Cool Legato Phrases (2).pdf
May 2, 2017 | Author: Jason Pastrana | Category: N/A
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DIGITAL PATTERNS IN GROUPS OF THREE As recorded by Derryl Gabel Transcribed by Derryl Gabel
Music by Derryl Gabel Arranged by Derryl Gabel D/E 7 fr. Cmaj13 8 fr. D7sus4 7 fr. x x x x x x
P = 120
^
Cmaj13 Gtr I
^ V V V V gV V V V V gV V V V V
D7sus4
V V V V V V gV V 1 I 44 V V V gV V V V V Gtr II
T A B
8 12 H
10 9 12 P
^
10 9 12
H
P
H
11 9 12
12 10 13
H
P
P
12
10 12
13
H
P
H
I
R aP gV
gV
T A B
9
V
P
12 9 10
H
P
H
12 9 10 P
H
12 8 7 P
sl.
^
D/E 3
12 9 11
V
9
8 H
^
Cmaj13
^ gV V V V V V V V V V gV V V V V gV
D7sus4
V V V V V V g V V 5 I V V V gV V V V V T A B
8 12 15 H
H
9 12 15 H
H
9 12 16 H
H
9 12 16 H
H
10 13 17
H
H
10
14 17 14 10
H
H
P
P
17 13 10
P
16 12 9
P
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P
P
16 12 9 P
P
15 12 9 P
P
DIGITAL PATTERNS IN GROUPS OF THREE - Derryl Gabel
^
^
D/E 1
I T A B
V
V
15
V 8
12 P
V
P
Page 2 of 2
V
7 sl.
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DIGITAL PATTERNS IN GROUPS OF FOUR As recorded by Derryl Gabel Transcribed by Derryl Gabel
Music by Derryl Gabel Arranged by Derryl Gabel Performance Notes
Measure one is a simple C major seventh arpeggio over a C major seventh chord. Pay special attention to the picking and hammer-on pattern. Measures three and four is an example of seventh arpeggios in groups of four stacked in fourths ascending and then descending across the strings using horizontal movement Measures five through eight are seventh arps ascending and descending in groups of four using vertical movement. Measures nine and ten are seventh arps ascending in groups of four stacked in thirds using diagonal movement and then descending. You will need to learn all your arps like the examples given ALL over the neck using ALL of the arpeggios. Measures 11- 25 is an example of how you would practice one of the examples given using all of the arps all over the neck. Cmaj7 x x
P = 120
^
^
Cmaj7 Gtr I
1
D/C x x
D/C
I 44 V V V V V Gtr II
T A B
10 8 12
9
H
^
Cmaj7
V V V V g V V V 3 I V V V V gV V V V V T A B
^
D/C
10 10 12 9 11 9 12 9 10 9 12 10 9 12 8 12 H H H
V V V V gV V V V V V V V gV V V 12 10 12 9 11 9 12 9 10 9 12 9 10 12 8 P P P
H
P
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DIGITAL PATTERNS IN GROUPS OF FOUR - Derryl Gabel
Page 2 of 5
^
^
Cmaj7
5
D/C
gV V V V V V V V V V V V V V V V
V I V V V V V V gV V V V V V V V V T 4 5 7 9 A 5 9 10 7 9 5 7 10 12 9 B 3 7 H
P
sl.
sl.
H
P
sl.
1112 1416 16 17 12 14 15121417 1915 1014
^
H
P
sl.
sl.
H
P
sl.
7 10
^
10 8 12
7
9 5 3 P
sl.
sl.
9
7 10
9
7
5 9
7
7
4 7
7
gV V V V V V V V V V V V V V V
5
7
^
7 4
7
7
9 5
7
9
10 7
9
10 12 8
^ V gV V V V V V gV V V V V V V V V
D/C
V V V V V V V I V V V gV V V V V gV 2 5
7 5
j
^
gV V V V V V V V V V I V V V V V V
T A B
sl.
D/C
Cmaj7
11
9
H
sl.
Cmaj7
T A B
P
sl.
V V V gV V V V V V
T 1412 11 9 A 12 16 14 10 15121014 12 9 B 1417
9
H
sl.
D/C
V V V g V V V V V V V V V V V gV I V
sl.
P
sl.
^
Cmaj7
7
H
sl.
3
2
2 5
4
2
2 5
4
3
2 5
5
3
5
7
7 4
5
5
7 4
sl.
4
5
7 3
4
5
7 3 sl.
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DIGITAL PATTERNS IN GROUPS OF FOUR - Derryl Gabel
Page 3 of 5
^
^ V V gV V V V V V V V V V V gV V V
Cmaj7
13
D/C
V V g V V V V V I V V gV V V V V V V T A B
5 8
7
5
5 9
7
5
5 9
7
7
5 9
8
7
8
10 8 11 7 9
10 7
sl.
7
9
10 7
7
9
10 7
sl.
sl.
^
^ V V V V gV V V V V V V V V V gV V
Cmaj7
D/C
V V V V g V V V 15 I V V V V gV V V V V
10 10 12 9 11 9 12 9 10 9 12 10 9 12 8 12
T A B
12 13 12 1411 12 11 1410 12 10 1410 12 1410 sl.
sl.
^
sl.
Cmaj7
V gV V V V V V V V gV 17 I V V V V V V T A B
^ V V V V V V V V V gV V V V V V gV
D/C
14 15 13 15 17 15 12 14 1216 1714 16 14 12 14 1216 1714 16 14 14 1215 1714 15 1215 1714 sl. sl.
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DIGITAL PATTERNS IN GROUPS OF FOUR - Derryl Gabel
Page 4 of 5
^
Cmaj7
^ V V V V gV V V V V V V V V V gV V
D/C
gV V V V V V V V V gV 19 I V V V V V V T A B
14 12 13 15 13 12 12 14 1216 1411 12 11 10 12 14 1216 1410 12 14 1215 1410 12 1410 1215 sl. sl.
sl.
^
Cmaj7
^ V V gV V V V V V V V V V V gV V V
D/C
V V V V g V V V 21 I V V V V gV V V V V
10 8 10 12 10 8 9 9 11 9 12 11 7 7 9 9 7 10 9 12 10 7 10 9 12 10 7 9 8 12 10 7 sl.
T A B sl.
sl.
^
Cmaj7
^ V gV V V V V V gV V V V V V V V V
D/C
V V g V V V V 23 I V V V V gV V V V V V T A B
5 8
7
5
5 9
7
5
5 9
7
7
5 9
8
7
5
7
7 4
5
5
7 4
4
sl.
sl.
5
7 3
4
5
7 3 sl.
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DIGITAL PATTERNS IN GROUPS OF FOUR - Derryl Gabel
^
Cmaj7 1
I T A B
gW
Page 5 of 5
^
D/C
2 sl.
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DIGITAL PATTERNS IN GROUPS OF FIVE As recorded by Derryl Gabel Transcribed by Derryl Gabel
Music by Derryl Gabel Arranged by Derryl Gabel Performance Notes
In this lesson we will examine a more legato approach in that it incorporates hammer-ons and pull-offs. These sequences are polyrhythmic which will cause displaced accents. They are to be played 5 against 4. Because of it's polyrhythmic nature notice that the sequence will begin on a diffrent part of the beat until it cycles around. Measures 1 - 17 ascend and descend in the same position then shifts to the next position. Measures 19 - 28 ascend one position then descends the next. The chord progression is a two five in G major. D9 4 fr. Am7 5 fr. x x x x
P = 120
^
^
Am7 Gtr I
1
I 44
D9
V V V V V V V V V V gV V V V V V
V V V V V V g V V V V V gV V V V V
Gtr II
T A B
2 5
3
2
4
3 2 5 P
H
2
4 2 5
H
P
4
3
H
4 2 P
5
^
3
2
5
5 2 4 P
3
4
H
5 2 4
2
4
5 2
H
P
H
P
^
D9
gV V V V V V V V V V V V V V V gV
I V V V V V V V g V V V V V V gV V V T A B
3
H
Am7 3
5
3
5 2 3 7 P
sl.
H
5
4
5 3 7 P
H
5
4
5 4 P
7
5
H
5
5 4 7 P
7
H
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5
7
7 4 5 P
5
5
7 4 P
DIGITAL PATTERNS IN GROUPS OF FIVE - Derryl Gabel
Page 2 of 5
^
^
Am7
5
D9
I V V V V V V gV V V V V V V V V V T A B
5
4
5
7 3 5 P
4
5
H
7 3 5 8 P
sl.
7
5
7 5 P
H
^
Am7
7
V V V V V g V V V V V V gV V V V V
7
7
7
9 5 7 P
5
7
H
9 5 7 P
5
7
H
8 5 7 P
^ V V V gV V V V V V V V V V V gV 9 I V 8
9
7 5 9 P
H
7 5 9
H
P
7
8
9 5
H
P
^
10
11 7 9 P
8
9
H
10 7 9 P
7
9
H
10 7 9 P
V V V V gV V V V V V V V gV V V V 7
9
10
9 7 10
^
9
9 7 10
9
8
9 7 11 P
P
H
^
D9
V V V V V V V V V V gV V V V V V
7
9
H
Am7
7
P
sl.
Am7
T 10 A B
7
7
8
D9
gV V V V I V V V V gV V V V V V V V T A B
5
7
10 7 8 12 P
9
10
10 9 12 P
sl.
10
9
H
10 9 12 P
H
^
D9
V V V V V V V V V V V V V g V 11 V V I T 10 12 11 11 9 12 A B P
H
10
12
12 9 11 P
H
10
11
12 9 10 P
V V V gV V V V V V V V V V V V V
9
10
12 9 10
H
P
H
9
10
12 8 10 14
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P
sl.
H
12
10
12 10 14 P
H
H
DIGITAL PATTERNS IN GROUPS OF FIVE - Derryl Gabel
Page 3 of 5
^
^ V V V V V gV V V V V V V gV V V V
Am7
D9
V V V V V V V V gV V V V V V V V 13 I T 12 13 11 11 14 12 12 A 12 12 10 14 B P
H
12
13
H
P
12
14 11 12 P
12
14 10 12
H
P
^
14
T 13 15 12 14 12 14 16 A 12 14 14 12 16 B 14 14 12 15 P
^
H
H
P
P
15
V
V gV 12
15 P
H
P
V
H
14 10 12 15 P
H
sl.
13
14
16 12 14
H
12
14
15 12 14
H
P
P
12
H
14
^
D9
V V V V gV V V V V V V gV V V V V
V V V V V I V g V V V V V gV V V V V 2 5
H
P
sl.
^
T A B
12
^
Am7 19
10
D9
V
14
H
16 12 14
Am7
T A B
14 10 12
D9
V V V V V V V g V V V V 15 I V V V V V
I
12
^ gV V V V V V V gV V V V V V V V V
Am7
17
11
3
2
3 2 5 P
H
4
2
4 2 5 P
H
4
3
4 2 P
5
5
H
3 5
sl.
7
7 4 5 P
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5
5
7 4 5 P
H
4
5
7
DIGITAL PATTERNS IN GROUPS OF FIVE - Derryl Gabel
Page 4 of 5
^
^
Am7
21
D9
I V V gV V V V V V V V V V V V V V T A B
4
3 5
5
H
7
7 3 5 8 sl.
5
7 5 9 P
H
7
5
7
^
7 5 9
H
P
7 8
8
H
10
11 7 9 P
sl.
8
9
H
^
D9
I V V V V V V V gV V V V V V V V V T A 10 7 9 7 9 7 10 7 9 9 B P
7
7
5 9 P
H
Am7
23
V V V V V V V V g V V V V V V V V
H
P
H
10 7 8 12 P
10
9
^ V V gV V V V V V V V V V V V V 25 I V T 13 12 14 11 12 12 11 A 14 10 12 12 10 14 10 12 12 B H
P
H
10 9 12 P
sl.
Am7
P
V V V V V g V V V V V gV V V V V V
P
H
10
9
10 9 12 P
H
11
10
11 9 12 P
H
12
H
10 12
sl.
^
D9
V V V g V V V V V gV V V V V V V V
14 10 12 15 P
sl.
H
14
12
14 12 15 P
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H
14
12
14 12 16 P
H
14
13
DIGITAL PATTERNS IN GROUPS OF FIVE - Derryl Gabel
Page 5 of 5
^
Am7
1
I
gV V V V V V V V V V V V V V gV V
T 15 14 12 16 A B P
^
D9
H
14 15
17
17 14 16 P
H
15
16
17 14 16 P
14
H
gV V V V V V V gV W 16
17 14 15 P
H
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14
15
17 14 15 P
sl.
DIGITAL PATTERNS IN GROUPS OF SIX As recorded by Derryl Gabel Transcribed by Derryl Gabel
Music by Derryl Gabel Arranged by Derryl Gabel D/E 7 fr. Amadd9 5 fr. Cmaj13 8 fr. D7sus4 7 fr. x x x x x x x x
^
Cmaj13
1
^ V gV V V V V V V V V V V V V V V
D7sus4
Gtr I
gV V I 44 V V V V V V gV V V V V V V V Gtr II
T A B
8 10 12 H
10
9
10 9 10 12 P
H
^
H
10
9
10 9 10 12
H
P
H
11
10
H
11 9 11 12 P
H
12
10
12
12 11 9 11 P
H
P
10
11
12 10 P
H
D/E
3
I T A B
V
V
9
10 H
V 9
V 10
V
V
gV
V
12
10
9
10
P
P
V 9
V 10
H
V
V
gV
fV
12
10
9
8
P
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P
V 9
V
P
DIGITAL PATTERNS IN GROUPS OF SEVEN As recorded by Derryl Gabel Transcribed by Derryl Gabel
Music by Derryl Gabel Arranged by Derryl Gabel D/E 7 fr. Amadd9 5 fr. Cmaj13 8 fr. D7sus4 7 fr. x x x x x x x x
P = 120
^
Gtr I
^
D7sus4
Cmaj13
V V V V V V V V V V V g V V V V V
V 1 I 44 V V V V V V V gV V V V V V V V Gtr II
T A B
8 10 12 H
10
9
12 10 9 10 12 P
H
P
H
10
9
12 10 9 10 P
H
P
^ V gV V V V V V V V V V gV V V V V 3 I D/E
H
P
H
H
P
P
H
H
H
12 11 9 11 12 P
P
H
H
^
Amadd9
T 10 11 9 A 9 12 10 9 10 12 10 12 10 9 10 12 10 B P
12
11
10
V V gV fV
V
12 10 9 8 P
P
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12
10
12
12 11 9 11 12 P
P
H
H
ARPEGGIO SEQUENCE IN GROUPS OF 4 & 5 As recorded by Derryl Gabel Transcribed by Derryl Gabel
Music by Derryl Gabel Arranged by Derryl Gabel Performance Notes
`
This idea came from the Heptatonic idea and the digital patterns I was doing with stacking arpeggios in 4ths. Dm7 5 4 fr. x x
`
P = 120
^
Dm7 5 Gtr I
V eV V eV V V e V 4 V V V 1 I 4 V e V V eV eV V
^ V V eV V eV V V V e V V V V eV eV V V
Gtr II
T A B
3
8 11 15
^
H
11
H
8
11 15 H
12
8
12 15 H
12
9
12 15 H
13
10
13 16 13 9
H
P
P
12 H
15
12 8
H
I V eV V V j T A B 8
11 10 P
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P
12 H
15 H
12 8 P
11 H
15 H
11 P
2-5-1 ARPEGGIO SEQUENCE As recorded by Derryl Gabel Transcribed by Derryl Gabel
Music by Derryl Gabel Arranged by Derryl Gabel Performance Notes
This uses the apeggio idea I show in the file entitiled Arpeggio Sequence in Groups of 4 & 5, and utilizes it over a 2, 5, 1 progression. Over the 2 and the 1 chord I'm using notes from Eb major. Over the altered 5 chord I'm using notes from B melodic minor. x
Fm9
x 6 fr.
`
P = 120
^
1
`
^ gV V V V gV gV V V V gV V V e V gV gV V
B 7+5
Fm9 Gtr I
`
B 7+5 6 fr. E maj9 5 fr. x x x x
V eV V eV V V 4 V g V f V V I 4 V gV V e V e V V Gtr II
T A B
`
8 11 15 H
11
8
11 15
12
8
12 15
H
H
12
9
12 15
H
13
9
12 15 12 9
H
H
P
P
^
I T A B
V V V V V V V V V V V V V
8 10 12 H
H
10
7 10 12 H
H
10
8 10 13
H
(13)
H
14
H
11 7
H
^ W
E maj9
3
11
10
P
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P
11 H
14 H
11 8 P
11 H
14 H
11 P
PENTATONICS IN GROUPS OF THREE As recorded by Derryl Gabel Transcribed by Derryl Gabel
Music by Derryl Gabel Arranged by Derryl Gabel Performance Notes
This basically comes from visualizing the pentatonic scale 3 notes per string. Besides the examples given, try coming up with your own melodic groupings or sequences. Also use slides to shift to diffent parts of the neck. x
Dm9 3 fr. Dm9V 5 fr. x x x
Dm9X 10 fr. Dm9XIII 13 fr. x x x
P = 120
^
^
Dm9 Gtr I 1 I 44
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
Gtr II
T A B
5 8 10 8 10 H
H
P
7 5 7 10 7 10 P
H
H
H
P
H
7 5 7 10 7 P
H
H
P
10
^ V V V V V V V V V V V V V V V V 3 I T A B
10 8 5 8 5
P
5
I T A B
^
P
H
V V V V
P
8 10 8 5 8 5
H
P
P
H
P
P
P
H
H
H
P
H
P
H
H
P
8 5 8
H
P
H
^
V V V V V V V V V V V V V V V V
7 9 7 5 7 H
P
H
Dm9V
7 5 7 9 7 9
8 5 8 10 8 10
5 P
7 10 7 5 7 5 H
P
P
H
P
j
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7 10 7 5 7 5 H
P
P
H
P
8 10 8 H
P
P
PENTATONICS IN GRUPS OF FOUR As recorded by Derryl Gabel Transcribed by Derryl Gabel
Music by Derryl Gabel Arranged by Derryl Gabel Performance Notes
This basically comes from visualizing the pentatonic scale 3 notes per string. Besides the examples given, try coming up with your own melodic groupings or sequences. Also use slides to shift to diffent parts of the neck. x
Dm9 3 fr. Dm9V 5 fr. x x x
Dm9X 10 fr. Dm9XIII 13 fr. x x x
P = 120
Dm9V
^
^
Gtr I
V V V V V V V V V V V V V V V V
V V 4 V V V V 1 V V I4 V V V V V V V V Gtr II
T A B
5 8 10 H
7 5 7 10 H
P
H
7 5 7 10 P
H
H
8
7 5 7 9
H
P
H
5 8 10
P
H
H
H
8 5 10 8 5
P
H
P
8 10 8 5
P
H
P
7 9 7 5
P
H
Dm9X
3
I T A B
^
V
V
V
V
7
10
7
5
H
P
P
V
V 7
V
10 H
V
7 P
5 P
V
V
8
V
10 H
8 P
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V
V
5 P
3 sl.
P
P
PENTATONICS IN GROUPS OF FIVE As recorded by Derryl Gabel Transcribed by Derryl Gabel
Music by Derryl Gabel Arranged by Derryl Gabel Performance Notes
This basically comes from visualizing the pentatonic scale 3 notes per string. Besides the examples given, try coming up with your own melodic groupings or sequences. Also use slides to shift to diffent parts of the neck. x
Dm9 3 fr. Dm9V 5 fr. x x x
Dm9X 10 fr. Dm9XIII 13 fr. x x x
P = 120
Dm9X
^
^
Gtr I
V V V V V V V V V V V V V V V V
V V V V V V V V 1 V I 44 V V V V V V V Gtr II
T A B
5 8 10 H
7
5
7 10
7
H
H
5 7
5 7 10
H
5
7
H
H
9
7
8
5 8 10 8 5
H
H
Dm9XIII
^
3
I V V V V V V V V V V V V V V V V T A B
7
5 10 7 P
H
P
5 P
7
5 10 7 P
H
P
5 P
8
5 10 8 P
H
P
5 P
3
H
P
8 5 10 8 5
P
^ V (3)
sl.
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P
H
j
P
P
7 5 9 7 P
H
P
PENTATONICS IN GROUPS OF SIX As recorded by Derryl Gabel Transcribed by Derryl Gabel
Music by Derryl Gabel Arranged by Derryl Gabel Performance Notes
This basically comes from visualizing the pentatonic scale 3 notes per string. Besides the examples given, try coming up with your own melodic groupings or sequences. Also use slides to shift to diffent parts of the neck. x
Dm9 3 fr. Dm9V 5 fr. x x x
Dm9X 10 fr. Dm9XIII 13 fr. x x x
P = 120
^
^
Dm9 Gtr I
1
I 44
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
Gtr II
T A B
5 8 10 H
7
5
7 5 7 10 P
H
H
7
5
7 5 7 10 P
H
H
5
7
H
7 5 7 9 P
H
8
H
5
8
9 7 5 7 P
H
P
5
H
H
Dm9V
3
I T A B
^
V
V
5
7 H
V 5
V 7 H
V
V
V
V
10
7
5
7
P
P
H
V 5
V 7 H
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V
V
10
V
8 P
7
5 P
10 7 P
P
PENTATONICS IN GROUPS OF SEVEN As recorded by Derryl Gabel Transcribed by Derryl Gabel
Music by Derryl Gabel Arranged by Derryl Gabel Performance Notes
This basically comes from visualizing the pentatonic scale 3 notes per string. Besides the examples given, try coming up with your own melodic groupings or sequences. Also use slides to shift to diffent parts of the neck. x
Dm9 3 fr. Dm9V 5 fr. x x x
Dm9X 10 fr. Dm9XIII 13 fr. x x x
P = 120
Dm9X
1
I 44
^
^
Gtr I
V V V V V V V V V V V V V V V V
V V V V V V V V V V V V V V V V
Gtr II
T A B
5 8 10 H
5 7 10
7
H
H
H
5 7 10 H
H
7
5 7 9 H
H
5 7
10
5 8 10
7
H
H
H
Dm9XIII
^ V V V V V V V V V V V V V 3 V V V I
^
V
T 13 10 8 12 7 9 12 9 7 9 A 12 10 7 10 12 10 B P
P
P
P
H
P
P
P
P
H
P
7 P
5 7 9 H
H
H
5 8 10 12 10 8
H
H
sl.
P
V V V V V V V V 12 10 7 P
P
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8
10 H
12 10 8 5 P
P
sl.
P
10
H
j
313313 LEGATO PENTATONICS As recorded by Derryl Gabel Transcribed by Derryl Gabel
Music by Derryl Gabel Arranged by Derryl Gabel Performance Notes
The idea behind this concept is to break out of the traditional 2 notes per string box pattern. By playing 3 notes on the low E, one on the A, 3 on the D, etc... you get a wider range and it works great for high velocity as well. I got this idea from Frank Gambale. After watching his video, "Monster Licks", I learned all of my pentatonic scales this way. Actually, he showed a 313132 fingering. I started doing it using a 313133 and Derek Taylor suggested I try a more balanced 313313 approach. Why didn't I think of that? Duh!!!! Thanks again big D! Oh, and thank you Frank! x
Dm9
Dm9V 5 fr. x 3 fr. x x
Dm9 X 10 fr. Dm9XIII 13 fr. Dm9VI 6 fr. x x x x x
P = 120
^
Dm9 Gtr I
V V V V V V V V V 1 V I 44 V V V V V V Gtr II
T A B
3 5 8 H
5
2 5 7 H
H
H
5 7 9 H
8
H
5 8 10 8 5
H
H
P
P
Dm9V
^
V V V V V V V V V V 3 V I 44 V V V V V T A B
5 8 10 H
H
7
5 7 10 H
H
7 9 12 H
H
10
8 10 12 10 8
H
H
P
P
^ V V V V j V V V V V V V V 8
H
9 7 5 P
P
7 5 2 P
P
5 H
8 5 3 P
P
^ V V V V j V V V V V V V V 10
H
12 9 7 P
P
10 7 5 P
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P
7 H
10 8 5 P
P
313313 LEGATO PENTATONICS - Derryl Gabel
Page 2 of 2
Dm9X
^
V V V V V V V V V 4 V V 5 V I4 V V V V T A B
8 10 12 H
10
7 10 12 H
H
H
9 12 14 H
13
H
10 12 15 12 10
H
H
P
P
Dm9XIII
^
V V V V V V V V V V 4 V V 7 I4 V V V V T A B
10 12 15 H
12
10 12 14 H
H
H
12 14 17 H
15
H
12 15 17 15 12
H
H
P
P
Dm9VI
^
V V V V V V V V V V V 4 V V 9 V I4 V V T A B
12 15 17 H
H
15
12 14 17 H
H
14 17 19 H
H
17
15 17 20 17 15
H
H
P
P
^ V V V V V V V V V V V V j 13
H
14 12 9 P
P
12 10 7 P
P
10 H
12 10 8 P
P
^ V V V V V V V V V V V V j 15
H
17 14 12 P
P
14 12 10 P
P
12 H
15 12 10 P
P
^
V V V V V V V V V V V V j
17
H
19 17 14 P
P
17 14 12 P
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P
15 H
17 15 12 P
P
MANUVERING WITH 313 PENTATONICS As recorded by Derryl Gabel (From the 2005 Album COOL LEGATO PHRASES) Transcribed by Derryl Gabel
Music by Derryl Gabel Arranged by Derryl Gabel Performance Notes
Here's an example of one way you can manuver around the neck with the 313 idea. x
Dm9 3 fr. Dm9V 5 fr. x x x
Dm9X 10 fr. Dm9XIII 13 fr. x x x
P = 120
^
^ V V V V V V V V V V V V V V V V
Dm9 Gtr I
1
I 44
V V V V V V V V V V V V V V V V
Gtr II
T A B
5
3 5 8 H
2 5 7 5 2 5 7 10 H
H
H
P
P
sl.
H
5 8 10
7
H
H
H
8 5 8 10 13 10 8
P
Dm9V
V V V V V V V 4 V V 3 V V I4 V V V V V 12
15 12 10 12 15 17 P
P
sl.
H
H
15
12 14 17 H
H
14 17 19 H
H
17
sl.
H
H
P
12 10 7 10 12 14 12 10
P
P
P
H
H
sl.
P
P
^ V V V V V V V V V V V V V V V V
^
T A B
P
9
15
17 19 17 15 12 15 17 15 12
H
H
P
P
sl.
H
H
P
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P
15
17 14 12 9 12 14 P
P
sl.
H
H
MANUVERING WITH 313 PENTATONICS - Derryl Gabel
Page 2 of 2
Dm9X
^
^ V V V V V V V V V V V V V V V V
V V V V V V V V V V 5 I 44 V V V V V V T A B
12 9
12
15 12 10 7 10 12
P
P
P
sl.
H
H
10
7 9 12 H
H
10
8 10
H
12 10 8 5 8 10 8 5
H
P
P
sl.
H
H
P
P
Dm9XIII 7
^
I 44 V V V V V T A B
8 5 3 P
P
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8
9 7 5 P
P
7 5 2 P
P
5
313313 ARPEGGIO As recorded by Derryl Gabel Transcribed by Derryl Gabel
Music by Derryl Gabel Arranged by Derryl Gabel Performance Notes
313313 This is an example of an Am7 arpeggio over and FM9 chord. Notice how the arpeggio ascends in the 313313 fashion and then descends. Do this with all the inversions and arps and find the ones you like. I tend to use this the most. Fmaj9 1 fr. x
P = 120 Gtr II ^ Fmaj9
1
I 44
Gtr I
T A B
3
5 H
2
I 34 T A B
^ V 13
H
V
V
V
V
5
7
8
7 H
H
V
V
V
14
12
9
P
P
V
V
V
V
V
10
9
H
H
V
V
V
V
12
15
17
15
12
H
V
V
V
10
7
5
P
13
14
12
V
V
V
P
H
V 7 H
P
P
_ V
V
8
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H
V
5 P
3 P
V
313313 ARPEGGIO - Derryl Gabel
Page 2 of 2
^
3
I 44 T A B
4
I T A B
3
17
P
5
7
8
P
V
V
15
12
P
7
V 13
H
H
V
V
14
12
9 P
13
14
V
V
V
V
12
15
17
20
24
H
H
V
P
12
9
10
H
H
V
20
T
5 H
^ V
V
V
V
V
V
V
V
V
V
V
V
V
H
V
V
V
10
7
5
P
P
V 7 H
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H
V
H
V
8
V
5 P
T
3 P
H
T
V
P
HYBRIDS As recorded by Derryl Gabel Transcribed by Derryl Gabel
Music by Derryl Gabel Arranged by Derryl Gabel Performance Notes
This came from the 31313 Pentatonic idea. I had been using that for the heptatonics as well and started noticing it croping up in my improvisations with closer intervals. I decided to work out all the fingerings and chose the name hybrids because it's a cross between an arpeggio and a scale.
b
F m11 12 fr.Cmaj7+117 fr. x x x x
bP
D11 8 fr. x x
Em11 10 fr. Am11 3 fr. x x x x
= 120
^
F m11
^ V V V V V gV V V V V V V V V V V
Cmaj7+11
Gtr I
1
V V V V V V gV V V V V gV gV gV V V
I 44
Gtr II
T A B
2 4 5 H
3
2 4 5 H
H
2
1 3 5 3 1 3 5 7
H
H
H
P
P
sl.
H
H
^
D11
9
7
5 3
P
5
7 5 4
P
P
5
P
7 5 3 5 7 8 P
P
H
sl.
7
5 7 H
H
H
^
Em11
V gV V V V V V V V V V V V V V 3 V I T A B
Bm11 5 fr. x x
5 7 8 7 5 7 8 10 8 7
H
H
P
P
sl.
H
H
P
P
9
10 9 7 P
P
V V V V g V V gV V V V V V V V V V 9
10 8 7 8 10 12 P
P
sl.
H
10
H
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9 10 12 H
H
11
8 10 12 10
H
H
P
P
HYBRIDS - Derryl Gabel
Page 2 of 2
^
Am11
^
Bm11
V V V V V V V V V V V g V V V V V
V V V V V V gV V V V 5 V gV V V V V I T A B
8 10 12 13 12 10
sl.
H
H
P
11
14 12 10
P
P
12
P
14 12 10 12 14 P
P
^ V V gV V V V V gV 7 I
sl.
H
15
14
12 14 16
H
H
H
14
12 13 15 13 12 13 15 17 15 13
H
Cmaj7+11
T A B
16
17 16 14 P
P
15
V
17 15 14 P
P
V
15 H
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H
P
P
sl.
H
H
P
P
HYBRIDS 2 As recorded by Derryl Gabel Transcribed by Derryl Gabel
Music by Derryl Gabel Arranged by Derryl Gabel Performance Notes
This came from the 31313 Pentatonic idea. I had been using that for the heptatonics as well and started noticing it croping up in my improvisations with closer intervals. I decided to work out all the fingerings and chose the name hybrids because it's a cross between an arpeggio and a scale.
b
F m11 12 fr.Cmaj7+117 fr. x x x x
D11 8 fr. x x
P bF m11
Em11 10 fr. Am11 3 fr. x x x x
Bm11 5 fr. x x
= 120
^
^ V V V V V V V V V V V V V V gV V
Cmaj7+11
Gtr I
V V V V V V V g V V V V V g V V V V
1 I 44
Gtr II
T A B
2 3 5 H
4
2 4 5
H
H
3
2 3 5 3 2 3 5 7
H
H
H
P
P
sl.
H
H
^
D11
9
7
P
5
7 5 4
P
P
5
7 5 3 5 7 9
P
P
P
H
sl.
7
H
5 7 H
H
^
Em11
V V V V V V V V V V V V g V V V V 3 I T A B
5 3
5 7 8 7 5 7 8 10 8 7
H
H
P
P
sl.
H
H
P
P
8
11 9 7 P
P
V V V V V V g V V V gV V V V V V V
9
10 9 7 9 10 12 P
P
sl.
H
10
H
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9 11 12 H
H
10
8 10 12 10
H
H
P
P
HYBRIDS 2 - Derryl Gabel
Page 2 of 2
^
Am11
^
Bm11
gV V V V V V V V V V V V V V V V
V V V gV V V V V V gV V V V V V V 5 I T A B
8 10 12 14 12 10
sl.
^ V
H
H
P
12
14 12 11
P
P
12
14 12 10 12 14
P
P
P
sl.
H
15
14
12 14 16
H
H
H
13
12 14 15 14 12 14 15 17 15 14
H
Cmaj7+11
7
I T A B
15
V
V
V gV
17 16 14 P
P
16
V
V
V
V
V
17 15 14 P
P
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H
P
P
sl.
H
H
P
P
MELODIC MINOR HYBRIDS As recorded by Derryl Gabel Transcribed by Derryl Gabel
Music by Derryl Gabel Arranged by Derryl Gabel Performance Notes
This came from the 31313 Pentatonic idea. I had been using that for the heptatonics as well and started noticing it croping up in my improvisations with closer intervals. I decided to work out all the fingerings and chose the name hybrids because it's a cross between an arpeggio and a scale.
b
I actually started fingering out the hybrids with the melodic minor harmony first.
Am/maj7 5 fr.Am/maj7/C7 fr. Am/maj7/E5 fr.Am/maj7/G8 fr. x x x x x x x x
P = 120
^
Am/maj7 Gtr I
1
^ V V V V gV gV V V V V V V V gV V V
Am/maj7/C
V V V V V V V gV V g V g V V gV gV V V
I 44
Gtr II
T A B
2 4 5 H
3
2 4 6
1 3 5 3 1 3 5 7
H
H
H
4
H
P
H
P
sl.
H
H
^
Am/maj7/E
9
7
P
5
7 6 4
P
P
5
P
7 5 4 5 7 8 P
P
H
sl.
7
6 7 H
H
H
b
^
Am/maj7/G
V gV gV V V V V V V V V V V V V 3 V I T A B
5 3
5 7 9 7 5 7 9 10 9 7
H
H
P
P
sl.
H
H
P
P
9
10 9 7 P
P
V V V g V g V V gV V V V V V V gV V V 9
10 8 7 8 10 12 P
P
sl.
H
11
H
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9 10 12 H
H
11
9 10 12 10
H
H
P
P
MELODIC MINOR HYBRIDS - Derryl Gabel
Page 2 of 2
^
Am/maj7/E
^
Am/maj7/C
V V V V V V V V V V g V g V V gV V V
gV V V V V V gV V V V 5 I gV gV V V V V T A B
9 10 12 13 12 10
sl.
H
H
P
11
14 12 10
P
P
11
P
14 12 10 12 14 P
P
sl.
^ V gV gV V V V gV gV aPR gV 7 I
H
16
15
12 14 16
H
H
H
13
12 13 15 13 12 13 15 17 15 13
H
Am/maj7
T A B
16
18 16 14 P
P
15
17 16 14 P
P
16
15 H
V
H
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H
P
P
sl.
H
H
P
P
MELODIC MINOR HYBRIDS 2 As recorded by Derryl Gabel Transcribed by Derryl Gabel
Music by Derryl Gabel Arranged by Derryl Gabel Performance Notes
This came from the 31313 Pentatonic idea. I had been using that for the heptatonics as well and started noticing it croping up in my improvisations with closer intervals. I decided to work out all the fingerings and chose the name hybrids because it's a cross between an arpeggio and a scale.
b
Am/maj7 5 fr.Am/maj7/C7 fr. Am/maj7/E5 fr.Am/maj7/G8 fr. x x x x x x x x
P = 120
^
Am/maj7 Gtr I
^ V gV V V V V V V gV V V V V V gV e V
Am/maj7/C
V V V V V V V g g V V V V V g V V V V
1 I 44
Gtr II
T A B
2 3 5 H
4
2 4 5
H
H
3
2 4 5 4 2 4 5 7
H
H
H
P
P
sl.
H
H
^
Am/maj7/E
9
7
P
5
7 5 4
P
P
6
7 5 3 5 7 9
P
P
P
H
sl.
8
5 7 H
H
H
b
^
Am/maj7/G
V V V V V V V V gV V V V g V V V V 3 I T A B
5 4
5 7 8 7 5 7 8 10 8 7
H
H
P
P
sl.
H
H
P
P
9
11 9 7 P
P
V V V V V V g V V gV gV V V V V V V
10
11 9 7 9 11 12 P
P
sl.
H
10
H
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9 11 14 H
H
10
8 10 12 10
H
H
P
P
MELODIC MINOR HYBRIDS 2 - Derryl Gabel
Page 2 of 2
^
Am/maj7/E
^
Am/maj7/C
gV gV V V V V V V V V V V V V V gV
V V V gV V V V V gV gV V V V gV V V 5 I 8 10 12 14 12 10
T A B
sl.
^ V
H
H
P
12
14 13 11
P
P
12
14 12 11 12 14
P
P
P
sl.
H
15
14
13 14 16
H
H
H
13
12 14 16 14 12 14 16 17 16 14
H
Am/maj7
7
I T A B
15
V
V
V gV
17 16 14 P
P
16
V
V
V
V
V
17 15 14 P
P
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H
P
P
H
H
H
P
P
HARMONIC MINOR HYBRIDS As recorded by Derryl Gabel Transcribed by Derryl Gabel
Music by Derryl Gabel Arranged by Derryl Gabel Performance Notes
This came from the 31313 Pentatonic idea. I had been using that for the heptatonics as well and started noticing it croping up in my improvisations with closer intervals. I decided to work out all the fingerings and chose the name hybrids because it's a cross between an arpeggio and a scale.
b
Am/maj7 5 fr.Am/maj7/C7 fr. Am/maj7/E5 fr.Am/maj7/G8 fr. x x x x x x x x
P = 120
^
Am/maj7 Gtr I
1
^ V V V V gV V V V V V V gV V V V V
Am/maj7/C
V V V V V V V V V g V V V V V g V V
I 44
Gtr II
T A B
1 4 5 H
3
2 3 6 H
H
4
H
H
H
P
P
sl.
H
H
^
Am/maj7/E
3
9
7
5
7 6 3
P
P
P
5
P
7 5 4 5 7 8 P
P
H
sl.
7
6 7 H
H
H
b
^
Am/maj7/G
V V gV V V V V V V V V V V V V V I T A B
5 3
1 3 5 3 1 3 5 6
5 6 9 6 5 6 9 10 9 6
H
H
P
P
sl.
H
H
P
P
9
10 9 7 P
P
V gV V V V V V V V V V V V V V gV
8
10 8 7 8 10 12 P
P
sl.
H
11
H
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9 10 12 H
H
10
9 10 12 10
H
H
P
P
HARMONIC MINOR HYBRIDS - Derryl Gabel
Page 2 of 2
^
Am/maj7/E
^
Am/maj7/C
V V V V V V V V V V g V V V gV V V
gV V V V V V V V V V 5 I gV V V V V V T A B
9 10 12 13 12 10
sl.
H
H
P
13
14 12 10 P
P
11
P
13 12 10 12 13 P
P
sl.
^ V gV V V V V gV V aPR gV 7 I
H
16
15
12 14 15
H
H
H
13
12 13 15 13 12 13 15 17 15 13
H
Am/maj7
T A B
16
18 15 14 P
P
15
17 16 13 P
P
16
15 H
V
H
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H
P
P
sl.
H
H
P
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HARMONIC MINOR HYBRIDS 2 As recorded by Derryl Gabel Transcribed by Derryl Gabel
Music by Derryl Gabel Arranged by Derryl Gabel Performance Notes
This came from the 31313 Pentatonic idea. I had been using that for the heptatonics as well and started noticing it croping up in my improvisations with closer intervals. I decided to work out all the fingerings and chose the name hybrids because it's a cross between an arpeggio and a scale.
b
Am/maj7 5 fr.Am/maj7/C7 fr. Am/maj7/E5 fr.Am/maj7/G8 fr. x x x x x x x x
P = 120
^
Am/maj7 Gtr I
^ V gV V V V V gV V V V V V V V V V
Am/maj7/C
V V V V V V g V V V V V V V V V V
1 I 44
Gtr II
T A B
2 3 5 H
3
2 4 5
H
H
3
1 4 5 4 1 4 5 7
H
H
H
P
P
sl.
H
H
^
Am/maj7/E
9
6
P
6
7 5 4
P
P
6
7 5 3 5 7 8
P
P
P
H
sl.
6
H
5 7 H
H
b
^
Am/maj7/G
V V V V V V V V gV V V V V V V V 3 I T A B
5 4
5 7 8 7 5 7 8 10 8 7
H
H
P
P
sl.
H
H
P
P
9
10 9 7 P
P
V V V V V g V V V gV V V V V V V V
9
11 8 7 8 11 12 P
P
sl.
H
10
H
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9 10 13 H
H
10
8 10 12 10
H
H
P
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HARMONIC MINOR HYBRIDS 2 - Derryl Gabel
Page 2 of 2
^
Am/maj7/E
^
Am/maj7/C
V gV V V V V V V gV V V V V V V gV
V V V V V V V V gV V V V V gV V V 5 I 8 10 12 13 12 10
T A B
sl.
^ V
H
H
P
12
14 13 10
P
P
12
14 12 11 12 14
P
P
P
sl.
H
15
14
13 14 16
H
H
H
13
12 13 16 13 12 13 16 17 16 14
H
Am/maj7
7
I T A B
15
V
V
V
17 16 14 P
P
V
15
V
V
V
V
V
17 15 14 P
P
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313313 HEPTATONICS As recorded by Derryl Gabel Transcribed by Derryl Gabel
Music by Derryl Gabel Arranged by Derryl Gabel Performance Notes
313313 Heptatonics This melodic concept came from the Pentatonic ideas using the 313313 fingerings. I thought, "it would be cool to be able to do the same things with triads". I chose the name Heptatonics because there are seven diffrent notes used. In some cases there are more. The geometric principal is to invision triads stacked in fourths across the strings. Now play the corresponding triads except on every other string just play the center note, which is the 3rd of the triad. G7sus4 3 fr. Amadd9 5 fr. Dm11 3 fr. x x x x x x
P = 240 G7sus4 Gtr I ^
^
V V V V V V g V V V V 4 V 1 I4 V V V V V
gV fV V V V V V V V V V V V V V V
Gtr II
T A B
7 10 13
10
7 10 14 H
H
10 14 17 H
H
14
10 13 17 13 10
H
H
H
P
14
P
^
H
H
H
H
H
P
P
16
19 16 12 P
P
14 10 7
P
P
10
P
13 10 7 8 12 15 P
P
H
sl.
12
9
H
^
V V V V eV V e V f V V V V V V V V V 3 I 12 15 19 15 12
17 14 10
P
Amadd9
T 16 12 16 19 A 12 15 B
Bm11 5 fr. x x
V eV V V V V V V V V V V V V V V
15
12 9 P
12
P
15 12 8 10 13 17 P
P
sl.
H
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H
14
10 14 17 H
H
14 17 20 H
H
313313 HEPTATONICS - Derryl Gabel
Page 2 of 2
^
^
Dm11
V V V V V V V eV V V V V V 5 V V V I T 17 A B
13 17 20 17 13
H
H
P
P
17
20 17 14 P
P
17 14 10 P
P
14
e V fV V V V V V V V V V V V V V V
17 13 P
10 12 15 19 P
sl.
H
H
15
12 15 19 12 15 19 H
H
^ U
Bm11
7
I T A B
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P
H
H
15
12 15 18 17
H
H
sl.
31313 HEPTATONICS 2 As recorded by Derryl Gabel Transcribed by Derryl Gabel
Music by Derryl Gabel Arranged by Derryl Gabel Performance Notes
31313 Heptatonics This melodic concept came from the Pentatonic ideas using the 31313 fingerings. I thought, "it would be cool to be able to do the same things with triads". I chose the name Heptatonics because there are seven diffrent notes used. In some cases there are more. The geometric principal is to invision triads stacked in fourths across the strings. Now play the corresponding triads except on every other string just play the center note, which is the 3rd of the triad. In some instances there will be an accidental which creates a chromatic passing tone. I did this because I liked the way it sounded plus it made it easier to play. G7sus4 3 fr. Amadd9 5 fr. Dm11 3 fr. x x x x x x
P = 120 G7sus4 Gtr I ^
V V V V V V V e V f V V V 4 V V 1 V I4 V V Gtr II
7 10 13 10 7 8 12 15
T A B
12 10 14
15 12 9
10
12
7 10 14
14 15 12 8 10 14 17
H
H
H
H
H
P
P
sl.
H
H
^
T A B
12 8
7 10 14
Amadd9
I
^ V V V eV V V V V V V V V V V V V
11
H
3
Bm11 5 fr. x x
V V V gV V V V V V V V V e V V V V
P
P
P
P
P
H
sl.
V V V V e V f V V V V V V V V V V V 13 17 20 17
16
17
H
^
10 13 17 13 10 12 15 19 15 12 14
H
H
17 19 16 12
17
15
14 17 20
19 15 12 14 17 20 H
H
P
P
sl.
H
H
P
P
P
P
P
P
sl.
H
H
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H
H
H
H
P
P
31313 HEPTATONICS 2 - Derryl Gabel
Page 2 of 2
^
Dm11
V V V V V V gV fV V V V V V V V V 5 I
^
V V V V V V V V V V gV V V V V V
13 15 19 22 19 15
T A B
15 19 22 19 15 17 20 24 19
19 22 19 16
16 19 22 16 19 22 19
19 22 19 15 19 22
sl.
H
H
P
P
P
P
P
P
H
H
H
H
P
H
H
^ W
Bm11
7
I T A B
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H
H
P
P
H
H
H
31313 HEPTATONICS As recorded by Derryl Gabel Transcribed by Derryl Gabel
Music by Derryl Gabel Arranged by Derryl Gabel Performance Notes
31313 Heptatonics This melodic concept came from the Pentatonic ideas using the 31313 fingerings. I thought, "it would be cool to be able to do the same things with triads". I chose the name Heptatonics because there are seven diffrent notes used. In some cases there are more. The geometric principal is to invision triads stacked in fourths across the strings. Now play the corresponding triads except on every other string just play the center note, which is the 3rd of the triad. In some instances there will be an accidental which creates a chromatic passing tone. I did this because I liked the way it sounded plus it made it easier to play. G7sus4 3 fr. Amadd9 5 fr. Dm11 3 fr. x x x x x x
P = 120 Gtr I ^
G7sus4
V V V V V V V V g V V 1 I 44 V V V V V V Gtr II
T A B
7 10 13 10 7 8 12 15
^ V V gV fV V V V V V V V V V V V V 12 8
10
11
7 10 14
15 12 9
10 14 12
10 7 10 13 H
H
H
H
H
H
P
P
sl.
H
H
^
Amadd9
V V V gV V V V V V V V V e V V V V 3 I T A B
Bm11 5 fr. x x
P
P
14 15 12 8 10 13 17
P
P
P
H
sl.
V V V V e V f V V V V V V V V V V V 13 17 20 17
15
17
16 19 15 12
H
H
P
P
sl.
H
H
P
P
H
^
10 13 17 13 10 12 15 18 15 12 13
H
H
P
P
15
17 19 15 12 13 17 20 P
P
sl.
H
H
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14 17 20 H
H
H
H
P
P
31313 HEPTATONICS - Derryl Gabel
Page 2 of 2
^
Dm11
V V V V V V gV fV V V V V V V V 5 I V T A B
^
V V V V V V V V V V gV V V V V V
13 15 18 22 18 15
15 18 22 18 15 17 20 24 18
18 22 19 15
15 19 22 15 19 22 19
sl.
H
H
P
P
P
P
19 22 19 15 19 22 P
P
H
H
H
H
P
H
H
^ W
Bm11
7
I T A B
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H
H
P
P
H
H
H
313214 ARPEGGIOS As recorded by Derryl Gabel Transcribed by Derryl Gabel
Music by Derryl Gabel Arranged by Derryl Gabel Performance Notes
313214 Arpeggios. The "313214" refers to the fingering used: 3 notes on the low E, 1 on the A, 3 on the D etc...
`
`
The four notes on the high E are played with the 2 fingers of my left hand and the 2 (usually the middle and ring fingers) of my right. Bm9 7 fr. D7 x x
5 fr. Bx maj9 6 fr.
P = 120
^
V V V V V V V V V g g V 1 I g 44 V V V V V V
V V V V V V j V V V V V V
DM7 Arpeggio
Gtr I
T A B
9 10 14 sl.
12
11 12 16 H
H
14 18
H
15
14 17 21 24 21 17
H
H
H TH TP T P
^
8 10 14 H
H
12
10 12 16 H
H
14 17 H
HTHT P T P
H
18 14 P H
16 12 11 P
P
12 H
14 10 9 P
sl.
V V fV V V V j fV V V V fV V
14 17 20 24 20 17
H
15
^
fV V V V V V D7 Arpeggio fV V V g V 3 I g f V V V V fV V 15
14
P
D7
T A B
6 fr.
^
Bm9 Gtr II
B9
14
P
15
H
17 14 PH
16 12 10 P
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P
12 H
14 10 8 P
P
`
313214 ARPEGGIOS - Derryl Gabel
Page 2 of 2
^
^
B maj9
fV V V V V f V fV V V f f V 5 I f f V V f V V fV V
fV V fV V fV V j fV V fV V fV V
Dm7 Arpeggio
T A B
`
8 10 13 H
12
10 12 15 H
H
H
14 17
15
H
13 17 20 24 20 17
H
HTHT P T P
13
P
^
V V V V g V V V V g V V e 7 Ie V V V gV V V
8 10 13 H
H
11
10 12 15 H
H
13 17 H
13 16 20 22 20 16
H
HTHT P T P
PH
15 12 10 P
P
12 H
13 10 8 P
P
V V V gV V V V gV V V V V j
Dm7b5 Arpeggio
15
H
17 14
^
B9
T A B
15
13
P
15
H
17 13 PH
15 12 10 P
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11 H
13 10 8 P
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STRING SKIPPING ARPEGGIOS As recorded by Derryl Gabel Transcribed by Derryl Gabel
Music by Derryl Gabel Arranged by Derryl Gabel Performance Notes
I started doing this after I saw Paul Gilbert do it on his Intense Rock REH video. He did it with an E minor 7th. I thought, "that sounds so cool! I've got to learn every arpeggio like that."
`
`
`
`
`
Notice that I'm using right hand hammer-ons and pull-offs to extend the phrase. I learned this technique from Derek Taylor. D7 Bm9 7 fr. x x
5 fr. Bx maj9 6 fr.
B9
D7 5 6 fr. Bm/maj7 x x 7 fr. x x
P = 120
^
V V V V V V V V ggg 4 V V V V 1 V I 4 V V V
V V V V V V V V
DM7 Arpeggio
Gtr II
T A B
10 14 15 19 22 19 15 14 10 9 10 14 sl.
12
11 12 16 H
H
H
16 12 11 H
H
HTHT P T P
P
P
^
V V V V V V V V ggg V V V V 3 I V V V V T A B
Bm7 5 6 fr. D7 9 4 fr. x x x x
^
Bm9 Gtr I
4 fr. x D7+5 5 fr. x
P
P
12 H
14 10 9 P
sl.
^
V V V V V V V V V V V V V
10 14 15 19 22 19 15 14 10 9 10 14 sl.
H
12
11 12 16 H
H
16 12 11 19 23 19 16 12 11 H
H
HTHT P T P
P
P
P
P
H THT P T P
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P
P
12 H
14 10 9 P
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STRING SKIPPING ARPEGGIOS - Derryl Gabel
Page 2 of 5
^
^
D7
V V V V V V f V V gg V V V f V 5 I fV V V V
V V fV V V V fV V
D7 Arpeggio
T A B
10 13 15 19 22 19 15 13 10 8 10 14
^
sl.
12
10 12 16 H
H
16 12 10
H
H
H
H TH T P T P
P
P
V V V V V V f V V gg V V V f V 7 V I fV V V T A B
P
H
14 10 8 P
sl.
V V fV V f V V V V V V V V fV
10 13 15 19 22 19 15 13 10
`
8 10 14 sl.
12
10 12 16 H
H
16 12 10 19 22 19 16 12 10
H
H
H
HTHT P T P
P
P
P
^
P
HTHT P T P
P
P
12 H
14 10 8 P
sl.
^
fV V V V V V f V V ff fV V V f V 9 I fV V fV V
fV V fV V fV V fV V
Dm7 Arpeggio
10 13 15 18 22 18 15 13 10 8 10 13
^
sl.
12
10 12 15 H
H
15 12 10
H
H
H
H TH T P T P
P
P
fV V V V V V f V V gg fV V V f V 11 I fV V fV V T A B
12
^
B maj9
T A B
P
P
P
12 H
13 10 8
^
P
sl.
fV V fV V f V V V V V V fV V fV
10 13 15 18 22 18 15 13 10 8 10 13 sl.
H
12
10 12 15 H
H
15 12 10 19 22 19 15 12 10 H
H
HTHT P T P
P
P
P
P
HTHT P T P
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P
12 H
13 10 8 P
sl.
`
STRING SKIPPING ARPEGGIOS - Derryl Gabel
Page 3 of 5
^
^
B9
V gV V V V V V V V gV e V V 13 e I V V V gV
V V V gV V V V V
Dm7b5 Arpeggio
T A B
9 13 15 18 21 18 15 13 9 8 10 13
^
sl.
11
10 12 15 H
H
15 12 10 H
H
H
H TH T P T P
P
P
P
8 10 13
11
13 10 8 P
sl.
V V V gV V V V V V gV V V V
15 12 10 18 22 18 15 12 10
10 12 15 H
H
H
H
H
HTHT P T P
P
^
Bm/maj7
gV gV V V V V g V V gV gV e V g V 17 e I gV V gV gV DM7#5 Arpeggio
P
P
P
HTHT P T P
P
11 H
P
^
gV V gV gV gV V gV V
11 14 15 19 23 19 15 14 11 9 10 14
^
sl.
13
11 12 16 H
H
H
16 12 11 H
H
HTHTP TP
P
P
gV gV V V V V g V V gV gV e V g V 19 e I gV V gV gV T A B
H
9 13 15 18 21 18 15 13 9
sl.
T A B
P
^
V gV V V V V V V V gV e V V 15 e I V V V gV T A B
11
P
P
^
13 H
gV V gV gV
14 10 9 P
sl.
V V V V V gV gV V gV
11 14 15 19 23 19 15 14 11 9 10 14 sl.
H
13
16 12 11 20 24 20 16 12 11
11 12 16 H
H
H
H
HTHTP TP
P
P
P
P
HTHT P T P
P
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13 H
14 10 9 P
sl.
13 10 8 P
sl.
`
STRING SKIPPING ARPEGGIOS - Derryl Gabel
^
Page 4 of 5
D7 5
gV e V V V V V V V gV e V e V V 21 e V e I V V gV D7b5 Arpeggio
T A B
8 10 14 sl.
11
10 12 16 H
H
H
16 12 10 H
H
HTHTP TP
V gV V V gV e 23 Ie V V gV V V V
P
P
V V V V V
8 10 14
13
10 12 16
P
11 H
^
14 10 8 P
sl.
gV V V V V V V V V V gV V V
H
H
H
16 12 10 20 22 20 16 12 10 H
H
HTHTP TP
^
P
P
D7+5
V gV V V gV e 25 Ie V V gV V V V D7#5 Arpeggio
V V V V V
P
P
HTHT P T P
P
P
13 H
14 10 8 P
sl.
^
gV V V V gV V V V
11 13 15 19 23 19 15 13 11 8 10 14
^
sl.
13
10 12 16 H
H
H
16 12 10 H
H
HTHTP TP
V V gV V g V e 27 Ie V V gV V V V T A B
P
11 13 15 19 23 19 15 13 11
sl.
T A B
gV V V e V gV V V V
9 13 15 19 21 19 15 13 9
^
T A B
^
P
P
V V V V V
P
P
^
13 H
14 10 8 P
sl.
gV V V V V V V V V V gV V V
11 13 15 19 23 19 15 13 11 8 10 14 sl.
H
13
10 12 16 H
H
16 12 10 20 22 20 16 12 10 H
H
HTHTP TP
P
P
P
P
HTHT P T P
P
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13 H
14 10 8 P
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`
STRING SKIPPING ARPEGGIOS - Derryl Gabel
^
Page 5 of 5
Bm7 5
V V V V V V g V V V V e V g V 29 e I gV V V V DmM7 Arpeggio
T A B
9 10 13 sl.
12
11 12 15 H
H
H
15 12 11 H
H
HTHTP TP
P
P
V V V V V V g V V V V e V g V 31 e V I gV V V
`
9 10 13
^
12
11 12 15
P
12 H
^
13 10 9 P
sl.
V V gV V gV V V V V V V V gV
H
H
H
15 12 11 19 23 19 15 12 11 H
H
HTHTP TP
P
P
P
D7 9
V gV V V V V f V V V gV e V 33 e f V I gV V V gV D o7 Arpeggio
P
HTHT P T P
P
P
12 H
13 10 9 P
sl.
^
V V fV gV V V gV V
9 12 15 18 21 18 15 12 9 9 10 13
^
sl.
11
9 12 15 H
H
H
15 12 9 H
H
HTHTP TP
P
P
V gV V V V V f V V V gV e V 35 e f V I gV V V gV T A B
P
10 14 15 18 22 18 15 14 10
sl.
T A B
V V gV V V V gV V
10 14 15 18 22 18 15 14 10
^
T A B
^
P
P
^
11 H
13 10 9 P
sl.
V V fV gV fV V V V V gV V V gV
9 12 15 18 21 18 15 12 9 9 10 13 sl.
H
11
9 12 15 H
H
15 12 9 18 21 18 15 12 9 H
H
HTHTP TP
P
P
P
P
HTHT P T P
P
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P
11 H
13 10 9 P
sl.
STRING SKIPPING ARPEGGIOS 2 As recorded by Derryl Gabel Transcribed by Derryl Gabel
Music by Derryl Gabel Arranged by Derryl Gabel Performance Notes
I started doing this after I saw Paul Gilbert do it on his Intense Rock REH video. He did it with an E minor 7th. I thought, "that sounds so cool! I've got to learn every arpeggio like that."
`
`
`
b`
`
Notice that I'm using right hand hammer-ons and pull-offs to extend the phrase. I learned this technique from Derek Taylor. Em9
x
G7
E 9 5 fr. Em/maj7 7 fr. E maj9 5 fr. x 3 fr. x x x x x
G7 5 2 fr. x x
P = 120
^
^
Em9 Gtr I
V V V V V f V V V V V f V g g V 1 I g 44 V fV V V
V fV V V V fV V V
GM7 Arpeggio
Gtr II
10 14 15 19 22 19 15 14 10
T A B
9 10 14 sl.
12
11 12 16
H
H
H
16 12 11 H
H
HTHT P T P
P
P
^
V V V V V f V V V V V g f V g V 3 I g V fV V V T A B
G7+5 3 fr. Em7 5 6 fr. C 7 9 3 fr. x x x x x x
P
P
12
14 10 9
H
P
sl.
^
V fV V V V V V V V V V fV V
10 14 15 19 22 19 15 14 10 9 10 14 sl.
H
12
11 12 16 H
H
16 12 11 19 23 19 16 12 11 H
H
HTHT P T P
P
P
P
P
H THT P T P
Gabelvision ASCAP Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org
PDF created with pdfFactory trial version www.pdffactory.com
P
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12 H
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sl.
STRING SKIPPING ARPEGGIOS 2 - Derryl Gabel
Page 2 of 6
^
^
G7
V V V V V V V f V V V V g f V V 5 I g fV V V
V V fV V V V fV V
G7 Arpeggio
10 13 15 19 22 19 15 13 10
T A B
8 10 14
^
sl.
12
H
10 12 16 H
16 12 10
H
H
H
H TH T P T P
P
P
V V V V V V f V V V V V g f V 7 I g fV V V V T A B
^
14 10 8
H
P
sl.
10 13 15 19 22 19 15 13 10
`
8 10 14 sl.
12
10 12 16 H
H
16 12 10 19 22 19 16 12 10
H
H
H
HTHT P T P
P
P
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^
eV V V V V V f V V eV V V f f V 9 I f fV V eV V 8 10 13
^
sl.
H
10 12 15 H
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15 12 10
H
H
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P
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e V V fV V eV V fV V
10 13 15 18 22 18 15 13 10
12
P
12
^
Gm7 Arpeggio
T A B
P
V V fV V f V V V V V V V V fV
E maj9
T A B
P
12
P
^
P
12
13 10 8
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P
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e V V fV V f V V V V V V eV V fV
10 13 15 18 22 18 15 13 10 8 10 13 sl.
H
12
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HTHT P T P
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`
STRING SKIPPING ARPEGGIOS 2 - Derryl Gabel
Page 3 of 6
^
^
E9
V V gV V V V V V g V V V V ee g V 13 I V V V
V V V gV V V V V
Gm7b5 Arpeggio
T A B
9 13 15 18 21 18 15 13 9
8 10 13
^
sl.
11
10 12 15 H
H
15 12 10
H
H
H
H TH T P T P
P
P
^
V gV V V V V V V V gV V V e 15 Ie V V V gV T A B
8 10 13
11
P
sl.
V V V gV V V V V V gV V V V
10 12 15
H
H
15 12 10 18 22 18 15 12 10 H
H
H
HTHT P T P
P
^
Em/maj7
f V gV V V V V g V V V fV gV g V e g V 17 Ie gV V f V GM7#5 Arpeggio
P
P
P
9 10 14 sl.
13
H
11 12 16 H
H
fV V gV gV
16 12 11 H
H
HTHTP TP
P
P
f V gV V V V V g V V fV gV V g V e 19 Ie gV V f V gV
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P
11 H
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^
11 14 15 19 23 19 15 14 11
^
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P
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11
^
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fV V gV gV
fV V gV V 14 10 9 P
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11 14 15 19 23 19 15 14 11 9 10 14 sl.
H
13
11 12 16 H
H
16 12 11 20 24 20 16 12 11 H
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13 H
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13 10 8 P
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STRING SKIPPING ARPEGGIOS 2 - Derryl Gabel
^
Page 4 of 6
`
G7 5
fV eV V V V V V V V fV e V V e e V 21 Ie V V f V G7b5 Arpeggio
T A B
9 13 15 19 21 19 15 13 9
8 10 14 sl.
11
10 12 16 H
H
H
H
H
HTHTP TP
P
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V V f V V V V V V V f V e V V V 23 e f V I V V
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11 H
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^
fV V V V V V V V V V fV V V
11 13 15 19 23 19 15 13 11 8 10 14 sl.
13
H
10 12 16 H
H
16 12 10 20 22 20 16 12 10 H
H
HTHTP TP
P
P
^
G7+5
ee V V f V V V ee V ee V fV V f V V ee V fV e 25 Ie V V f V G7#5 Arpeggio
T A B
fV V V e V fV V V V
16 12 10
^
T A B
^
P
P
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P
^
fV V V ee V fV V V V
11 13 15 19 23 19 15 13 11 8 10 14 sl.
H
13
10 12 16 H
H
16 12 10 H
H
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P
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13 H
14 10 8 P
sl.
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PDF created with pdfFactory trial version www.pdffactory.com
P
13 H
14 10 8 P
sl.
STRING SKIPPING ARPEGGIOS 2 - Derryl Gabel
Page 5 of 6
^
ee V V V f V V ee V ee V fV V f V V ee V fV e 27 Ie V V f V T A B
^
fV V V ee V fV ee V V V V ee V fV V V
11 13 15 19 23 19 15 13 11 8 10 14 sl.
^
13
10 12 16
H
H
H
16 12 10 20 22 20 16 12 10 H
H
HTHTP TP
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^
Em7 5
ee V V V V V V g V V ee V V ee V V V g V gV V ee V e V ee V 29 e I gV V V gV V GmM75 Arpeggio
T A B
10 14 15 18 22 18 15 14 10
9 10 13 sl.
12
H
11 12 15 H
H
15 12 11 H
H
HTHTP TP
P
P
^
P
P
12 H
13 10 9 P
sl.
^
ee V V V V V V g V V ee V V V gV V V V ee V V V g V gV V V ee V e V ee V 31 e I gV V V gV T A B
10 14 15 18 22 18 15 14 10 9 10 13 sl.
H
12
11 12 15 H
H
15 12 11 19 23 19 15 12 11 H
H
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Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org
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12 H
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STRING SKIPPING ARPEGGIOS 2 - Derryl Gabel
Page 6 of 6
^
C79
V V gV V V V V V g V V V V ee g V 33 I gV V V G o7 Arpeggio
T A B
9 12 15 18 21 18 15 12 9
9 10 13
^
sl.
11
9 12 15 H
H
H
V V V gV V V gV V
15 12 9 H
H
HTHTP TP
P
P
V gV V V V V V V V gV V e V 35 Ie gV V V gV T A B
^
^
P
P
11 H
13 10 9 P
sl.
V V V gV V V V V V gV V V gV
9 12 15 18 21 18 15 12 9 9 10 13 sl.
H
11
9 12 15 H
H
15 12 9 18 21 18 15 12 9 H
H
HTHTP TP
P
P
P
P
HTHT P T P
P
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P
11 H
13 10 9 P
sl.
EXTENDED STRING SKIPPING ARPEGGIO SEQUENCES As recorded by Derryl Gabel Transcribed by Derryl Gabel
Music by Derryl Gabel Arranged by Derryl Gabel Performance Notes
This takes the string skipping arpeggio concept a little further by incorperating "rolls" to enable you to smoothly shift up the neck and cover a broader range. Derek Taylor showed this to me as well. Thanks Derek! What smart guy!
b
F m9 2 fr.
bP
A13 5 fr. x x
Fmaj9 1 fr. x
^
^
Gtr I
V V V V V V V V V V V V V V V V
AM9 Arpeggio
ggg 4 I 4
1 fr.
= 120
F m9
1
F9
V V V V V V V V V V V V V V V V
Gtr II
12 16 17 21 24 21 17 16 12
T A B
4 5 9 sl.
7
6 7 9 7 6 7 9 11 H
H
H
P
P
sl.
H
9 13 14 13
H
H
H
P
9 13 14 18 P
sl.
H
18 14 13
H
H
^
^ ggg V V V V V V V 3 V V V V V V V I V V T A B
9 13 14 13 9 sl.
H
H
P
P
11 9 P
7 P
6 sl.
7 H
7
9 H
P
6
7
P
9
W
5 P
H
4 sl.
Gabelvision ASCAP Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org
PDF created with pdfFactory trial version www.pdffactory.com
HTHTP TP
P
P
P
P
sl.
EXTENDED STRING SKIPPING ARPEGGIO SEQUENCES - Derryl Gabel
^
^
A13
V V V V V V V V V V V V V V V V
A9 Arpeggio 5
g Ig
V V V V V V V V V V V V V V V V
T A B
3 5 9 H
5 7 9 7 5 7 9 11
7
H
H
H
P
P
sl.
H
12 15 17 21 24 21 17 15 12
9 12 14 12
H
H
H
P
Page 2 of 3
9 12 14 18 P
sl.
18 14 12
H
H
H
^ gg V V V V V V V 7 V V V V V V V I V V T A B
9 12 14 12 9 P
H
H
sl.
11 9
P
P
7 P
5 H
sl.
9
7 H
7 P
5
^
3 5 8
^
11
H
5 7 10 7 5 7 10 12
7
H
H
H
P
P
sl.
H
H
H
P
9 12 14 12 9 sl.
H
H
P
P
12 10 7 P
P
5 sl.
H
H
P
P
sl.
W
5
3 sl.
9 12 14 17 P
7 10 7
P
^
sl.
H
17 14 12
H
H
5
7
P
8
W
5 P
H
^
gg V V V V V V fV V V V V V V V I fV V T A B
P
12 15 17 20 24 20 17 15 12
9 12 14 12 H
P
fV V V V V V V V V V fV V V V V V
V V V V V f V V V V V V V V f V V V
T A B
H TH TP TP
^
Am9 Arpeggio
ff I
9 P
Fmaj9
9
7
P
H
3 sl.
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H TH TP TP
P
P
P
P
sl.
EXTENDED STRING SKIPPING ARPEGGIO SEQUENCES - Derryl Gabel
^
^
F9
V V gV V V V V V g V V V V V V V V
Am7b5 add9 Arpeggio 13
e Ie
V V V V g V V V V V V V V g V V V V
T A B
3 5 8
^
15
H
5 7 10 7 5 7 10 12
6
H
H
H
P
P
sl.
H
H
11 15 17 20 23 20 17 15 11
8 12 14 12 H
H
P
Page 3 of 3
9 12 14 17 P
sl.
H
17 14 12
H
H
^
ee gV V V V V fV V V I V V V V V gV V V T A B
8 12 14 12 8 sl.
H
H
P
P
12 10 7 P
P
5 sl.
7 10 7 H
H
P
5
6
P
8
W
5 P
H
3 sl.
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H TH TP TP
P
P
P
P
sl.
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