1 1"'1 ~ v 1"'1 v v v 1"'1 v 1"'1 1"'1 1"'1 y 1"'1 y v v 1"'1 v

"T" . 0 . -.0. J ' ' ~ . ~

"'

9 . ~ ~ ~ ~ ~ _,. . ~ ,._ ~ F= ~ ~ ,._ ~ _.;____!J__l,l • . . . . . . . f.-

1"'1 1"'1 1"'1 v 1"'1 v v v 1"'1 v 1"'1 1"'1 1"'1 v 1"'1 v v v 1"'1 v T k

I . .. . . ok Ck . IJ k -ri . . . ....

.....

13 f"-f:.F~~Ff:.f"-.-' j,l ~ . . . . . @.

1"'1 1"'1 1"'1 v ~ '~ v v 1"'1 v "T" Ck .

_A ov .v ok

~ . ~

.....

12

• • • • • • • • • • • • • • • • • • • • • • • • • • .I • • • • • • • • • • • • • • • • •

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Exercise 1. 7.2

T !

I

23 ...- 'l ..

~

~ !

A _n_ ....

.....

27 ...- f'l ..

t..

"T" !

_A_ .... ~

.....

.

.

Chapter 1 - Linear Scales

I I L J L J I I

I""'I""'I""'VI""'VVV I""'V

• -I""'I""'I""'VI""'VVV I""'V

Tip- This pattern follows a picking and fingering formula which is used in many exercises throughout the book .

I""'I""'I""'VI""'VVV I""'V

I""'I""'I""'VI""'VVV I""'V

J • • v

• .,. f'- • .,. f'- r:. .,. . . . . . -...J -

1""1 1""1 1""1 v 1""1 v v v 1""1 v 1""1 1""1 1""1 v 1""1 v v v 1""1 v 0 . ·~ .

. ·~ ·~ •v • r •~ •v .

• f'- r:. f: f'- • . . . .

1""1 1""1 1""1 v 1""1 v v v 1""1 v . .

·~ ·~ . .

13

Chapter 1 - Linear Scales

Exercise 1.7.3

29 I'J _., .. I . . . t.. .. ...

1""1 1""1 1""1 v 1""1 v v v 1""1 v 1""1 1""1 1""1 v 1""1 T

I . '" - " _ri . . ....

"'

33 _., I'J .. . . . . tJ I I L l I I

1""1 1""1 1""1 v 1""1 v v v 1""1 v 1""1 1""1 1""1 v 1""1 "T" . . - ~ .a .. ...,. . . ~ •v ·~

37 l'l .. • - • 111-. . . . . .

t..

1""1 1""1 1""1 v 1""1 v v v 1""1 v 1""1 1""1 1""1 v 1""1 T

I . . . A ·~ -ri . . . . ·~ ....

"'

_., l'l .. • .,. f'- • . . tJ .......

1""1 1""1 1""1 v 1""1 v v v 1""1 v "T" I .

.a ·~ ...,. . '~ ~ ~ .

"'

14

I I l

v v v

-

v v v ~

·~

v v v .

·~ -

.. 1""1 v

1""1 v

., ~

~"""-'-~

1""1 v

~

.

.

.

.

.

.

. .

.

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Exercise 1. 7.4

A

./7 ..; f'l j,j

~

.... ~

.Q .... ~-.....

51 ""'f'l j,j

tt)

.... !

.Q .... ~ .....

55 .,;__/j_ j,j

u

.... _!_ /;). -.... u

. . .. ~ ~ ~

. -~

. .

~ ~ ~

.

.

. .

~ ~ ~ v . .

Exercise 1.8.1 Diatonic Banjo Roll

Chapter 1 - Linear Scales 3-Str

I This exercise is in the style of a bluegrass banjo roll. In order to play this line, it's necessary to utilize the fingers of the right hand in a quasi-classical style. I use pick and fingers to play this. The thing about this exercise which is a finger-buster, is that you are hammering the 8th note (on the and of 1) while plucking the next diatonic note higher with the m finger. This one takes a while to coordinate but sounds really great once you get it down. Sort of a Beverly Hillbillies meets Tribal Tech if used over altered dominant chords!

l'l j,l -n..J I I..J rn J I I J -n J I J _J . . . - . u ~,...- -a i'l a a a a

1""1 Ill 1""1 :"J. 1""1 1""1 m

1""1 ::n 1""1 n

1""1 Ill 1""1 m 1""1 rl

T - - - " . " ~ J . .

D. -.... . . . u

""'

4 .. m - J J ~ .. m _ J J d H. ~m ~ J J ~ _, I'J 01 ---- . . . . ~

a a a a a a 1""1

~1 1""1 :Tl 1""1

IT. 1""1 m 1""1 r:1 1""1

m 1""1

::n 1""1 n 1""1

n 0

T 'L -~

u " . .0.

,, "

, 'L 'L 'L 'C:. -= .... . . u

"'

~I'J 01 ~ ~ It~ ~ = -- - . . ~

a a 1""1

n 1""1 m 1""1

n

"T"" I - .

.0. .... . ~

"'

16

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Exercise 1.8.2

8 ~~.lolo

~

T !

.0. -.... ~

11 _. fl lolo

@..

T !

_A ... ~

"'

l.f ~ lolo

@..

T !

_A ... ~

'"'

Chapter 1 - Linear Scales

- I I I I . . l::

1""1 1""1 d

1""1 a m m m

J ~ J

- .

-,-,~II~

.,.._

1""1 m 1""1 rn a 1""1 m a

~ .

.:TJ - J J i ---- . .

1""1 m 1""1 rr. a 1""1 a

m

. . ., '~ ·~ .

Tip- This pattern was inspired by Danny Gatton. Check him out for a wonderfully delicious blend of jazz, country and roots-rock .

r--T""""'l I I I I ill J I I J . . . . ~

I,...:- L....-

1""1 1""1 a

1""1 a 1""1 1""1 a 1""1 a m m m m m :n

J . c c . . .

-n J I I J rn--\ I J _J - . . -

1""1 rn 1""1 rn a 1""1 a 1""1 IT. 1""1 ,.,- a 1""1 rr

a :1\

. '~ / \ ' . ,~ ·~ . '"- ..

17

Exercise 1.8.3

)

..; fJ ..

~ ~e:: ., .,

1"'1 1"'1 ~

1"'1 "I" ll r

~

..,. . ~

""

18 fJ .. ............. I I I

~ L,:::.

1"'1 1"'1 " 1"'1

"I" m .. , 'll !

_A ~ ~ ~ ..,. .... ""

~] I'J .. li ~ I

tJ ~

1"'1 1"'1 a 1"'1 "I" :n "' D. ·~ ..,. -~

~.

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Exercise 1.8.4

....

)

..; f\ jl,

~

T' !

_A .... LJ

""

28 .-' f\ jl,

~

T' ! .a .... LJ

""

1""1

~r:::: .. ..

1""1 1""1 1""1

ll m ."7

I I

L::::::.

1""1 1""1 1""1 -

Ill m

- -. ,. >J ..

Chapter 1 - Linear Scales

r::: ..... 1""1 1""1 1""1 1""1 1""1 1""1

m m m m n m

. . . . 'T::::. 'T:::::.

1""1 1""1 1""1 1""1 1""1 1""1 ~ a

][ . m '11 r:l rn m m . .., . . " . L.< ... L

Chapter 1 - Linear Scales

Exercise 1.9.1 Diatonic Septuplets

3-Str A I v

This is a very exciting 7-note pattern inspired by some of Scott Henderson's work. It utilizes pu/1-offs and stretch-fingerings . Each diatonic mode of the pattern utilizes a technique of playing the same note on two adjacent strings. It's important to pay particular attention to the fingerings and articulations in order to attain the speed as well as the correct feel. See also 2.13.1

l'l 1.1

u

T

D. -r-i u

5 fl 1.1

~

"T" I

Ll -.... u

""

8 ~ fl ~

t)

T !

1:. n u ..,

12 fl 1.1

~

"T"

D. -.... u ....,

• --- . . . .

~ v ~ v ~ .

. .

r:. t ~ r:. t -- • . .

~ v ~ v ~ ·~

'"

. . . . I I I I I I I

~ v ~ v ~ ~ -

Tip - The picking is indicated with alternate strokes and because the pattern is a 7 note pattern, picking will be reversed (starting on an upstroke) every other time through the pattern.

___ ,.. ___ ,.._."(!:.,.._. tfl-r:.tfl-. . . . . . . . . . .

~ v ~ v ~ ~ v ~ v ~ ~ v ~ v ~ 0

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Exercise 1.9.2

15 _, fl 10

'-

,.. 0.

--,;, ~

19 _, 1"1 ..

t_)

T

d

"""' ~ ...._

:._-I 1.1

u

-r

d

"""' u ...._

~6 fl 10

u

T

0.

-""' ~ ...._

Chapter 1 - Linear Scales

• ~-. .

Tip- One additional way to play this exercise is utilizing pick and ml""'m,-.._ v fingers as indicated in Fig. 1 J

.

Fig. 1

I I I I l l _l . . . . . . •

1""1 v 1""1 v 1""1 1""1 v 1""1 v 1""1 1""1 v 1""1 v 1""1 . ' '., . ! . . "'"' ~ ~ J - " . .

~ .

J /

• _._ . . . . . .

1""1 v 1""1 v 1""1 1""1 v 1""1 v 1""1 1""1 . . . .

11

·~

Chapter 1 - Linear Scales 3-Str

Exercise 1.1 0.1 Diatonic Scale Fragments I This exercise is a diatonic scale fragment with two notes on the low string and two notes on the high string in order to facilitate sweep picking. In general, it's a very easy set of lines to master though there are a few modes which are tricky. As in the other material, play it slowly and cleanly before increasing your velocity.

.... l'l 10 - r""'T""T"' . . . . . . . . . . . tJ

~~··· • ~··· • ..... ••

VI""'I""'VI""'I""'VV VI""'I""'VI""'I""'VV VI""'I""'VI""'I""'VV VI""'I""'VI""'I""'VV "T

I . . . . . /:; --ri - "' . - ~ " . . r ~ . . ...,

""' J J J 0 "' cv

:, fl 10 . . . . . . . . . ~ •

v 1""1 1""1 v 1""1 1""1 v v v 1""1 1""1 v 1""1 1""1 v v v 1""1 1""1 v 1""1 1""1 v v T

I . . . .0. ..... . . . . . -'"' •v '"' . v lV U • 1L.- 1.:. 1" --..:7 .... ·~ '"' 1.

8 -' fl lot ~ . . . . . . . .

u ... .. ---VI""'I""'VI""'I""'VV VI""'I""'VI""'I""'VV VI""'I""'VI""'I""'VV VI""'I""'VI""'I""'VV

"T I . - . . . .

,;. -ri - "' J . . - ~ J J . . ~ J 7 1 --, . ...,

.... - fl 10 • . ~ . . . . . . . . . . @.

v 1""1 1""1 v 1""1 1""1 v v v 1""1 1""1 v 1""1 1""1 v v v 1""1 1""1 v 1""1 1""1 v v T

I . . . . . _A " '"'

-..... . ~ . ~ . . = --n:r . ..., "' ~ 1L.-"'

22

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Exercise 1.10 .2

15 ,.., f'l ..

u

T I

A ... ..... ""

19 .,., f'l ..

~

... I

4 -~

_Q_

""

:2 'l ..

u

... ! .4 .... ~

""

T

-.... u

. .

.

.

. .

.

.

.

.

Chapter 1 - Linear Scales

~ • . . . . . . . -VI"'I"'VI"'I"'VV VI"'I"'VI"'I"'VV VI"'I"'VI"'I"'VV

0 "'--"'- ~ . - . . - L 0 ~

J ~ n J . . .

• .,. .fL • .,. .fL f!:. • . . . . . . . .

v 1"1 1"1 v 1"1 1"1 v v v 1"1 1"1 v 1"1 1"1 v v v . . .

>L >L >" 'L . .

. .,. _.,.,._ ..,.,-.(!:.. . . . . . . . VI"'I"'VI"'I"'VV VI"'I"'VI"'I"'VV VI"'I"'V':'II"'VV

~

- J • 0 . • ~ n . . .

23

..,. . . . . ~

VI"'I"'VI"'I"'VV

. . / . / . . .

..,.,-.(!:.~.,. . .

1"1 1"1 v 1"1 1"1 v v .

'L >V .. .

..,.,-.(!:.~.,. . . . . .

VI"'I"'VI"'I"'VV .. . •v • " . .

Chapter 1 - Linear Scales

Exercise 1.11.1 Diatonic Scale Fragments, Var. 1

2-Str A I v

Utilizes a two-string pattern to sweep it's way through a diatonic scale. Only the first mode is presented. The student is expect-ed to take this pattern through all modes, as well as through the permutations of Melodic Minor, Harmonic Minor, Diminished, Whole-Tone scales, etc.

-" l"l lol -.

t) -:J-:J--,1-*" -*-,} -:J--:J-,1-*" ·--1""1 v 1""1 1""1 v 1""1 v v 1""1 v 1""1 1""1 v 1""1 1""1 v 1""1 v v 1""1 v 1""1 1""1 v 1""1 1""1 v 1""1 v v 1""1 v

T . - -A ~

J

-..... . J ..... -:I -

-.. J J J J

5 -' f'l lol • .~ .,_r:.~. ..

t)

1""1 1""1 v 1""1 1""1 v 1""1 v v 1""1 v 1""1 1""1 v 1""1 1""1 v 1""1 v v 1""1 v v 1""1 v 1""1 1""1 v 1""1 v v 1""1 T

~ - -~ 0 -:I -:I

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Chapter 1 - Linear Scales

Exercise 1.12.1 3-Str A

Diatonic Scale Fragments, Var. 2 I v Utilizes a three-string pattern to sweep it's way through a diatonic scale. Only the first mode is presented. The student is expected to take this pattern through all modes, as well as through the permutations of Melodic Minor, Harmonic Minor, Diminished, Whole-Tone scales, etc .

..-' I') ..

. u :J~··· ···~:J .... ..

l"'l v l"'l l"'l v l"'l l"'l v l"'l v v l"'l v v l"'l v l"'l l"'l v l"'l l"'l v l"'l l"'l Vl"'lVVI"'lVVI"'l T _!_ . 1;), --.....,

~ ~ " ~ ~ - ~ " ~ iJ -

•

-.....

-• .. . -

Vl"'lVI"'ll"'lVI"'lV Vl"'lVVI"'lVI"'ll"'l Vl"'lVVI"'lVVI"'l Vl"'ll"'lVI"'lVVI"'l VV 'T

Tip -1.11.1 and 1.12.1 are great chops builders .

25

Chapter 1 - Linear Scales

Exercise 1.13.1 Diatonic Scale Sweeps, Var. 3

3-Str A I v

Similar to 1.12.1 this pattern utilizes a three-string pattern to sweep it's way through a diatonic scale, vertically up the neck. All modes and string groups are presented. The student is expected to take this pattern through the permutations of Melodic Minor, Harmonic Minor, Diminished, Whole-Tone scales, etc.

l'j J,j . . . . . . . t.. :;~~··· ....... ~··· .....

~V~~VI"'H', v~vv~vv ~ v ~ ~ v ~ ~ v ~ v v ~ v v T ! . . .

Jl .... ~

. ~

J ~

. u - J

"

5 ..- I J,j - ,...,..., . . . .

t.. ....... • ..... ~ v ~ ~ v ~ ~ v ~ v v ~ v v ~ v ~ ~ v ~ ~ v ~ v v ~ v v

"T" I . . .

_A -... . >' ·~ . c J .v

""' " " '" u .v ·~ ·~

-T ! •

.0. .... . - ·~ . ..

13 l'j J,j • . . . .

t..J - L....L.....J ~ v ~ ~ v ~ ~ v ~ v v ~ v v

T I . .

A ,_..,_ -... - . u

·~ ""' '· . .

26

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Exercise 1.13.2

15 ~fil

u

T !

.0.

" _...,_ ""'

19 ..- I') 10

u

T I

.0. _1-i u

--23

fl 10

~

T I

A _ri_ LJ

""'

27 _, fl 10

~

_'I'_

~ -.... !;;)

--

. .

.

.

.

.

.

.

.

.

.

Chapter 1 - Linear Scales

,....,....., ... 1""1 v 1""1 1""1 v 1""11""1 v 1""1 v v 1""1 v v

-~

- -~

~ J

1"'""'1--1

~

1""1 v 1""1 1""1 v 1""1 1""1 v 1""1 v v 1""1 v v

- V /

,..,. ~

1""1 v 1""1 1""1 v 1""1 1""1 v 1""1 v v 1""1 v v

·~ .v ·~ ' ·~

~

• .,. f'-t-.,..

1""1 v 1""1 1""1 v 1""1 1""1 VI""'VVI""'VV ,.

'

' '

27

Tip - This is a great and explosive line to use for cadenzas or for building up excitement. Make sure you practice this with all types of scales .

,...._, . . . . . . • ~

1""1 v 1""1 1""1 v 1""1 1""1 v 1""1 v v 1""1 v v . . .

~ -. . - ~ ~ - J A .

• . . . . . - I....L....J 1""1 v 1""1 1""1 v 1""1 1""1 v 1""1 v v 1""1 v v

. . .

. . /

Exercise 1.13.3

29 _, l'l ~

~

T I

A _ri_ .... ""

33 _, l'l ~

t)

T

"-"' !;;

""

37 fl ~

~

T I

J; -ri ....

""'

./1 _, f'l ~

~

T

_A ..... D

""

Chapter 1 - Linear Scales

~ • . . . . . . ~ --- I...J....J

1""1 v 1""1 1""1 v 1""1 1""1 v 1""1 v v 1""1 v v 1""1 v 1""1 1""1 v 1""11""1 v 1""1 v v 1""1 v v - -. . - --:7 --:7 - _.,_ . ~ J . .

. .,. • .,. fL • . . . . ~ -

1""1 v 1""1 1""1 v 1""1 1""1 v 1""1 v v 1""1 v v 1""1 v 1""1 1""1 v 1""1 1""1 v 1""1 v v 1""1 v v . o ru . . --,- "" ·= "' . ~ ~

J J .. " • J . . w,

• .,. fl-f:..,... ..... !'- ~f:.!'- ..... . . . . . . . .

1""1 v 1""1 1""1 v 1""1 1""1 v 1""1 v v 1""1 v v 1""1 v 1""1 1""1 v 1""1 1""1 v 1""1 v v 1""1 v v ' - " . ·~ ' . . ,_ .

. ·~ u .• 0 IV U. l l .

a#fL~ ~~~fL#a

1""1 v 1""1 1""1 v 1""1 1""1 v 1""1 v v 1""1 v v . .

·~ l ,. ·~ . .

28

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Exercise 1.13.4

./3 _, f'l ..

@_

_y_ ~

A ..... .... --

nf'l -' ..

u

""

. .

. .

.

Chapter 1 - Linear Scales

. .,. .,._ . • .,. .,._ f:. .,. • . . . . -1""1 v 1""1 1""1 v 1""1 1""1 y 1""1 v v 1""1 v v 1""1 v 1""1 1""1 v 1""1 1""1 y 1""1 y v 1""1 v v

J J J - . . . J J J . .

-~f"- f:.~f"-1*-. • .,. .,._ f:. ~ F f:. .,._ .,. • . . . . . .

1""1 v 1""1 1""1 v 1""1 1""1 v 1""1 y v 1""1 v v 1""1 v 1""1 1""1 v 1""1 1""1 VI""'VVI""'VV 0 .v . . ·~

Chapter 1 - Linear Scales

Exercise -1.14.1 One, Two, Three, Five, Horizontal

2-Str A I v

This is a common pattern based on the 1st, 2nd, 3rd and 5th of the scale. It's moved diatonically across the neck of the gui-tar in 4ths. The pattern itself if one of the most common patterns in jazz, used most notably by Coltrane in some of his famous solos.

_, fl Ill r""T"'T"1 • !"-!"-. ri""'M . . . . u :;~~···· ~ ~ .......... ~:;!

1""1 V 1""1 V 1""1 Vl""' V I""'VI""'VI""'VI""'V I""'VI""'VI""'VI""'V I""'VI""'VI""'VI""'V I""'VI""' V 1""1 V 1""1 V ,. '7 '7 ~ ~ '7 - '7 . . - -

_A '7 - ~ ~ ~ ~ ~ < ...,. . - ~ ~ ~ - . ..... "" ~ ~ ~ ~

6 _, fl Ill - iTi1 • .~~~~. • rrn -. . . ~ "iJ._l* .. - - .. ··~

I""'VI""'VI""'VI""'V I""'VI""'VI""'VI""'V I""'VI""'VI""'VI""'V I""'VI""'VI""'VI""'V I""'VI""' V 1""1 V 1""1 V ,. I _'7 .r. _'7 J u u u u J '7 '7 .

.D. -.... - . ~ - ~

"'

:; l'j Ill ,....,...,...., .,. • .,. f'-~ ~ f'-.,. • .,. ~ . . . . u ....... ~ ~ -.....

I""'VI""'VI""'VI""'V I""'VI""'VI""'VI""'V I""'VI""'VI""'VI""'V I""'VI""'VI""'VI""'V I""'V 1""1 V 1""1 V 1""1 V "T' '7

.V '7

! . . A < '7 '7 ...,. - ~ •v ~ -.....

"' u u

16 r-M"1 • f'- .,.f'-~F~,... f'-. ri"'!-1 _, fl Ill . .

~ ·- .......- --.... -· I""'VI""'VI""'VI""'V I""'VI""'VI""'VI""'V I""'VI""'VI""'VI""'V I""'VI""'VI""'VI""'V I""'V 1""1 V 1""1 V 1""1 V ,. ~

u ·~ .v ·~ ·~ ·~ u . '7 '7 .D. ...,. .

'7 '7

~ v

"'

30

• • • • • • • • • • • • • • • • • • • • • • • • • : • • • • • • • • • • • • • • • • •

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Chapter 1 - Linear Scales

Exercise 1.14.2

3.,1 'i ~ - r:r:n • .& fl-~~~~. ~~. • rTii-. . e) • - - •

I""'VI""'VI""'VI""'V I""'VI""'VI""'VI""'V !""'VI""'YI""'V!""'V I""'VI""'YI""'VI""'V !"'V !"' V !"' V !"' V T

Chapter 1 - Linear Scales 2-Str

Exercise 1.15.1 One, Three, Five, Diatonic I Common triad arpeggiated pattern consisting of the 7-3-5 intervals played diatonically up the neck of the guitar in a two-string pattern with the root on the lower of the two strings and the 3rd and 5th on the upper of the two strings. I have indicated a slur occuring between the 3rd and 5th of each triad played by using hammer-ons or pu/1-offs.

3 3 3

_, I 01 ~ 3 --. . '-- :;! -.Jj ~ • __./ -.J ~· • :._./ .. --- - I L J

3

v 1""1 v 1""1 v 1""1 v 1""1 v 1""1 v 1""1 v 1""1 v 1""1 _y . A ... . -... - -

'""' ~ ~ " ·- ·~

3 3 3 3 ..-' fJ 01 3 - 3 3 . .

t.. L j_ I -· - .. ~ .. ~ ... '---.. ~ -~ ;t 3

1""1 v 1""1 v 1""1 v 1""1 v 1""1 v 1""1 v 1""1 v 1""1 v T ! .

/;; ..... ,,;; ; . ~ ' ' '" ·- ' ·- ' ,, " ~ -

'""'

5 3 3 3 I 01 3 - _,..., r--ri ...--. ~ r-.o. .

t.. • .__/ .. __, - I _L j 3 3

3 3

v 1""1 v 1""1 v 1""1 v 1""1 v 1""1 v 1""1 v 1""1 v 1""1 T

I . A - ... ""'

,::; ,,_ -... .

' ~ ~ " ·~ '~ " . ...

'"'

7 3 3 3 ..-' fJ 01 .---.... ~ .--..., r-r-, ~ - 3 - . .

t.. L j_ I - ....__ • ~ • 3 3 3 3 1""1 v 1""1 v 1""1 v 1""1 v 1""1 v 1""1 v 1""1 v 1""1 v

T ! ~ .a - -..... - - .v ·~ " " ~ ~ _.,_ . _p ,, ·~ ,,

'"'

32

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Chapter 1 - Linear Scales

Exercise 1.15.2

9 3

_. I'J .. l""""ii - ~ ~ ~- ~, • fL .,.. ~ ~ 1..-J.,....J L,......l....oo .......- 3 3 3 3

3 3 3

v 1""1 v 1""1 v 1""1 v 1""1 v 1""1 v 1""1 v 1""1 v 1""1 "T ~ . -

A ~ c ~ J ., ·~ ., ,.

·~ ,.

.... ..... --11 3

_..I'J .. ~ ~ _,_ . .,.~ .----....._ ~ .--..... ---.. r-T-1 u 3 3 3 -..... ~.....~......~ I....J-J 3 3 3 3

1""1 v 1""1 v 1""1 v 1""1 v 1""1 v 1""1 v 1""1 v 1""1 v .~ ;, -

' ·~ ' ' ·~ " J J ~

13 _. I'J ..

------~ ,...--. r-~ .;--!'- rr- • rt ~ r- F .

~ ~ ~ - 3 3 3 3 3

3

v 1""1 v 1""1 v 1""1 v 1""1 v 1""1 v 1""1 v 1""1 v 1""1 "T .! . ' J J c J u ~ u ·~ •v 'J ·~ 'J ~

~ ~

.... u

""

15 I"} .. F ~ .,.. ~ ~'- • t--;._ ~ ;,.~ .~ ~ ---.. u 3 3 3 - -..... ~.....~......~ 3 3 3

1""1 v 1""1 v 1""1 v 1""1 v 1""1 v 1""1 v 1""1 v 1""1 v "T ,., :, ), ,; ), ..; ;, -

I ' 'J '· ·~ '· ·~ ~ -..... u

33

. .

.

.

.

.

Chapter 1 - Linear Scales

Exercise 1.15.3

J J

3 3 3

T

-l"'i •

::fl .. m ~ ~ ~ ~ ~ n fL ~~ ~ ~----...__ ~ fL .. ~ ~ fL~ t)

~ ~

. _A -.... !;;)

""'

1""1 1""1

T

3 3

v ~ v ~ v ~ v ~;., v ~ v ~ . ·~ ·~ v J

Tip - One additional way to vary this exercise is to utilize sweep picking as indicated in Fig. 1.

• 3 3 3

1""1 1""1 1""1 1""1 1""1 1""1 v v v v v

..

Fig.1

34

3

~~

3

v ~ ~ -

v v

.

v . .

v

• • • • • • • • • • • • • • • • • • • • • • • • • • • .i • • • • • • • • • • • • • • • •

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Chapter 1 -Linear Scales 2-Str

Exercise 1.16.1 Five, Three, One, Quintuplets I Similar to 1.15.1 except every 5th note of the pattern is omitted, making the pattern five notes long. Sounds great played in a 5/4 manner against a standard time signature. I have indicated a slur occuring between the 3rd and 5th of each triad played by using hammer-ons or pu/1-offs .

fl .. I I I I I . . t.. -~ i '-.....-... ~ ..,; '-.....-· '""---' ., -

~ v ~ v ~ v ~ v ~ v ~ v T

I

IJ ~ ·a_ . - -"- ..; 'c ,ic ), ;, ,.; .:;-., ,{ i- ._;;_ i . ..... -.,

3 _, fl .. -- . .

u I I I I I --· --.___... '--· ... -~ ~ ~ .,'--..,. ~ v ~ v ~ v ~ v ~ v ~ v

..... I

_A -= ~ ~ ~ ~ -..... . ~ - - ~ -., -~ 0 J

5 _, fl .. I I ---- --- ~ .------. . .

t.. ~ ... '""---' -- I I I I I ~ v ~ v ~ v ~ v ~ v ~ v

__T_ . A - ~ _,{ : ,.; ~ ,-; {. ._;:,_ ""'

. -~ . u

""

7 _, fl .. .,----...._ .-....._ ----.... c.-= . . t.. - ..__. .. ----

~ v ~ v ~ v ~ v ~ v ~ v ..... ! _......, __.., . ll

""' -J . J ~ .

~ OJ -~

""

35

Chapter 1 - Linear Scales

Exercise 1.16.2

~ l'j 10 I I I I I -...

u

I"! v I"! v I"! T ---- ~ - -II.

-ri .... ...._

11 ,...,fliO r:- 11'- fL . ,~

4t

I"! v I"! v I"! "T"

,.:; ' '

,, ·~

~

""'

13 ..,_fl 10 --- -~ .~ . .

4t

I"! v I"! v I"! T c

I . " /J -ri . ....

""'

:; fl 10 f: r:- , t': fL r:-~ u

I"! v I"! v I"! "T" ' -[l

~

~

""'

-~

v ~

-~

v ·~ ~

;.---.....__

v

I Tip- I use~ to hear P~ul Bollenback playing in ~~"S'rl'fl'l!jtM L>'L 1h 't'ne \a'te '/'Ds. 'He was a com-plete master of patterns such as 1.14.1 and 1. 15. 1 and 1. 16. 1.

-~ 11'-~ fL~ :r-~

I"! v I"! v I"! v .-

,

• • • e Exercise 1.16.3 • • • • • • • • • • • • •

;,., ..

u

'T !

.0. -.... ~

,~

~ v ~ "-

.

Chapter 1 - Linear Scales

!'-~ i-~ ~-,._

~ v~ 1""1 v~ ~ 0 ~ •v

~

Tip - Be sure to play these inverted as well ( 1, 3, 5 instead of 5, 3, 1)

F~~O~E~ ~1 f=

~ v ~ ~ 1""1 h '"- u

Chapter 1 - Linear Scales

Exercise 1.17.1 Diatonic Quintuplet

3-Str A I v

A fundamental exercise for generating horn-like bursts of notes. Additionally it's great for cadenzas and for a repeated phrase to build up some excitement.

,..., 1'\ .. • .,. • !'-. ... -r:,._ ..!'-. . . . . . . . . . . . ._

5 . 5

5 5 5 5 5 5

VVI""'VVI""'VI""'I""'I""' VVI""'VVI""'VI""'I""'I""' VVI""'VVI""'VI""'I""'I""' VVI""'VVI""'VI""'I""'I""' T ~ . " . . .

~ J . - - - . . 0 . L1 ~ J .. ... . . . . . .

0

""

5 ~!'-.,. ... • .,.r- Ft-f'-.,. • • .,.!'-~ ~~r-f'-.,._ • .,.f'-r-F ,..., 1'\ .. . . . . . . . . u 5 5 5

v v 1""1 v v 1""1 v 1""1 1""1 1""1 v v 1""1 v v 1""1 v 1""1 1""1 1""1 VVI""'VVI""'VI""'I""'I""' T " '" -n::r '" . ·~ " '" . IJ 1..:. IV IL. . [J D IL. 4 -.... . . . L.J

""'

8 5

,.., 1'\ .. • ... • . . . . . . . . . . . . . ._

5 5 5 5

5 5 5

VVI""'VVI""'VI""'I""'I""' VVI""'VVI""'VI""'I""'I""' VVI""'VVI""'VI""'I""'I""' VVI""'VVI""'VI""'l"'l""' T -.

~ . . . 0 •

A J L. - - ~ --- -co '7 -co - OA ... . . . . rL. . 0 ....

12 !'-. r:..,.. .f'- ~,.. ...... ... ... r-,.., f'J .. .,. . . . . . . . .

u 5 5 5 5 5 5

VVI""'VVI""'VI""'I""'I""' v v 1""1 v v 1""1 v 1""1 1""1 1""1 v v 1""1 v v 1""1 v 1""11""11""1 T

J . . . . . '· A " I IL. II IL.

-,L.

-.... . . . . g

""

38

:I • • •I • • • • • • • • • • • • • • • • • • • • • • • .; • • • • • • • • • • • • • • •

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Exercise 1.17 .2

15 -" "J ~

~

T I . ~

_ri_ . LJ

""'

19 .,.., I ~ . ~

.... I

A -... . LJ

"'

..,. . u

76 _:,_,1_ ~ . .

~

.... ! .

Ll ..,. ~

Chapter 1 -Linear Scales

5 5 5 5

. . .... .,

Tip- Quintuplets have traditionally been difficult for guitarists, but using a sweep picking technique, this device is more approachable .

See also, 2.11.1

5 5 5

. . . . . . . . 5

vv~vv~v~·n·, . ., vv~vv~v~~~ vv~vv~v~~~ vv~vv~v~~~ .

-J ~ ~

~ ~ . .

. . . . 5 5

v v ~ v v~v~~~ .

" ·~ '" . .

5 5

J J

5 5

. . . . .. vv~vv~v~~~

.

. . ·~ "

·~

. . J . . / J

~ ~ ~ ~.

.. 5 5

v v~vv~v~~~ ~ . ·~ .V

5

v v ~ v

~v

39

·~

5 -

5

.

.

u u

. . . .

v~v~~~

. . .

·~

. . . '" / .

·~

.,.. .. . . . . 5 5

vv~vv~v~~~

v ~- ·~ . -~. ~

5 5

~.

5

. . 5

v v ~ v v ~ v ~~~ . .

Chapter 1 - Linear Scales 2-Str

Exercise 1.18.1 Coltrane triad with chromatic approach note I Classic 'Trane pattern, based on diatonic triads with a chromatic approach note before the 5th of each pattern.

5 I') .. ~~ "F ~ ~ ~~ 1~ ,. • ,. ~ ~ . ~ ,. • ~:~.~ •

~

~ v ~ v ~ v ~ v ~ v ~ v ~ v ~ v ~v~v~v~v ~ v ~ v ~v~v "T - -

" >J ·~ ·~ . " " , ~ " " " J v J J ·~ ~ ..

9 t. ., H~ ,._ • +!.b~ • n-M

~ I I I I

~ v ~ v ~ v ~ v ~v~v ~v~v ~ v ~ v ~ v ~ v ~v~v ~v~v 'T

- -~

~

~ ~

v ' -ri ·~ ....

13 f'l .. -

u I I I I • .;rr •.,;

~ v ~ v ~ v ~ v ~v~v~v~v ~ v