Modern Method

August 1, 2017 | Author: dhallmusic7387 | Category: Harmony, Scale (Music), Chord (Music), Melody, Music Theory

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Fundamental Guitar Instruction...

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Table of Contents Introduction How to Use this Book 1. The Fret Board 1. Overview 2. Horizontal Chromatic Scales 3. Horizontal Chromatic Scales: Play-along Exercise 1 4. Horizontal Chromatic Scales: Play-along Exercise 2 5. Vertical Chromatic Scales 6. Vertical Chromatic Scales: Play-along Exercise 1 7. Vertical Chromatic Scales: Play-along Exercise 2 2. The Major Scale 8. Overview 9. The Cycle of 4ths (and 5ths) 10. The Vertical C Major Scale 11. The Horizontal C Major Scale 12. Vertical Major Scales: Play-along Exercise 1 13. Horizontal Major Scales: Play-along Exercise 2 14. 100+ C Major Scales 3. 3-Note Arpeggios 15. Overview 16. Vertical 3-Note Arpeggios 17. Vertical 3-Note Arpeggios: Play-along Exercise 1 18. Horizontal 3-Note Arpeggios: Play-along Exercise 1 19. Horizontal 3-Note Arpeggios: Play-along Exercise 2 20. Horizontal 3-Note Arpeggios: Play-along Exercise 3

21. Horizontal 3-Note Arpeggios: Play-along Exercise 4 4. Minor Scales 22. Overview 23. Horizontal and Vertical Minor Scales 24. Natural Minor: Play-along Exercise 1 25. Harmonic Minor: Play-along Exercise 2 26. Melodic Minor: Play-along Exercise 3 5. 3-Note Minor Arpeggios 27. Overview 28. 3-Note Minor Arpeggio: Play-along Exercise 6. 4-Note Chords and Arpeggios 29. Overview 30. Major 7: Play-along Exercise 31. Learn Them All! It’s up to you! 7. Combining Horizontal and Vertical Arpeggios 32. Overview 33. Making a Practice Rhythm Track 34. C Major 7th: Play-along Exercise 8. Harmonizing the Major Scales 35. Overview 36. Intervals: 2nds 37. Intervals: 3rds 38. Intervals: 4ths 39. Intervals: 5ths 40. Intervals: 6ths 41. Intervals: 7ths

42. Intervals: Play-along Exercise 9. Playing Melodies 43. Overview 10. Harmonizing Melodies 44. Overview 45. First Part: The Melody 46. Second Part: The 3rd Above 47. Third Part: The 3rd Below 11.Triads & Their Inversions: Inversion Excursion 48. Overview 12. Harmonizing Scales with Triads 49. Overview 50. Learning & Practicing Triad Inversions 51. Triad Inversions: Play-along Exercise 52. Harmonizing a Melody with Triad Inversions 13. Harmonizing Scales with 4-Note Chords 53. Overview 54. Learning & Practicing Harmonizing Scales 55. Harmonizing Scales: Play-along Exercise 56. Harmonizing a Melody with 4-Note Chords 14. Modes 57.Overview 15. Chord Progressions 58. Overview 59. Learning Chord Progressions: ii-V-I and ii-V 60. Learning Chord Progressions: I-IV and I-IV-V

61. Learning Chord Progressions: I-vi-ii-V 16. Chord Melody Techniques 62. Overview 63. Chord Melody Techniques: Play-along Exercise 17. Harmonizing Scales with Three Notes 64. Overview 18. Voice Leading 65. Overview 66. Voice Leading Exercise 1 67. Voice Leading Exercise 2 68. Voice Leading Exercise 3 69. Voice Leading: Performance Example 19. Finger Control 70. Overview 20. Picking & Tremolo 71. Overview 21. Improvisation: Overview 72. Improvisation: Overview 73. Improvisation: Major Tonality 74. Improvisation: Major Improvisation Example 75. Improvisation: Major Improvisation Play-along Exercise 76. Improvisation: Minor Tonality 77. Improvisation: Minor Improvisation Example 78. Improvisation: Minor Improvisation Play-along Exercise 79. Improvisation: Dominant Tonality 80. Improvisation: Dominant Improvisation Example

81. Improvisation: Dominant Improvisation Play-along Exercise 82. Improvisation: Extended Dominant Improvisation 83. Improvisation: Extended Dominant Improv. Play-along Exercise 84. Improvisation: Major-Minor Pentatonic Scales 85. Improvisation: Major Pentatonic Improvisation Example 86. Improvisation: Major Pentatonic Play-along Exercise 87. Improvisation: Minor Pentatonic Improvisation Example 88. Improvisation: Minor Pentatonic Improv. Play-along Exercise 89. Improvisation: Flat 9 Minor Tonality 90. Improvisation: Flat 9 Minor Tonality Play-along Exercise 91. Improvisation: Flat 9 Major Tonality 92. Improvisation: Flat 9 Major Tonality Play-along Exercise 93. Improvisation: Diminished Tonality 94. Improvisation: Diminished Tonality Play-along Exercise 95. Improvisation: Diminished Over Dominant Tonality 96. Improvisation: Diminished Over Dominant Play-along Exercise 97. Improvisation: Augmented Whole Tone Tonality 98. Improvisation: Whole Tone Tonality Play-along Exercise 99. Improvisation: Super Locrian Tonality 100. Improvisation: Super Locrian Tonality Play-along Exercise 101. Improvisation: I-IV-V-I Progression 102. Improvisation: I-IV-V-I Progression Play-along Exercise 103. Improvisation: ii-V Progression 104. Improvisation: ii-V Progression Play-along Exercise 105. Improvisation: ii-V-I Progression 106. Improvisation: ii-V-I Progression Play-along Exercise

107. Improvisation: ii-V-i Progression 108. Improvisation: ii-V-i Progression Play-along Exercise 109. Improvisation: I-vi-ii-V Progression 110. Improvisation: I-vi-ii-V Progression Play-along Exercise

Introduction I began taking guitar lessons with Frank Vignola in early 2004. Frank started each lesson by asking what I was working on. I would play something; after about 3 bars he’d stop me. Without a pause, he would show me an exercise - we never used a book - to target my shortcomings. As we worked through a lesson, I jotted it down in a notebook so I could always remember it correctly. One night Frank suggested we write a lesson book based on my notes from the lessons I had taken with him. Of course I agreed enthusiastically. After the first draft was complete Frank was pleased with the result but thought we should expand on many of the lessons, add topics, fill in gaps and include video of him demonstrating every concept. The goal: Develop a comprehensive guitar method that players of all levels can use as an invaluable resource. Despite our subsequent work as just described, the lessons in this book and the accompanying videos are the same as those I worked on with Frank. As I learned, they’re also the same lessons he worked on when he studied with such greats as Joe Pass and Gene Bertoncini and Howard Alden. It is a practical method that has proven itself suitable whether you’re a beginner or advanced guitar player. Glenn Tosto New York City, September 2011

How to Use this Book Each chapter begins with an overview followed by step-by-step instructions that correspond to the video segments. This is a supplement to the video and has many of the lessons from the video written out in all 12 keys. After you have watched the video segment, use this as a refresher to remind you of the lesson you are working on. For more guidance: notation, tablatures, chord grids, and examples are also provided after the text sections. Some lessons include graphic displays of chord shapes with fingerings. Rather than starting with the chord grids and memorizing the shapes, we suggest you work through the lessons first to increase your knowledge of the fret board. Refer to these pages when needed and for confirmation that you have done the lesson correctly. Theory is covered throughout the book and can be very helpful to understand. We encourage you to study this material but do not get hung up on it. If a concept is unclear or confusing, read it through and move on. If you review the theory after you have worked through the lesson you will likely have a better grasp of it.

Chapter 1 The Fret Board Segment 1. Overview In addition to explaining the guitar’s layout, the first lesson covers basic concepts and terms that will be used throughout the book. 1. From lowest pitch to highest, the six guitar strings are named E-A-D-G-B-E. 2. We refer to each string with a number. The top E string, which is highest in pitch, is the 1st string, the 2nd is B, the 3rd - G, the 4th - D, the 5th – A, and the 6th is Low E, the bottom string.

3. From the low E to the A string is an interval called a 4th. From the strings A to the D and the D to the G are also a 4th apart. From the G string to the B string is a 3rd and then from the B to the high E is another 4th. 4. The frets are metal wires embedded in the fingerboard. They are numbered from 1 up, starting at the 1st, the fret farthest from your body. 5. Each fret is a ½ step. A whole step is made up of 2 frets.

6. The fret board is arranged based on the chromatic scale, which contains all 12 notes played sequentially. 7. The musical alphabet is 7 letters: A, B, C, D, E, F, G. 8. There is a whole step between notes A and B; there is a natural ½ step between notes B and C, whole steps between C-D, D-E and another half step between E and F. 9. Think of a piano keyboard: the white keys that are not separated by a black key are B and C and E and F. Unlike the guitar, which is arranged on the chromatic scale, the keyboard is laid out based on the major scale.

10. If you start at C on the piano and play every white key until you get to the next C (octave), you play the C major scale. 11. Each note or step of any major scale can be referred to by Roman numerals. More commonly we refer to notes in the scale with numbers, such as the 3rd, 4th, 5th, etc.

12. Roman numerals refer to the chords that can be built on each note of the major scale. I, ii, iii, IV, V, vi, and vii. The root chord is built on the first note of the major scale, so the first note here is the I chord; the chord built on the 5th note of the major scale is referred to as the V chord. Uppercase Roman numerals indicate a major chord; lowercase indicate a minor chord. Segment 2. Horizontal Chromatic Scales In this segment we play the horizontal chromatic scale. In the play-along that follows we will use the following approach. 1. Starting on the open top string, play each note up to the octave and back. Remember there is a natural ½ step between the E and F and B and C. 2. Play all down strokes with your picking hand. Pick through the string and allow the pick to rest on the string below. 3. Do not lift your fingers after you place them down on the fret board. Once you play to the 4th fret, shift your hand up the fret board and play the next note at the 5th fret with your 1st finger. 4. When descending, shift all 4 fingers into place one finger per fret. 5. Strive to make each note clean and even with a good tone. 6. Continue the same steps on each string. 7. Occasionally, think of the names of the note you are playing. Segment 3. Horizontal Chromatic Scales: Play-along Exercise 1 1. Play the horizontal chromatic scale as demonstrated in the video and written in the notation that follows. 2. Play the horizontal chromatic scales on each string, starting on the high E string up to the 12th fret and back. 3. When ascending, keep your fingers on the fingerboard once they are placed. 4. When descending, shift your hand down into place, positioning one finger over each fret. 5. Test yourself by naming the notes as you play them. 6. Play to this video every day as a quick warm-up.

CHAPTER 1 SEGMENT 3 Horizontal Chromatic Scales: Playalong Exercise 1 Level: Beginner Gtr I: Untitled (E A D G B E)

Starting on the open top string, play each note ascending and descending, naming the notes as you play. Remember there is a natural ½ step between the E and F and B and C.

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Segment 4. Horizontal Chromatic Scales: Play-along Exercise 2 1. Play the horizontal chromatic scale as demonstrated in the video and written in the notation that follows. 2. Play this exercise slowly striving for a good tone. Eventually build to a faster tempo. 3. Begin on the low E string, playing 4 notes before shifting your hand up to the next position. Play up to the octave and down before moving to the next string. 4. When ascending, keep your fingers on the fingerboard once they are placed. 5. When descending, shift your hand down into place, positioning one finger over each fret. 6. Play to this video every day as a quick warm-up.

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CHAPTER 1 SEGMENT 4 Horizontal Chromatic Scales: Playalong Exercise 2 Level: Beginner Gtr I: Untitled (E A D G B E)

Begin on the low E string, playing 4 notes before shifting our hand up to the next position.When ascending; keep your fingers on the fingerboard once they are placed. When descending shift your hand down into place, positioning one finger over each fret. 1

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Segment 5. Vertical Chromatic Scales In this segment we play the vertical chromatic scale. In the play-along that follows we will use the following approach. 1. Start on the low open E and play each note up to the 4 th fret, then move to the open A string, play each note up to the 4th fret then move to the open D, etc. 2. Play all down strokes with your picking hand. Pick through the string and allow the pick to rest on the string below. 3. Be aware that when you get to the G string you only play up to the 3rd fret before moving up to the open B string. This is due to an anomaly in the way the guitar is tuned: The interval between each of the open strings is a 4th except for the G to B string, which is a 3rd. 4. Once you get to the high E string, descend playing the same chromatic scale in reverse. 5. Next, test yourself by randomly choosing notes and finding all of them on the fret board. Segment 6. Vertical Chromatic Scales: Play-along Exercise 1 1. Play the vertical chromatic scale as demonstrated in the video and written in the notation that follows. 2. Play from the low E to the high E at a nice slow tempo. 3. Focus on a good clean tone. 4. Do this every day, building your tempo over time.

CHAPTER 1 SEGMENT 6 Vertical Chromatic Scales: Playalong Exercise 1 Level: Beginner Gtr I: Untitled (E A D G B E)

Play all down strokes with your picking hand. Pick through the string and allow the pick to rest on the string below. 1

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Segment 7. Vertical Chromatic Scales: Play-along Exercise 2 1. Play the horizontal chromatic scale as demonstrated in the video and written in the notation that follows. 2. Do these exercises with alternate picking, picking down up, down up. 3. Strive for an identical sound with both the down and up stroke. 4. Use alternate fingerings as follows: Start on the A at the 5th fret of the low E string and play up 4 notes. When you move to the 5th string, shift your hand down to play the next note on the 4th fret. 5. When you move to the 4th string, shift your hand down to play the next note on the 3rd fret. 6. When you move to the 3rd string, shift your hand down to play the next note on the 2nd fret. 7. Remember that when you move from the 3rd string to the 2nd string you have to adjust for the different interval between those 2 strings, so do not shift, play the next note on the 2nd fret. 8. When you move to the 1st string, shift your hand down to play the next note on the 1st fret. 9. Play up to the A on the top string, and descend shifting up a fret when switching strings with the exception of the move from the B to the G string. 10. Play down to the low A, sliding into the last note with your 1 st finger. 11. Work to increase your tempo over time. 12. Finally, increase your speed while you play the 2-octave scale. 13. The most important thing is to strive for a good clean sound with an even tone on every note.

CHAPTER 1 SEGMENT 7 Vertical Chromatic Scales: Playalong Exercise 2 Level: Beginner Gtr I: Untitled (E A D G B E) Do these exercises with alternate picking, picking down up, down up. Use alternate fingerings as follows: Start on the A at the 5th fret of the low E string and playing up 4 notes. After playing up 4 notes on each string, shift your hand down to play the next 4 notee one fret lower on the next string. When you move from the 3rd string to the 2nd string you have to adjust for the different interval between those 2 strings, so do not shift, play the next note on the 2nd fret. 1

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Chapter 2 The Major Scale Segment 8. Overview The major scale is the first of the diatonic scales and the foundation of western music. I believe that the best way to learn the fret board is to start by learning the various ways to play the major scale. 1. You build the major scale by starting on a key note and applying the following formula: whole step, whole step, half step, whole step, whole step, whole step, half step. 2. Write all 12 notes on a piece of paper and apply the formula above to each of the notes to build the major scale in all 12 keys. 3. In this chapter we will approach the major scale both vertically and horizontally and then we will combine the approaches. 4. Play in all keys around the cycle of fourths. Segment 9. The Cycle of 4ths (and 5ths) The cycle of fourths (also called the cycle of fifths) shows the relationships among the twelve notes and tones of the chromatic scale, their corresponding key signatures and related major and minor keys. Refer to the diagram of the cycle of fourths. If you count letter names counter clockwise from C you see that the next key, F, is 4 notes away. Counting clockwise from C the next key, G, is 5 notes away, hence the name cycle of fourths or cycle of fifths. In the lessons that follow, we will often practice our exercises around the cycle of fourths, C-F-Bb-Eb-Ab-Db-Gb-B-E-A-D-G, rather than the chromatic scale. Using the notes that make up the cycle of fourths as a starting point is a more musical approach because it emulates chord changes you find in a piece of music.

Segment 10. The Vertical C Major Scale We start with a 1-octave C major scale and work up to a 3-octave scale. After we cover some basic scales, I will show you how to make up your own fingerings. Since it is important to be able to play both vertically and horizontally, we will cover both, beginning with the vertical approach, and then horizontal method. 1. Build the major scale by starting on a key note and applying the following formula: whole step, whole step, half step, whole step, whole step, whole step, half step. 2. Start with the basic vertical major scale beginning on the C at the 3rd fret of the 5th string as demonstrated in the video and written in the notation that follows. Next we learn how to find other fingerings. 3. Place your first finger on the same C. 4. Play a one octave C scale beginning with your 1st finger, hunting down the notes that make up the C scale. 5. Next, fret the same C with your 2nd finger and repeat the exercise. Using a different digit to start the scale forces you to come up with an alternative fingering. 6. Next, start with your 3rd finger and play a C scale. 7. Finally, start with your 4th finger and play a C scale. 8. Use this same approach with every C note on the guitar. 9. After you do the 1-octave scales, connect them to build 2-octave scales. 10. Then, do 3-octave scales. 11. Use this approach to find several ways to play scales, arpeggios and chords in upcoming studies. 12. After playing in the key of C, take the major scale around the cycle of fourths with the goal of playing in all 12 keys.

CHAPTER 2 SEGMENT 10 Vertical C Major Scale Level: Beginner Gtr I: Untitled (E A D G B E)

Start with the basic vertical major scale beginning on the C at the 3rd fret of the 5th string. Begin playing with your 2nd finger. 1

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Next, fret the same C with your 2nd finger and repeat the exercise. Using a different digit to start the scale forces you to come up with an alternative fingering. 3

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8

10

9

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Next, start with your 3rd finger and play a C scale.

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I V T A B

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V 7

V 9

V 10

V

V

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V

V

V

V

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8

8

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Finally, start with your 4th finger and play a C scale. Same notes as above, different fingerings 13

I V T A B

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V 7

V 9

V 10

V

V

8

10

V

V

V

V

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Use this same approach with every C note on the guitar. Start with your 1st finger.

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I V T A B

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V 7

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V

V

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V

V

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Next, fret the same C with your 2nd finger and repeat the exercise.

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Next, start with your 3rd finger and play a C scale.

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Finally, start with your 4th finger and play a C scale. Same notes as above, different fingerings

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I V T A B

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V

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V

V

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1

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Use this same approach with every C note on the guitar. After you do the 1-octave scales, connect them to build 2-octave scales, then, 3-octave scales

Segment 11. The Horizontal C Major Scale 1. Play the notes of the C major scale, ascending and descending on each of the 6 strings, one at a time, beginning with the open string. 2. In our example we go as high as the 15th fret. You should play as high as you can on your guitar. 3. Take note of your starting point when playing the lowest note of the scale on each string. For example: In the key of C the high E string is the 3rd note of the C scale, the B string is the major 7th, the open G string the 5th, The A string is the 6th and the low E is another 3rd. 4. Recognize the root of the scale each time you play it. 5. Test yourself by thinking of the note and interval you are playing. 6. Start off with a nice slow tempo, striving for a good clean tone. 7. Continue to practice this lesson as a quick warm up, focusing on 1 or 2 key signatures at a time.

CHAPTER 2 SEGMENT 11 Horizontal C Major Scale Level: Beginner Gtr I: Untitled (E A D G B E)

Play the notes of the C major scale, ascending and descending on each of the 6 strings, one at a time, beginning with the open string.

1

I T A B

3

V V V V V V V V V V V V V V V V V V V 0

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V V V V V V V V V V V V V V V V V V V

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string. V VTakeV noteV of your starting point when playing the lowest note of the scale on each V V V V V V V V V V V V V V V V I V V V V V V V V V V V V V V V V

T A B

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Recognize the root of the scale each time you play it. 5

I V V V V V V V V V V V V V V V V V V V T A B

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V V V V V V V V V V V V V V V V V V V 0

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Segment 12. Vertical Major Scales: Play-along Exercise 1 In this play-along we will apply what we learned in Segment 10, Vertical C Major Scale. Use all different fingerings and positions each time you play through the cycle. 1. Play the vertical major scales as demonstrated in the play-along video segment and written in the notation that follows. 2. Start at a slow tempo and work towards increasing the speed each time. Segment 13. Horizontal Major Scales: Play-along Exercise 2 In this play-along we will apply what we learned in Segment 11, Horizontal C Major Scale. 1. Play the horizontal major scales as demonstrated in the play-along video segment and written in the notation that follows. Note that in the video I play all 12 keys on the high E string. Another approach is to play in each key on all 6 strings before moving to the next key as written in the notation that follows. 2. When you get to the root of the scale, play the chord in place of the note to hear the tonal center of the scale. 3. Test yourself by thinking about what interval you are starting on in each key. 4. Also, try playing the root chord before you start the scale on each string to get the tonal center in your ear.

CHAPTER 2 SEGMENT 12 Vertical Major Scales: Playalong Exercise 1 Level: Intermediate Gtr I: Untitled (E A D G B E) Use all different fingerings and positions each time you play through the cycle.

1

I

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CHAPTER 2 SEGMENT 13 Horizontal C Major Scale Level: Beginner Gtr I: Untitled (E A D G B E)

Play the notes of the C major scale, ascending and descending on each of the 6 strings, one at a time, beginning with the open string.

1

I T A B

V V V V V V V V V V V V V VV VV V V V V V V 0

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Take note of your starting point when playing the lowest note of the scale on each string.

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Recognize the root of the scale each time you play it by playing a chord in its place. 5

I T A B

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Play this Lesson in other keys, with the goal of playing in all 12 keys.

0 2 3

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CHAPTER 2 SEGMENT 13 Horizontal F Major Scales Level: Beginner Gtr I: Untitled (E A D G B E)

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CHAPTER 2 SEGMENT 13 Horizontal Bb Major Scales Level: Beginner Gtr I: Untitled (E A D G B E)

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CHAPTER 2 SEGMENT 13 Horizontal Eb Major Scales Level: Beginner Gtr I: Untitled (E A D G B E)

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CHAPTER 2 SEGMENT 13 Horizontal Ab Major Scales Level: Beginner Gtr I: Untitled (E A D G B E)

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9 11 13 15 13 11 9

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13 8 10 12 13 15 13 12 10 8 13

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CHAPTER 2 SEGMENT 13 Horizontal Db Major Scales Level: Beginner Gtr I: Untitled (E A D G B E)

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CHAPTER 2 SEGMENT 13 Horizontal Gb Major Scales Level: Beginner Gtr I: Untitled (E A D G B E)

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11 11 8 10 11 13 15 13 11 10 8 11 11

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9 11 12 14 13 11 9

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15 16 16 9 11 13 14 13 11 9

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CHAPTER 2 SEGMENT 13 Horizontal B Major Scales Level: Beginner Gtr I: Untitled (E A D G B E)

1

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9 11 13 15 13 11 9

8

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16 16 16 9 11 13 14 13 11 9

7

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9 11 12 14 12 11 9 11 13

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CHAPTER 2 SEGMENT 13 Horizontal E Major Scales Level: Beginner Gtr I: Untitled (E A D G B E)

1

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4

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0 0 1

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9 9 9 11 13 14 13 11 9 9 9

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9 11 12 14 12 11 9

4 6 7

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9 10 12 14 12 10 9

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CHAPTER 2 SEGMENT 13 Horizontal A Major Scales Level: Beginner Gtr I: Untitled (E A D G B E)

1

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9 10 12 14 12 10 9

7

5 5 6

4

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2 2 2

4

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14 9 11 13 14 13 11 9 14

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7

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CHAPTER 2 SEGMENT 13 Horizontal D Major Scales Level: Beginner Gtr I: Untitled (E A D G B E)

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gg VV V V V V V V V VV V V V V V V I V V V V T A B

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7 7 7

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9 10 12 14 12 10 9

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3 2 4

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10 10 11 11 9 11 12 14 12 11 9

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CHAPTER 2 SEGMENT 13 Horizontal G Major Scales Level: Beginner Gtr I: Untitled (E A D G B E)

1

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T A B

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Segment 14. 100+ C Major Scales The reason most guitar players can’t play what they hear is because they haven’t mastered the fret board. The guitar is the only instrument with so many options to play a simple C scale; and also why it is so hard to sight-read on guitar. Begin working through my 110 Essential Fingerings for a C scale. Learn 2 fingerings per week and your knowledge of the fret board will increase tremendously in the first few months. This is the key to connecting your fingers and your brain to your ears and playing what you hear. Do not concern yourself with memorizing all of the variations. The point is to understand how you can make small changes to the fingerings to come up with many variations.

110 Essential Fingerings for a C Scale AUTHORS NOTESuggested 4ngerings are written underneath notes. These are just suggestions. You can use whatever 4ngerings you are comfortable with.

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Chapter 3 3-Note Arpeggios Segment 15. Overview Chapter 3 is similar to Chapter 2, but instead of playing the major scale we play arpeggios; first vertically, then horizontally, beginning with the C major arpeggio. An arpeggio is made up of the same notes used to play the chord of the same name. The difference is that when you strum a chord, you play all of the notes simultaneously; when you play an arpeggio, you pick each note one at a time. The most basic chord is a triad. As its name implies, it has 3 notes. Build arpeggios and chords by selecting every other note of the scale, known as intervals called 3rds. You can identify any interval by counting the letter names in the scale inclusively. So, to build a C major triad we count 3 letter names C-D-E; we know that E is a 3rd away from C. From E we count 3- E-F-G and we know that G is a 3rd away from E. Therefore, the C major triad is built with the 1st, 3rd and 5th, or every other note of the major scale: C-E-G. Since chords and arpeggios are made up of the same notes, a major arpeggio contains the 1st, 3rd and 5th notes of the major scale, which are C- the root, E -the 3rd and G-the 5th. Arpeggios are building blocks for solos and important to master. Segment 16. Vertical 3-Note Arpeggios In this segment we use the same approach we used to identify the variations of the C major scale and apply it to the C major arpeggio. 1. 2. 3. 4. 5. 6. 7. 8. 9.

Find a C on the fingerboard. Place your first finger on the C. Hunt down the notes of the C arpeggio beginning with your 1st finger. Next, fret the same C with your 2nd finger and repeat the exercise. Using a different digit forces you to come up with an alternative fingering. Next, start with your 3rd finger and play a C arpeggio. Finally, start with your 4th finger and play a C arpeggio. Use this same approach using every C on the guitar as a starting point. The next step is to connect these arpeggios to build 2-octave arpeggios with the same approach. Next, play these arpeggios in the other keys around the cycle of fourths.

CHAPTER 3 SEGMENT 16 Vertical 3-Note Arpeggios Level: Intermediate Gtr I: Untitled (E A D G B E) 1-octave example

1

I T A B

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5

7

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3

1st finger 9

I T A B

2

5

2

10

12

12

4th finger

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U 3

2nd finger

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3rd finger

2nd finger

1st finger

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3

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3rd finger

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2-octave example 1st finger 17

I T A B

V V V V 3

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5

5

3rd finger 25

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V V V V 3

2

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V V V V 9

8

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V V V V 5

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2nd finger

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U 3

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5

same notes with 4th figner

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U 3

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V V V V 5

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V V V V 5

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8

Use this same approach using every C on the guitar as a starting point.

3

V V V V 5

5

5

2

V V V V 5

5

0

2

U 3

U 3

Segment 17. Vertical 3-Note Arpeggios: Play-along Exercise 1 In this play-along we play the vertical major arpeggio in all 12 keys around the cycle of fourths just as we did with the major scale. The object is to get through all 12 keys at a slow tempo without stopping. 1. Play the vertical major arpeggio as demonstrated in this play-along video and written in the notation that follows. 2. Fingerings and positions do not matter. Choose different fingerings each time. The goal is to get through all keys without stopping. Use the hold note to think ahead to the next key. 3. Next step is to increase the tempo a little. 4. Next, let’s play in ¾ time using quarter notes up to the octave and back. Use the hold note to think ahead to the next key. 5. Remember to make up your own variations exploring all possible fingerings and positions. 6. Practice this a little bit every day.

CHAPTER 3 SEGMENT 17 Vertical 3-Note Arpeggios: Playalong Exercise 1 Level: Intermediate Gtr I: Untitled (E A D G B E)

example 1 1

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Segment 18. Horizontal 3-Note Arpeggios: Play-along Exercise 1 In this play-along we play the horizontal major arpeggio in all 12 keys around the cycle of fourths just as we did with the major scale. The object is to get through all 12 keys at a slow tempo without stopping. 1. In this play-along we will play the major arpeggios around the cycle of fourths, ascending and descending on each string horizontally. 2. Begin with the root note of each of the arpeggios and play the arpeggios up and down the fingerboard beginning on the E string and go around the cycle before moving to the next string. 3. It is up to you to take this exercise to the other 5 strings. 4. A good way to begin this exercise is to start by playing just the root notes of each key on each string: C, F, Bb, Eb, Ab, Db, Gb, B, E, A, D, G 5. Next, begin on the lowest note of the arpeggio. For example: in C, start with the open E, the 3rd of the arpeggio, in the key of F start on F the root, in the key of Bb start on F the 5th, in the key of Eb start on G the 3rd, etc. 6. Use this same approach to play arpeggios on all strings around the cycle of fourths. 7. Note that in the video I do all 12 keys on the high E string. Another approach is to play in each key on all 6 strings before moving to the next key, as written in the notation that follows.

4

5

U 5

CHAPTER 3 SEGMENT 18 Horizontal 3-Note Arpeggios: Playalong Exercise 1 Level: Intermediate Gtr I: Untitled (E A D G B E)

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It is up to you to take this exercise to the other 5 strings.

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CHAPTER 3 SEGMENT 18.2 Horizontal 3-Note Arpeggios: Playalong Exercise 1.2 Level: Beginner Gtr I: Untitled (E A D G B E) Next, begin on the lowest note of the arpeggio.

Note that in the video I do all 12 keys on the high e string. Another approach is to play in each key on all 6 strings before moving to the next key, as written in the notation that follows.

C

1

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Segment 19. Horizontal 3-Note Arpeggios: Play-along Exercise 2 1. In this play-along we take the root note and play them for 2 beats each, around the cycle of 4ths on the top string as demonstrated in the video and written in the following notation. C, F, Bb, Eb, Ab, Db, Gb, B, E, A, D, G 2. Next, play the same note in different positions as demonstrated in the video and written in the following notation. 3. It is up to you to take this exercise to the other 5 strings.

CHAPTER 3 SEGMENT 19 Horizontal 3-Note Arpegios: Playalong Exercise 2 Level: Intermediate Gtr I: Untitled (E A D G B E)

W 1

I

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W

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W

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8

13

6

11

4

9

2

7

0

5

10

3

8

It is up to you to take this exercise to the other 5 strings.

Next, play the same note in different positions.

W 14

I T A B

8

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W 6

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W 9

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Segment 20. Horizontal 3-Note Arpeggios: Play-along Exercise 3 In this play-along we play the 3-note arpeggios around the cycle of fourths on the top E string. 1. Play the horizontal major arpeggios as demonstrated in this play-along video and written in the notation that follows. 2. Starting with the root on the top string, play the major arpeggios: 1-3-5-3-1, using quarter notes, ending with a whole note on the root, around the cycle of fourths. When you get to the hold note think ahead to the next arpeggio you are going to play. 3. It is up to you to take this exercise to the other 5 strings. 4. Note that in the video I do all 12 keys on the high E string. Another approach is to play each key on all 6 strings before moving to the next key.

CHAPTER 3 SEGMENT 20 Horizontal 3-Note Arpeggios: Playalong Exercise 3 Level: Intermediate Gtr I: Untitled (E A D G B E)

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Segment 21. Horizontal 3-Note Arpeggios: Play-along Exercise 4 In this play-along we play the arpeggios around the cycle of fourths on the top E string. The only difference between this play-along and the previous one is that we will begin with the lowest note of the arpeggio rather than the root. For example: In C, start with the open E, the 3rd of the arpeggio, in the key of F start on F the root, in the key of Bb start on F the 5 th, in the key of Eb start on G the 3rd, etc. 1. Play the horizontal major arpeggios as demonstrated in this play-along video and written in the notation that follows. 2. We play quarter notes ending with a whole note when we get back to the lowest note. During the note of rest, think about the next arpeggio you are going to play. 3. Speed is not the goal. The goal is a nice clean tone and even notes. 4. Note that in the video I do all 12 keys on the high E string. Another approach is to play each key on all 6 strings before moving to the next key. 5. It is up to you to take this exercise to the other 5 strings.

CHAPTER 3 SEGMENT 21 Horizontal 3-Note Arpeggios: Playalong Exercise 3 Level: Beginner Gtr I: Untitled (E A D G B E) Next, begin on the lowest note of the arpeggio.

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More on Intervals An interval is a relationship of 2 notes. Vertically they are played simultaneously; horizontally, played sequentially. Intervals are named by counting letter names inclusively. For example: C to E is a third. This is how intervals appear in the major scale, starting with I, or the root: # Of Steps 1 2 4½ 5½

Interval 2nd 3rd 6th 7th

Type major major major major

Alterations any major decreased ½ step any major decreased 1 step any major increased ½ step

New type minor diminished augmented

2½ 3½ 6

4th 5th Octave

perfect perfect

any perfect decreased ½ step diminished any perfect increased ½ step augmented

Chapter 4 Minor Scales Segment 22. Overview So far we have focused on the major scale, major triads and major arpeggios. In this chapter we turn our focus to the minor scales. The three minor scales are: The Natural Minor Scale The Harmonic Minor Scale The Melodic Minor Scale 1. The formula for the natural minor scale, from the root is: whole step, half step, whole step, whole step, half step, whole step, whole step 2. The only difference between the natural minor and the harmonic minor scale is a raised 7th. The formula for the harmonic minor scale from the root is: whole step, half step, whole step, whole step, half step, 1 and 1 ½ steps, half step 3. The melodic minor is unique because it is different ascending from descending. 4. The formula for the melodic minor scale ascending is the same as the natural minor scale: whole step, half step, whole step, whole step, half step, whole step, whole step 5. Descending, the formula from the root is: half step, whole step, whole step, whole step, whole step, half step, whole step 6. Apply the same approach to the natural minor scale that we applied to the major scale. Write all 12 notes on a piece of paper. 7. Apply the formulas above to each of the notes to build the minor scale in all 12 keys.

Segment 23. Horizontal and Vertical Minor Scales Vertical The natural minor scale is derived from the major scale. In the key of C minor the scale is related to the Eb major scale. In fact, it contains the same notes. The only difference is that we start playing the scale on the C instead of the Eb. 1. Play a C natural minor scale beginning on the 3rd fret of the A string with your 1st finger. 2. Apply the same approach to the natural minor scale that we applied to the major scale. Find a C note on the fret board. 3. Place your first finger on the C. 4. Hunt down the notes of the C natural minor scale and play a one-octave scale. 5. Next, fret the same C note with your 2nd finger and repeat the exercise. Using a different digit to start the scale forces you to come up with an alternative fingering. 6. Next, start with your 3rd finger and play another one octave C natural minor scale. 7. Finally, start with your 4th finger and play another variation of the C natural minor scale. 8. Use this same approach with every C note on the guitar. 9. It is up to you work through the harmonic minor and melodic minor scales using this approach with a goal of playing in all of the keys and in all positions. Horizontal 10. Find the root note of the natural minor scale on the top string and apply its formula to play the scale horizontally on one string at a time. Play the notes of the scale all the way up the fingerboard. When descending, play all the notes of the scale ending on the lowest scale tone before moving to the next string. 11. Remember that in the key of C minor, the notes are the same as an Eb major scale.

12. Next, start with the lowest note of the scale on each string and play the scale. Each time you get to the root of the scale play the root chord. 13. Combine the horizontal and vertical approach with the use of jumping off points to go from one string to another. For example, on the A string play the C natural minor scale starting with the C at the 3rd fret. Play up to the Bb and finish with the C on the D string. 14. Next, move off the A string at the 7th tone, and finish with the last 2 notes of the scale on the D string. 15. Next, play the last 3 notes on the D string, etc. 16. Come up with as many different variations as you can. 17. Focus on internalizing the sound of the scale.

CHAPTER 4 SEGMENT 23 Horizontal and Vertical Minor Scales Level: Beginner Gtr I: Untitled (E A D G B E) ex. 1

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Start with the basic vertical C natural minor scale beginning on the C at the 3rd fret of the 5th string, starting with your 1st finger.

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Next, fret the same C with your 2nd finger and repeat the exercise. Using a different digit to start the scale forces you to come up with an alternative fingering. 2

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Use this same approach with every C note on the guitar. Start with your 1st finger.

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ex. 3 Use this same approach with every C note on the guitar. Start with the 1st finger

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ex. 4 Use this same approach with every C note on the guitar. Start with your 1st finger. 13

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Next, fret the same C with your 2nd finger and repeat the exercise.

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Next, start with your 3rd finger and play a C natural minor scale. 15

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Finally, start with your 4th finger and play a C natural minor scale. Same notes as above, different fingerings

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CHAPTER 4 SEGMENT 23.2 Horizontal C Natural Minor Scale Level: Beginner Gtr I: Untitled (E A D G B E) Play the notes of the C major scale, ascending and descending on each of the 6 strings, one at a time, beginning with the open string. Take note of your starting point when playing the lowest note of the scale on each string. Recognize the root of the scale each time you play it by playing a chord in its place.

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CHAPTER 4 SEGEMENT 23.3 Natural Minor Scale Horizontal and Vertical Combined Level: Intermediate Gtr I: Untitled (E A D G B E) Combine the horizontal and vertical approach with the use of jumping off points to go from one string to another.

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Segment 24. Natural Minor: Play-along Exercise 1 In this play-along we play the natural minor scale around the cycle of fourths starting with C minor. Refer to the video and the notation following as a guide, but remember to come up with a different variation every time you play to it. 1. Play the natural minor scale as demonstrated in this play-along video and written in the notation. 2. Fingerings and positions do not matter. 3. Try to vary your fingerings and positions each time you play to this video segment. 4. The main focus is to get the sound of the scale in your ear and recognize it when you hear it being played. 5. You can also do this to a metronome, increasing your speed incrementally over time.

CHAPTER 4 SEGMENT 24 Natural Minor: Playalong Exercise Level: Intermediate Gtr I: Untitled (E A D G B E) Use all different fingerings and positions each time you play through the cycle.

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Segment 25. Harmonic Minor: Play-along 2 In this play-along we play the harmonic minor scale around the cycle of fourths starting in the key of C minor. Remember that the only difference between the natural minor and harmonic minor is the raised 7th in the harmonic minor. Refer to the video and the notation that follows as a guide, but remember to come up with a different variation every time you play to it. 1. Play the harmonic minor scale as demonstrated in this play-along video and written in the notation that follows. 2. Fingerings and positions do not matter. 3. Vary your fingerings and positions each time you play to this segment. 4. When working with scales remember to internalize the sound in an effort to connect what you have in your ear with your fingers. 5. Strive for a good even tone. 6. Test yourself by thinking what note you are on and what interval it is. 7. Play these scales horizontally as well, using the same approach we used in the previous lessons. 8. Combine the horizontal and vertical approach with the use of jumping off points to move vertically from one string to another as we did previously.

CHAPTER 4 SEGMENT 25 Harmonic Minor: Playalong Exercise Level: Intermediate Gtr I: Untitled (E A D G B E) Use all different fingerings and positions each time you play through the cycle.

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Segment 26. Melodic Minor: Play-along Exercise 3 The melodic minor scale is different ascending from descending. Ascending, it is the same as the natural minor and descending you play a raised 7th and raised 6th. Another way to play this scale is to ascend with the raised 6 th and 7th and then descend using the natural minor. I want you to practice it both ways but in this play-along we ascend with the raised 6 th and 7th and descend using the natural minor. 1. Write out all 12 notes on paper. 2. Write out the melodic minor scales in all 12 keys using both formulas. 3. Play the scales around the cycle of fourths with the raised 6 th and 7th ascending and the natural minor descending. Refer to the video segment and in the notation that follows. 4. Vary your fingerings and positions each time you play to this video segment. 5. Strive for a good even tone. 6. Test yourself thinking what note you are on and what interval it is. 7. Next, play horizontally on each of the 6 strings as we have done with the other scales.

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CHAPTER 4 SEGMENT 26 Melodic Minor: Playalong Exercise Level: Intermediate Gtr I: Untitled (E A D G B E) Use all different fingerings and positions each time you play through the cycle.

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7

6

8

6

5

8

6

`

6

4

6

5

3

6

5

3

8

6

9

7

8 10

8

8

6

9

8

6

9

8

6

b

Cm

gg fV V V eV fV eV V V gV f V gV V V f V V V V V f V g V V V ee e ee V V V V V g V V I ee V V V T A B

6

8

6

9

6

8

8

9

9

7

9

8

6

9

8

6

b

Fm

7

6

fV fV V V eV eV V V V V V V V V V V

eeeeee

Am

5

5

Em

V V eV eV V V V V V ee e V V V V V f V f V I ee T A B

3

5

`

Bm 3

3

6

ggg I T A B

6

4

5

7

4

6

8

9

9

7

5

4

7

5

4

6

Bm

V gV f V gV V V f V V V V V gg V V V V V 4

6

7

4

6

4

6

7

7

5

7

6

4

7

6

4

gV gV V V f V f V V V V V V V V V V V 4

2

3

5

2

4

6

7

7

5

3

2

5

3

2

4

Em 9

I T A B

g

Am

2

4

2

5

4

6

8

9

9

7

5

4

7

5

4

Dm

11

7

5

4

7

7

5

7

5

7

9

10 10

8

6

5

7

5

9

Gm

f V gV V V f V e V V V V V V V V V V V Ie T A B

V gV V V f V f V V V V V V V V V V V

V gV gV V V f V f V V V V V V V V V V

6

8

5

7

9 10 10 8

6

5

8

6

5

7

gV V V f V e V V V ee V V V V V f V V V 5

7

8

5

7

5

7

8

8

6

8

7

5

8

7

V 5

7

Chapter 5 3-Note Minor Arpeggios Segment 27. Overview Remember the major chord is made up of the 1st, 3rd and 5th notes of the major scale. The same concept applies to minor chords except that we use the 1st, 3rd and 5th notes of the minor scale. The only difference between the major and minor triad is that the 3rd is flat ½ step. What each of the 3 minor scales has in common is they all have a root, minor 3rd and 5th. The flatted 3rd is the foundation of the minor scales as well as the chords and arpeggios derived from these scales. Vertical 1. The minor arpeggio, like the major arpeggio, is 3 made up of notes. The only difference between a major and a minor triad or arpeggio is that minor has a flat 3rd, which means the middle note is played a half step lower. To change a C major arpeggio or chord, which contains the notes C-E-G, to C minor, flat the 3rd a ½ step to Eb. 2. Write all 12 notes on a piece of paper and apply the formula above to each of the notes to build the minor arpeggio in all 12 keys. 3. Play the vertical C minor (C-Eb-G) arpeggio. 4. Apply the same approach we used with the major arpeggios. Find a C note on the fret board. 5. Place your first finger on the C. 6. Play the C minor arpeggio starting with your 1st finger, hunt down the notes to play a one-octave arpeggio. 7. Next, fret the same C note with your 2nd finger and repeat the exercise. Using a different digit to start forces you to come up with an alternative fingering. 8. Next, start with your 3rd finger and play another C minor arpeggio. 9. Finally, start with your 4th finger and play another C minor arpeggio. 10. Apply this same approach using every C note as a starting point.

CHAPTER 5 SEGMENT 27 Vertical 3-Note Minor Arpeggios Level: Intermediate Gtr I: Untitled (E A D G B E) 1-octave example

1

e Ie e T A B

V V V V 3

5

6

V V V V

U

6

3

3

1st finger 9

e Ie e T A B

1

5

1

11

10

11

4th finger

V fV V V

U 3

1

3

2nd finger

V V V V 8

3rd finger

2nd finger

1st finger

0

V V V V

U

2

3

3

V V V V

8

8

6

10

6

1

3

4th finger

3rd finger

U

0

1

U

U

V V V V

8

8

6

5

6

U

V V V V

8

8

5

6

U

6

8

2-octave example 1st finger 17

e Ie e T A B

V V V V 3

6

5

5

3rd finger 25

e Ie e T A B

V V V V 3

1

0

5

V V V V 8

8

8

8

V V V V 4

3

8

3

2nd finger

V V V V 8

5

5

6

U 3

V V V V 3

1

5

5

same notes with 4th figner

V V V V 4

5

0

1

U 3

V V V V 3

1

0

5

V V V V 4

3

8

3

V V V V 4

3

Use this same approach using every C on the guitar as a starting point.

8

3

V V V V 4

5

5

1

V V V V 4

5

0

1

U 3

U 3

CHAPTER 5 SEGMENT 27.2 Horizontal 3-Note Minor Arpeggios Level: Beginner Gtr I: Untitled (E A D G B E) Next, begin on the lowest note of the arpeggio. Note that in the video I do all 12 keys on the high e string. Another approach is to play in each key on all 6 strings before moving to the next key, as written in the notation that follows.

Cm

1

V V V V V V V V V V V V V V V V V V V ee V V V V I e V T A B

2

e Ie e T A B

3

8

V 1

11

11

10

8

V

V

V

V 5

15

13

17

3

1

V

13

V

4

V

10

8

V

5

1

13

16

8

6

4

V

V

V

V 3

13

10

15

1

V

0

V

10

5

V

6

8

3

17

8

12

V

V

V

V

3

12

11

8

V

15

0

V

11

V

8

3

Fm

3

V V V V V V V V V V V V V V V V V V V V V V ee e V V V V V I e T A B

4

1

ee Ie e V T A B

3

4

8

V 6

13

V

10

16

V

15

13

V

10

8

V 6

4

1

V 3

1

V 3

6

V 8

9

V

11

13

V

15

18

13

V

11

9

V 6

6

V 3

1

V 1

1

V 4

5

10

V 8

13

V

13

17

V

16

13

V

13

10

V 8

5

1

V 4

V 1

`

Bm

5

ee V e I ee T A B

6

1

6

ee Ie e e V T A B

9

3

8

V

13

V

V

V

V

V

V

11

V

9

6

V

15

V 1

V

11

V 2

V

8

V

3

6

1

11

4

14

V

V

V

V

V

V

V

8

13

V 11

V

16

V 6

3

V

8

6

V

4

10

1

6

V

15

V

V

V

1

V

V

V

V

2

V

13

V

9

V

10

V

13

V

6

V

3

V

9

V

6

1

`

Em

7

ee I e e ee T A B

8

ee I e e ee T A B

V 2

V

V

V 6

11

V

14

11

V 6

V

V

2

4

V

V

V 7

11

16

V 11

V

V

7

V

V

4

3

8

V 11

V 15

V

V

11

V

8

3

V V V V V V V V V V V V V V V V V V fV V V V V V V 1

4

8

13

16

13

8

4

1

1

6

9

13

18

13

9

6

1

2

6

11

15

11

6

2

`

Am

9

V V V V V V V V V V V V V V V V V V V ee e ee V V V V V V I ee T A B

10

ee e I e e ee T A B

4

7

11

16

11

7

4

0

4

9

12

16

12

9

4

0

1

4

8

13

16

13

8

4

1

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 1

6

9

13

18

13

9

6

1

2

6

11

14

18

14

11

6

2

4

7

11

16

11

7

4

b

Cm

11

V V V V V V V V V V V V V gggg V V V V V V V V V V I V V T A B

12

gggg I T A B

0

V 2

4

V 6

9

12

V

11

V

14

9

4

V

18

0

V

14

2

V

11

5

V 6

9

V 2

14

V 4

17

V 7

14

V

11

9

V

16

5

V

11

2

V 7

1

V 4

6

9

V 0

13

V 4

18

V

9

13

V

12

9

V

9

6

V 4

1

V 0

b

Fm

13

V V V V V V V V V V V V V V V ggg V V V V V V V V V V I 2

T A B

14

ggg I

5

9

14

17

14

9

5

V V V V V V V

T A B

4

7

11

16

11

7

2

2

7

10

14

10

7

2

2

6

11

14

18

14

11

6

2

V V V V V V V V V V V V V V V V V V

4

0

4

9

12

16

12

9

4

0

2

5

9

14

17

14

9

5

2

Bm

15

g V Ig T A B

16

gg I T A B

2

7

V

V

V

10

V

14

V

10

V

7

V

2

0

V 3

V 7

V 12

V 15

V

V

12

V

7

V

3

0

V 4

V 7

V 11

V

16

V

V

11

V

7

4

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 0

4

9

12

16

12

9

4

0

2

5

9

14

17

14

9

5

14

2

7

10

14

10

7

2

Em

17

V V V V V V V V V V V V V V V V V g V V V V V V V V V V I 0

T A B

18

I

3

7

12

15

12

7

3

0

0

5

8

12

17

12

8

5

0

V V V V V V V V V V V V V V V V

g

T A B

2

5

9

14

17

14

9

5

2

2

7

10

14

10

7

0

4

9

12

16

12

9

4

0

V V V V V V V V V

2

0

3

7

12

15

12

7

3

0

Am

19

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 I T A B

20

0

5

8

12

17

12

8

5

V V V V I V V V T A B

2

7

10

14

10

7

2

0

1

5

10

13

17

13

10

5

1

2

5

9

14

17

14

9

5

2

V V V V V V V V V V V V V V V V V V 0

3

7

12

14

12

7

3

0

0

5

8

12

17

12

8

5

0

Dm

21

Ie T A B

22

V 1

V 5

10

V

V

V

13

V

17

V

13

V

10

V

5

V

1

3

V

V

V 6

10

V

15

V

10

V

6

V

3

2

V 7

V 10

V 14

V

V

10

V

7

2

V V V V V V V V Ie V V V V V V V V V V V V V V V V V V T A B

0

3

7

12

15

12

7

3

0

0

5

8

12

17

12

8

5

0

1

5

10

13

17

10

5

1

Gm

23

e V e I T A B

24

e Ie T A B

3

V

V 6

10

V 15

V

V

10

V

6

V

3

3

V

V

V 8

11

15

V 11

V 8

V 3

V 0

V 3

7

V

V

V

12

15

V

V

12

V

7

V

3

0

V V V V V V V V V V V V V V V V V V V V V V V V 0

5

8

12

17

12

8

5

0

1

5

10

13

17

13

10

5

1

3

6

10

15

6

3

CHAPTER 5 SEGMENT 27.3 Horizontal 3-Note Minor Arpeggios Level: Intermediate Gtr I: Untitled (E A D G B E)

1

V V V V

e Ie e

U

V ee e V V V e

U ee eee

V V V V

U

6

6

eeeeee

V V V V

U

11 14 18 14

11

V V V V e eeeeee

U

Gtr I 8 11 15 11

T A B

11

gggg I T A B

19

I T A B

8

V V V V

U

9

9

12 16 12

V V V V

U

5

5

8

1

12

8

4

8

4

1

V V ggg V V 2

5

9

5

V V V V

U

10 13 17 13

10

e

9 13 9

V V V V

U gg 2

7

10 14 10

V V V ee V 3

6

10

6

U 3

4

7 11 7

U g V V V V

U

7

0

0

3

7

3

4

Horizontal 11. Begin on the lowest note of the arpeggio on each string and play the minor arpeggios in every key. For example: in C minor, on the high E string, start with the G the 5th of the arpeggio. On the 2nd string start with C the root, on the 3rd string start with G the 5th, on the 4th string start with Eb the 3rd, and on the 5th string start with C the root, on the 6th string start with G the 5th. 12. Go through all 12 keys, playing all the variations. 13. Next, play just the roots of the arpeggio on each string through the cycle of fourths. 14. Starting with the root, play the arpeggio up and down the fingerboard on each string. 15. Remember to focus on internalizing the sound of the minor arpeggio. 16. There are only 2 chord types: major and minor, so it is essential to spend the necessary time practicing them thoroughly. Segment 28. 3-Note Minor Arpeggio: Play-along Exercise In this play-along we play the vertical minor arpeggio in all 12 keys around the cycle of fourths just as we did with the major arpeggio. The object is to get through all 12 keys at a slow tempo without stopping. 1. Play the minor arpeggios around the cycle of fourths, starting on Cm as demonstrated in this play-along video and written in the following notation. 2. Fingerings and positions do not matter. Choose different fingerings each time. The goal is to get through all keys without stopping. 3. Use the hold note to think ahead to the next key. 4. Next, increase the tempo incrementally over time by playing this exercise to a metronome rather than the video. 5. Remember to make up your own variations, exploring all possible fingerings and positions. 6. Practice this a little bit every day.

CHAPTER 5 SEGMENT 28 3-Note Minor Arpeggio: Playalong Exercise Level: Intermediate Gtr I: Untitled (E A D G B E) Pay the vertical minor arpeggio in all 12 keys around the cycle of fourths just as we did with the major arpeggio. The object is to get through all 12 keys at a slow tempo without stopping.

Cm 1

e Ie e

`

Fm

Em

ee V V V e U ee

eeee V V V V U

V V V V

`

Bm

V

V ee e e V V V ee

U

U

Gtr I

T A B

3

5

6

6

3

3

`

4

6

4

V I V V V T A B

7

5

5

3

4

5

6

6

4

5

g U gg

5

6

4

7

6

U ee V V V V

7

6

7

5

8

7

4

3

8

7

4

4

3

7

6

7

4

Em

gg V V V V U

V V V V

V V V V e U 7

6

Bm

Gm

5

6

b

Dm

6

6

Fm

gggg V V V V U

Am 19

6

Cm

V ee e I e e ee V V V T A B

6

3

b

Am

9

5

7

3

U 5

Remember to make up your own variations, exploring all possible fingerings and positions.

g V V V V U 4

5

8

7

8

U 5

Chapter 6 4-Note Chords and Arpeggios Segment 29. Overview So far we have focused on 3 note chords and arpeggios. Adding a 4th note to the 3 note chords adds color to music, making it more interesting. Remember that to build the triad, use every other note in the scale. Apply the same rule to find the 4th note. So, in addition to the 1-3-5 notes, C-E-G, we add the 7 or B to build the C major 7th chord. The name comes from the fact that we added the 7th note of the major scale to the major triad. In this chapter we apply the same approach to the 4-note arpeggios that we used with the 3-note arpeggios. Vertical 1. Start with the major triads that you worked out on paper, in all 12 keys. Build the major 7th arpeggios by adding the 7th note of the scale to each. 2. The same applies to the minor chords and arpeggios. Add a 4th tone to the A minor triad to build the A minor 7th. In this example the 7th note of the A natural minor scale is G so that is the 4th note we add. 3. Find a C note on the fingerboard. 4. Place your first finger on the C. 5. Play the Cmaj7 arpeggio (C-E-G-B), starting with your 1 st finger, hunt down the notes to play a one-octave arpeggio. 6. Next, fret the same C note with your 2nd finger and repeat the exercise. Using a different digit to start the scale forces you to come up with an alternative fingering. 7. Next, start with your 3rd finger and play another Cmaj7 arpeggio. 8. Finally, start with your 4th finger and play another Cmaj7 arpeggio. 9. Use this same approach using every C note on the guitar as a starting point. 10. Do this in all 12 keys with all chord types. 11. Remember to strive to get the sound of the chord in your ear.

CHAPTER 6 SEGMENT 29 4-Note Vertical Arpeggios Level: Intermediate Gtr I: Untitled (E A D G B E) 1-octave example

1st finger

3rd finger

2nd finger

same notes with 4th figner

Cmaj7 1

I

V V V V V V V V

V V V V V V V V

U

V V V V V V V V

U

V V V V V V V V

U

U

Gtr I

T A B

3 7

5

4 5 4

5

7

3

3

1st finger

9

I T A B

4 5 4

2 5

5 2

3

3

2nd finger

V V V V V V V V

8 12

10

9 10 9

10

12

8

8

0

2

3

3

9 10 9

7 10

V V V V V V V V

U

10 7

8

5 9 10 9 5

7

8

0

2

0 1 0

0

2

3

4th finger

3rd finger

V V V V V V V V

U

0 1 0

0

2

V V V V V V V V

U

7

8

8

7

5 9

5

9 5

U

7

8

2-octave example 1st finger

17

T A B

3

7

5

4

5

3

5

2nd finger

V V V V V V V V

V V V I V V V V V 7

8

7

3

5

5

4

5

U

7

3

3rd finger

23

3

2

3

2

4

5

3

5

5

7

8

7

3

5

5

4

5

U

2

3

same notes with 4th figner

V V V V I V V V V T A B

V V V V V V V V

V V V V V V V V

0

4

5

5

3

7

V V V V V V V V 8

7

3

5

5

4

0

2

U 3

V V V V V V V V 3

2

0

4

5

5

3

7

V V V 8

7

3

V V V V V 5

5

4

0

2

U 3

CHAPTER 6 SEGMENT 29.2 4-Note Horizontal Arpeggios Level: Intermediate Gtr I: Untitled (E A D G B E)

Starting with the root, play the arpeggio up and down the fingerboard on each string. If your guitaer does not have enough frets to play the high notes start the arpeggio on another string or move an octave down to finish the arpeggio.

C

V 1

`

F

VVVV VV V

U

I

e

V

B

VVVV VV V

U e e

VV

E

VVVVV

V U

eee

`

V VV

A

VVVV

V U

eeee

`

V VV

VVVV

V U

Gtr I

T A B

8 12151920191512

D

11

ee Ie e e T A B

8

1 5 8 121312 8 5

`

G

VVVVVV V V U 9 13 16 20 21 20 16 13

6 10131718171310

`

6

1115182223221815

0 4 7 11 12 11 7 4

4 8 1115161511 8

4

B

9

2 6 9 13 14 13 9 6

2

7 11 14 18 19 18 14 11

A

0

5 9 12 16 17 16 12 9

7

D

VVVV V V V V V V VV VVVV V VV V V U g g V V g g V gg U gg Ig T A B

11

VVVV VVVVVV V V V V Ugg V U ee e e V g g g ee

E

17

1

5

10 14 17 21 22 21 17 14

G

U 10

VVVVVV V U g V 3 7 10 14 15 14 10 7

3

CHAPTER 6 SEGMENT 29.3 Horizontal 4 Note Major Arpeggios Level: Intermediate Gtr I: Untitled (E A D G B E) Next, begin on the lowest note of the arpeggio and play the notes up and down on each string.

Cmaj7

1

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 V V V I V V T A B

2

0

3

7

8 12 15 12 8

7

3

0

0

1

5

8 12 13 17 12 13 8

5

1

0

0

4

V V V V V V V I V V V V V V V V V V V V V V V T A B

2

5

9

10 14 17 14 10

9

5

2

2

3

7

10 14 15 14 10

7

3

2

5

9 12 16 17 16 12 9

5

4

0

V V V V V V V V V V V 0

3

7

8

12 15 12

8

7

3

0

Fmaj7

3

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 V V V V V Ie T A B

4

0

1

5

8 12 13 17 13 12 8

5

1

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CHAPTER 6 SEGMENT 29.4 Horizontal 4-Note Minor Arpeggios Level: Intermediate Gtr I: Untitled (E A D G B E)

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Horizontal 12. Starting with the root, play the arpeggio up and down the fingerboard on each string. 13. Next, begin on the lowest note of the arpeggio and play the notes up and down on each string. For example: in C, start with the open E, the 3 rd of the arpeggio, on the 2nd string, start with B, the major 7th, on the 3rd string start with G, the 5th, on the 4th string start with E, the 3rd, on the 5th string start with B, the major 7th, on the 6th string start with E, the 3rd of the arpeggio. 14. It is up to you to find all of the fingerings. 15. Do this exercise in other keys with the goal of playing in all 12 keys. Segment 30. Major 7: Play-along Exercise In this play-along we work on the vertical major 7th arpeggios in all 12 keys, just as we did with the major triads. The object is to get through all 12 keys at a slow tempo without stopping. 1. Play the major 7th exercise as demonstrated in this play-along video and written in the notation that follows. 2. Change up your fingerings each time you play. 3. Play with both the vertical and horizontal approach. 4. Reference the Inversion Excursion manual to apply this same approach to all of the 4 note chord types, such as major 6th, minor 6th, minor 7th, etc. 5. Experiment and work out your own exercises.

CHAPTER 6 SEGMENT 30 Major 7: Playalong Exercise Level: Intermediate Gtr I: Untitled (E A D G B E)

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Change up your fingerings each time you play this exercise. Reference the Inversion Excursion manual to apply this same approach to all of the 4 note chord types. Do this exercise in other keys with the goal of playing in all 12 keys.

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Segment 31. Learn Them All! It’s up to You! I have demonstrated the major 7th chords and inversions using the Cmaj7 as an example. It is up to you to use the reference manual, Inversion Excursion, and continue to work on all chord types and in all keys using the tools I have provided. An important part of learning guitar is to work through these chords, arpeggios and scales on your own. That is how you gain a deep understanding of the guitar and internalize the different sounds. It is therefore an important process and a necessary step to becoming an accomplished guitarist.

CHAPTER 6 SEGMENT 31 Learn Them All! It's up to You! Level: Intermediate Gtr I: Untitled (E A D G B E)

Below are basic 4-note major arepeggios around the cycle of fourths. It is up to you to apply the tools given to you to learn them using all the different fingerings in all postitions. Reference the included inversion excursion manual for more chord types.

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CHAPTER 6 SEGMENRT 31.2 Learn Them All! It's up to You! Level: Intermediate Below are basic 4-note minor arepeggios around the cycle of fourths. It is up to you to apply the tools given to you to learn them with different fingerings in all postitions. Reference the included inversion excursion manual for more chord types.

Gtr I: Untitled (E A D G B E)

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10

8

V V V V V V V V

10

9

8 11 13 11 8

9

V V V V V V V V 10 8

10

11 8

11 8

4

6

`

`

B m7

13

E m7

T A B

6

8

9

6

6

6

8

6

9

9

6

6

8

6

8

4

4

6

8

6

8

b

17

T A B

4

6

2

2

4

9

11 9

6

4

6

4

4

4

7

7

4

4

6

4

6

2

4

2

6

4

6

b

6

4

6

2

4

2

4

4

6

3

0

2

5

4

7

9

7

4

5

V V V gg V V V V V V V V V V V V V

2

4

5

4

2

2

2

5

5

2

2

4

2

4

5

9

7 10

7

9

7 10

7

Em7

25

V V V V V V g V V V V V V I V V V V T A B

7

10

7

7

9

7

4

Bm7

ggg V V V V V I V V V V V V V V V V V T A B

2

V V V V V V V V

V V V V V V gggg V V V V V V V V V V

F m7

21

6

C m7

V V V V V V V V 6

6

7

b

G m7

gggg I g

V V V V V V V V

V V V V V V eee V V V V V V V eee V V V

V V ee V e V I ee V V V V

9

5

7

10

9

7

9

8

7

10

V V V V V V V V 12

10

7

8

9

7

9

10

U

7

Chapter 7 Combining Horizontal and Vertical Arpeggios Segment 32. Overview In this chapter we cover 4-note arpeggios. We take the same approach we used to play the C major scale more than 100 different ways. We will use Cmaj7 as an example but your goal is to play all arpeggios in all keys using this same methodology. We know that to build the major 7th arpeggio we start with the triad and add the 7th note of the major scale. In the key of C the major 7th chord is made up of C-E-G-B. Reference the video and the notation included for the following steps. 1. Start with your 1st finger on the C at the 3rd fret of the 5th string. 2. Play the C maj7 arpeggio horizontally. When you get to the last note, move vertically off the 5th string and play the B at the 9th fret of the 4th string. 3. Next, start the same way but move vertically and play the G at the 5th fret and the B at the 9th fret of the 4th string. 4. Finally, we play the G at the 5th fret of the 4th string and move vertically to play the B at the 4th fret of the 3rd string. 5. Next, start with the 2nd finger on the same C and apply the same approach as demonstrated in the video. 6. Next we use the C major 7th arpeggio to come up with simple musical ideas. We start our first phrases on the root. I play a simple idea and you answer with a phrase of your own. 7. Keep it simple, melodic and strive for good even tones. 8. Next, start on the 3rd, or the E of the arpeggio. I play an idea and you reply with a phrase. 9. Next, start with E but play horizontally on the B string. Use bends and vibrato to add expression. 10. Next, start on the 5th the G note at the 12th fret of the 3rd string and use the top strings. 11. Finally, we start our musical phrase on the 7th note the B. This is one of my favorites. 12. Go through all arpeggios around the cycle, maybe one a day for 5 or 10 minutes. 13. Make nice melodic ideas using these tonal centers. 14. Remember to combine the horizontal and vertical approach.

CHAPTER 7 SEGMENT 32 Combining Horizontal and Vertical Arpeggios Level: Intermediate Gtr I: Untitled (E A D G B E) Play the C maj7 arpeggio horizontally. When you get to the last note, move vertically off the 5th string and play the B at the 9th fret of the 4th string. Next, start the same way but move vertically and play the G at the 5th fret and the B at the 9th fret of the 4th string. Use this approach to come up with all variations. 1

3 I4

V V V

V V V

V V V

V V V

W

V V V

V V V

W

V V V

V V V

W

W

Gtr I

T A B

3

7 10

14 10 7

3

3

9

7 10

10 7

3

3

5

7

9

5

7

3

3

7

4

5

5

7

3

Next, start with the 2nd finger on the same C and apply the same approach as demonstrated in the video.

13

I T A B

22

V V V

V V V 3

2

5

9

5

9

W

2

V V V

V V V I T A B

5

12

12

12

V V V

9

2

5

3

3

W

V V V

5

5

9

8

V V V 4

5

2

V V V 12

8

9

W

V V V 5

9

12

V V V 16

12

9

W 5

3

W

V V V

5

5

5

8

V V V 7

8

5

W 5

Use all digits on all C notes to find all variations. Next we use the C Major 7th arpeggio to come up with simple musical ideas. I play a simple idea starting on the root and you answer with a phrase of your own.

31

V V V V V V V I V T A B

5

5

3

7

8

7

3

7

V V V W 3

5

3 5 sl.

answer with a phrase of your own

34

V V V V I u u T A B

38

5

5

3

V k V V V V V

7

3

3

5

5

3

5

3

5

5

V V V V V V V

V k V V I u T A B

7

3

3

7

3

3

3

answer with a phrase of your own

U

V V V W V u

7

3

3

5

5

answer with a phrase of your own

5

starting on the 3rd

42

I T A B

8

9

answer with a phrase of your own

V V V V V V V V

V W k

8

8

7

7

7

8

7

U

8

9

sl.

46

I

M

1/2

T A B

5

answer with a phrase of your own

V V V V V V V

V V k 8

12

O 12

M

1/2

12

O 12

M

U

1/2

12

O 12

||

8

5

starting on the 5th

50

I

V V V V V V V V

answer with a phrase of your own

U

3 let ring

T A B

V V V V V V V V V

12

12

8

12

8

12

8

12

12

12

8

12

8

8

12

P

12

12

12

starting on the 7th

54

I T A B

V V V V V V V 7

8

7

8

7 9

8

V V V V V V V V 7

8

7

8

9

10 9

9

V V V V V V V V V V 3 3

9 10

9

8

7

8

H

7

P

7

8

H

7

P

answer with a phrase of your own V V V V V V V V V U 3 3

7

8

H

7

P

7

8

H

7

8

|| 9

P

Segment 33. Making a Practice Rhythm Track Whether you are working on scales, arpeggios, chords, melodies or improvisation, it is useful to create a play-along track to practice to. Although there are playalong tracks available free online and for purchase, I think it is best to make your own. 1. Start by setting a metronome to the desired tempo. 2. Start your recording device. 3. Record a few minutes of the rhythm you want to work on. In our example I play the Cmaj7 on the bottom 4 strings in the 1st position for one measure and then play the Cmaj6 for one measure. We will use this play-along and others throughout the remainder of this course. 4. After you have recorded a few minutes, stop the recorder and listen to be sure you like the sound of the play-along. 5. Use this same method for creating grooves anytime you are learning a new song. 6. Record the chords of songs to use for working on the melodies or soloing. This is a great way to work on just about anything you are doing. Segment 34. C Major 7th: Play-along Exercise In this video segment we roll the play-along track we recorded to trade fours using the various tonal centers and ideas we have covered thus far. Play along using these ideas to vary the jam. You can copy what I do, or answer what I do with your own phrase. I will let you know what tonal center I am using each time I change it. Below is the list of tonal centers in order.

10

9

The ideas that I play use the following tonal centers: 1. Major pentatonic 2. Major 7th 3. Major 7th arpeggio 4. Horizontal on the 2nd string 5. Major pentatonic into the minor pentatonic 6. Major 6th 7. Low register 8. Low register on the 5th string 9. Same note on different strings 10. Bluesy lick 11. Thirds 12. Scale patterns 13. Focus on the 9th 14. Bends with the suspended 4th 15. Pull-offs 16. 6/9 chords 17. Thirds with a bluesy ending 18. It’s up to you to make play along tracks in other keys and in different tempos.

Chapter 8 Harmonizing the Major Scales Segment 35. Overview This Lesson builds on the horizontal scales and arpeggios that we have worked on previously. An interval is the distance between two notes. When thinking of intervals, we often count up. For example, in the key of C the 2 nd is D, the 3rd is E, the 4th is F, the 5th is G, 6th is A and the 7th is B. To harmonize the major scale, play 2 notes at the same time. In this chapter we harmonize the C major scale with all of the intervals beginning with the 3rd. We start with the 3rd because it is a very familiar sounding interval. Think of it as playing 2 C major scales on 2 different strings at the same time. 1. Play the C major scale on the 2nd string, beginning with C at the 1st fret, up to the octave at the 13th fret and back. 2. Next, play the note a third above each scale tone on the 1st string, beginning with the open E, play all the notes of the C major scale to the octave at the 12th fret and back. 3. Now, play the notes from step 1 and 2 simultaneously, ascending and descending the fret board. In essence, play the C major scale on both strings simultaneously with different starting and ending points. The starting points, in this example are a 3rd apart. 4. Do not think of the intervals as grips. 5. Once you get the idea, apply this lesson to each string, beginning with the lowest note of the scale on each string. 6. Next, start on D and harmonize with a 2nd. Counting from D to E we have our 2 starting points. D and E. Play the notes of the C major scale with these starting and ending points. Note that we did not start on the C note because the lowest note on the top string is E and we need to start with a D. 7. Work through all intervals, harmonizing the major scale with the 2nd, 3rd, 4th, 5th, 6th, and 7th.

8. After you master this lesson in the key of C, work with the other keys; your goal is playing it in all 12 keys. 9. Take your time and go through one key a day. Some keys will be easier to navigate than others. I think of Db and Gb like the jungle because until you master them you will find yourself thinking, “Where am I?” 10. When practicing these intervals, internalize them and recognize their sound. 11. I find it helpful to find 2 notes of a song or jingle that remind me of a particular interval. For example, the first 2 notes of the NBC jingle (the N-B) are a 6th apart. The Star Wars theme starts with 2 notes a 5th apart. In the video segments that follow I demonstrate harmony on the 1st and 2nd string and the 2nd and 3rd string. It is up to you to continue the same approach with the other strings and in the other keys. The notation that follows has all of the intervals on all strings in the key of C.

CHAPTER 8 SEGMENT 35 Harmonizing the Major Scales

Level: Intermediate Gtr I: Untitled (E A D G B E) Start by playing the C Major scale on the 2nd string, beginning with C at the 1st fret and go up to the octave at the 13th fret and back.

1

I U T A B

1

U

U

U

U

3

5

6

8

U

U

U

U

U

10

12

13

12

10

U

U

U

U

U

8

6

5

3

1

Next, play the note a third above each scale tone on the 2nd string, beginning with the open e and play all the notes of the C major scale to the octave and back.

2

I T A B

U

U

U

U

U

U

0

1

3

5

7

8

U

U

U

10

12

10

U

U

U

U

U

U

8

7

5

3

1

0

Now, play the notes from step 1 and 2 simultaneously. In essence, play the C major scale on both strings simultaneously with different starting points.

3

U I U T A B

0 1

UU

UU

UU

UU

1 3

3 5

5 6

7 8

UU

UU

UU

UU

UU

8 10

10 12

12 13

10 12

8 10

UU

UU

UU

UU

UU

7 8

5 6

3 5

1 3

0 1

In the upcoming segments we will harmonize the major scale with each interval.

Segment 36. Intervals: 2nds 1. In this segment we concentrate on harmonizing the major scale with 2nds. Our starting points are D at the 3rd fret of the 2nd string and the open E string. We will play 4 beats per interval. 2. This interval may sound dissonant to you, but when you hear it in the context of a full chord, it has a pleasing sound. 3. Next I demonstrate on the 2nd and 3rd strings, with our starting points of A on the 3rd string at the 2nd fret and the open B string. You will notice that there is not as much of a stretch for these strings. That is because these strings are tuned a 3rd rather than a 4th apart. 4. On the video I make up a musical idea using this harmony. Listen to what I play and answer me with your idea.

CHAPTER 8 SEGMENT 36 Intervals: 2nds Level: Intermediate Gtr I: Untitled (E A D G B E)

1

I T A B

2

U

U

U

U

0 3

1 5

3 6

5 8

U

U

U

1 4

3 5

5 7

I U T A B

0 2

U 6 9

U

U

U

U

U

U

U

7 10

8 12

10 13

12 15

10 13

8 12

7 10

U

U

U

U

U

U

U

8 10

10 12

12 14

13 16

12 14

10 12

8 10

U

U

U

U

5 8

3 6

1 5

0 3

U

U

U

U

U

6 9

5 7

3 5

1 4

0 2

U

U

U

U

5 9

4 7

2 5

0 3

Though not on the video, below are the intervals for the other string sets.

3

U

2 5

4 7

5 9

I U T A B

4

U

U

0 3

I U T A B

0 3

U

U

U

2 5

3 7

5 8

U

U

U

U

U

U

U

U

U

7 10

9 12

10 14

12 15

14 17

12 15

10 14

9 12

7 10

U

U

U

U

U

U

U

U

U

U

U

7 10

9 12

10 14

12 15

14 17

15 19

14 17

12 15

10 14

9 12

7 10

U

U

U

U

5 8

3 7

2 5

0 3

Segment 37.Intervals: 3rds 1. In this segment we concentrate on harmonizing the major scale with 3rds . Our starting points are at the C at the 1st fret of the 2nd string and the open E. We will play 4 beats per interval, going up the scale and down. 2. On the video I make up a musical idea using this harmony. Listen to what I play and answer me with your idea.

CHAPTER 8 SEGMENT 37 Intervals: 3rds

Level: Intermediate Gtr I: Untitled (E A D G B E)

In essence, play the C major scale on both strings simultaneously with different starting points.

1

U I U T A B

2

0 1

I UU T A B

0 0

UU

UU

UU

UU

1 3

3 5

5 6

7 8

UU

UU

UU

1 2

3 4

5 5

UU

UU

6 7

8 9

UU

UU

UU

UU

UU

8 10

10 12

12 13

10 12

8 10

UU

UU

UU

UU

UU

10 10

12 12

13 14

12 12

10 10

UU

UU

UU

UU

UU

7 8

5 6

3 5

1 3

0 1

UU

UU

UU

UU

UU

UU

8 9

6 7

5 5

3 4

1 2

0 0

Though not on the video, below are the intervals for the other string sets.

3

I UU T A B

4

0 2

UU

UU

UU

2 3

4 5

5 7

UU 7 9

UU

UU

UU

UU

UU

UU

UU

UU

UU

UU

UU

9 10

10 12

12 14

14 15

16 17

17 19

16 17

14 15

12 14

10 12

9 10

UU

UU

UU

UU

UU

7 9

5 7

4 5

2 3

0 2

UU UU UU UU UU UU UU UU U U U U U U U U UU UU U U I U U UU UU UU U U U U UU U U T A B

0 2

2 3

3 5

5 7

7 8

9 10

10 12

12 14

14 15

15 17

17 19

19 20

17 19

15 17

14 15

12 14

10 12

9 10

7 8

5 7

3 5

2 3

0 2

5

I T A B

UU

UU

UU

0 1

2 3

3 5

UU

UU

5 7

7 8

UU

UU

UU

UU

UU

UU

UU

UU

UU

UU

UU

8 10

10 12

12 13

14 15

15 17

17 19

15 17

14 15

12 13

10 12

8 10

UU

UU

UU

UU

UU

7 8

5 7

3 5

2 3

0 1

On the video I make up a musical ideas using this harmony. Listen to what I play and answer me with your idea.

6

W I W T A B

0 1

VV VV VV VV

VV VV u

VV VV VV VV

VV VV VV VV VV VV VV VV

3 5

5 6

7 8

7 8

3 5

3 5

3 5

5 6

7 8

7 8

7 8

8 8 8 8 10 10 10 10 10 10 10 12 12 12

VV VV VV

WW

10 12 12 12 13 13

12 13

sl.

10

VV

VV VV VV VV VV VV

12 13

12 12 10 10 10 10 13 13 12 12 12 12

VV VV VV VV V V VV VV V V

I T A B

8 8 8 8 5 10 10 10 10 6

5 6

7 8

7 8

VV VV VV VV VV VV VV

VV VV VV VV VV VV VV VV

7 8

7 8

sl.

15

I T A B

7 8

5 6

5 6

5 6

5 6

5 6

sl.

7 8

7 8

7 8

sl.

5 6

5 6

5 6

5 6

VV VV VV

WW

3 5

0 1

3 5

1 3

sl.

VV

VV

VV

VV

VV

VV

VV

VV

VV

VV

VV

VV

VV

8 9

8 9

8 9

10 10

8 9

6 7

6 7

5 5

5 5

3 4

3 4

5 5

5 5

H

17

I

V V V VV VV VV VV VV

VV VV VV VV VV VV VV VV

VV VV VV

VV

VV

VV

VV

VV VV VV VV

UU

3

T A B

13

12

10 10 10 8 8 13 12 12 12 10 10

sl.

5 6

5 6

7 8

7 8

5 6

5 6

8 9 sl.

8 9

6 7

6 7

5 5

1 2

3 4

5 5

6 7

5 5

6 7 H

5 5 P

6 7

5 5

Segment 38. Intervals: 4ths 1. In this segment we concentrate on harmonizing the major scale with 4ths. Our starting points are C at the 1st fret of the 2nd string and F at the 1st fret of the top string. We will play 4 beats per interval. 2. On the video I make up a musical idea using this harmony. Listen to what I play and answer me with your idea.

CHAPTER 8 SEGMENT 38 Intervals: 4ths Level: Intermediate Gtr I: Untitled (E A D G B E)

1

UU I T A B

2

1 1

I UU T A B

1 0

UU

UU

UU

UU

3 3

5 5

7 6

8 8

UU

UU

UU

UU

3 2

5 4

6 5

8 7

UU

UU

UU

UU

UU

10 10

12 12

13 13

12 12

10 10

UU

UU

UU

UU

UU

10 9

12 10

13 12

12 10

10 9

UU

UU

UU

UU

UU

8 8

7 6

5 5

3 3

1 1

UU

UU

UU

UU

UU

8 7

6 5

5 4

3 2

1 0

Though not on the video, below are the intervals for the other string sets.

3

I UU T A B

4

0 0

I U U T A B

0 0

UU

UU

UU

UU

UU

2 2

4 3

5 5

7 7

9 9

UU

UU

UU

UU

UU

2 2

3 3

5 5

7 7

9 8

UU

UU

UU

10 10

12 12

10 10

UU

UU

UU

10 10

12 12

10 10

UU

UU

UU

UU

UU

UU

9 9

7 7

5 5

4 3

2 2

0 0

UU

UU

UU

UU

UU

UU

9 8

7 7

5 5

3 3

2 2

0 0

5

I T A B

UU

UU

UU

0 0

2 1

3 3

UU

UU

UU

5 5

7 7

8 8

UU

UU

UU

10 10

12 12

10 10

UU

UU

UU

UU

UU

UU

8 8

7 7

5 5

3 3

2 1

0 0

On the video I make up a musical ideas using this harmony. Listen to what I play and answer me with your idea.

6

I T A B

VV

VV

VV

VV

VV

8 8

10 10

12 12

12 12

12 12

VV

VV

VV

VV

VV

VV

8 8

10 10

12 12

10 10

8 8

7 6

sl.

9

1 1

1 1

5 5

3 3

3 3

3 3

sl.

13

I T A B

VV 13 12

I T A B

VV VV VV V V V V V V V V

10 10

8 8

VV

UU

10 10

8 8

10 10

8 8

8 8

8 8

8 8

5 5

3 3

3 3

3 3

WW

8 7

8 7

8 7

10 10 9 9

VV

VV

VV

8 8

10 10

12 12

8 7

c k V V

VV

VV

VV

10 10

12 12

10 10

12 12

1 0

sl.

3 2

3 2

5 4

5 4

3 2

3 2

sl.

VV

VV

8 8

10 10

VV

VV

VV u

10 9

8 7

10 9

5 4 sl.

VV VV VV V V V V 8 10 8 8 10 8 10 8 9 7 sl.

VV V W V W 10 10

sl.

VV VV VV VV VV VV VV VV

1 0

P

VV

sl.

VV VV VV VV VV u

sl.

VV

H

sl.

sl.

18

VV

sl.

V VV VV VV VV VV VV V I T A B

VV

VV

VV

10 9

8 7

8 8

8 8

P

VV

VV

UU

5 4

3 2

1 0

sl.

VV

VV

5 4

5 4

VV

VV

5 5

3 3

VV

WW

5 4

1 0 sl.

Segment 39. Intervals: 5ths 1. In this segment we concentrate on harmonizing the major scale with 5ths. Our starting points are C at the 1st fret of the 2nd string and G at the 3rd fret of the top string. We will play 4 beats per interval. 2. On the video I make up a musical idea using this harmony. Listen to what I play and answer me with your idea.

CHAPTER 8 SEGMENT 39 Intervals: 5ths Level: Intermediate Gtr I: Untitled (E A D G B E)

1

U I U T A B

2

1 0

U U

U U

U U

U U

3 1

5 3

7 5

8 6

U I U T A B

3 0

U U

U U

U U

5 2

6 4

8 5

U U

U U

U U

U U

U U

U U

U U

10 8

12 10

13 12

15 13

13 12

12 10

10 8

U U

U U

U U

U U

U U

U U

U U

10 7

12 9

13 10

15 12

13 10

12 9

10 7

U U

U U

U U

U U

U U

8 6

7 5

5 3

3 1

1 0

U U

U U

U U

U U

8 5

6 4

5 2

3 0

Though not on the video, below are the intervals for the other string sets.

3

I UU T A B

4

2 0

I U U T A B

2 0

U U

U U

U U

U U

4 2

5 3

7 5

9 7

U U 9 7

U U

U U

U U

3 2

5 3

7 5

U U

U U

U U

U U

U U

U U

U U

U U

U U

U U

U U

10 9

12 10

14 12

16 14

17 15

19 17

17 15

16 14

14 12

12 10

10 9

U U

U U

U U

U U

U U

U U

U U

U U

U U

U U

U U

10 8

12 10

14 12

15 14

17 15

19 17

17 15

15 14

14 12

12 10

10 8

U U

U U

U U

U U

U U

9 7

7 5

5 3

4 2

2 0

U U

U U

U U

U U

U U

9 7

7 5

5 3

3 2

2 0

5

I T A B

U UU UU UU UU UU U U U U U U U U U U U U U U U U U U UU UU UU U U U U U U U U U U U 2 0

3 1

5 3

7 5

8 7

10 8

12 10

14 12

15 13

17 15

19 17

20 19

19 17

17 15

15 13

14 12

12 10

10 8

8 7

7 5

5 3

3 1

2 0

On the video I make up a musical ideas using this harmony. Listen to what I play and answer me with your idea.

6

V V VV VV VV V V V V V V V V

V V V V VV VV VV VV V V V V

V V V V V V

V V

V V

U U

3 1

5 3

8 6

7 5

5 3

3 1

V V V V V V V V I V V V V V V V V T A B

3 1

3 1

3 1

3 1

3 1

3 1

3 1

3 1

3 1

5 3

5 3

sl.

11

I T A B

12 10

12 10

13 12

13 12

8 6

8 6

sl.

15

V I V T A B

8 5

20

T A B

8 5

3 1

3 1

10 8

10 8

V VV VV VV VV VV VV V

8 5

6 4

6 4

6 4

6 4

sl.

V V V V VV VV V V V V

U U

8 10 10 6 8 8

10 8

8 5

8 5

8 6

sl.

5 3

7 5

7 5

10 8

12 10

12 10

8 6

sl.

V V V V V V V V V V V V 8 5

5 3

V V VV VV V V V V u

sl.

8 5

5 3

8 5

7 6

7 5

7 5

5 3

sl.

V V

10 8

sl.

V I V

3 1

sl.

V VV VV VV VV V V V V V V V 10 8

5 3

8 5

8 5

8 5

sl.

V V V V V VV VV VV V V V V V 8 5

8 5

8 5

8 6

10 8

10 8

8 5

13 12

8 6

8 6

8 6

sl.

13 12

12 10

12 10

8 6

sl.

8 10 10 5 7 7

sl.

8 5

8 6

V V VV VV V V u

12 9

sl.

V VV WW V

sl.

V V

8 10 10 5 7 7

V VV VV VV VV VV VV V V V

10 8

10 8

sl.

V V

V V

V V

V V

6 4

6 4

5 2

3 0

U U 8 5

sl.

V V VV V V

V V

V VV V

W W

W W

10 10 12 8 8 10

8 6

8 10 6 8

10 8

8 6

sl.

sl.

U U 8 5

Segment 40. Intervals: 6ths 1. In this segment we concentrate on harmonizing the major scale with 6ths. Because of the big stretch, start with C on the 3rd string at the 5th fret and A on the top string at the 5th fret. We will play 4 beats per interval. 2. On the video I make up a musical idea using this harmony. Listen to what I play and answer me with your idea.

CHAPTER 8 SEGMENT 40 Intervals: 6ths Level: Intermediate Gtr I: Untitled (E A D G B E)

1

T A B

U U

U U

U U

8

10

12

9

10

12

U U

U U

5

7

5

7

U I U

U U

U U

U U

U U

U U

U U

10

8

7

5

3

1

0

10

9

7

5

4

2

0

Though not on the video, below are the intervals for the other string sets.

2

U U UU UU UU U U U U U U U U U U U U U U U U U U UU UU U U U U U U U U U U U U U U I U U U U U U T A B

3

1

3

5

6

8

10

12

13

15

17

18

20

18

17

15

13

12

10

8

6

5

3

1

0

0

2

3

5

7

9

10

12

14

15

17

19

21

19

17

15

14

12

10

9

7

5

3

2

0

U U UU U U U U U U U U U U U U U U U U U U U UU UU U U U I U U UU UU U U U U U U U U U U T A B

4

0

0

2

4

5

7

9

10

12

14

16

17

19

17

16

14

12

10

9

7

5

4

2

0

2

3

5

7

8

10

12

14

15

17

19

20

19

17

15

14

12

10

8

7

5

3

2

U U UU U U U U U U U U U U U U U U U U I U U U U U UU U U U U U U U U U U U U U U U U U U U T A B

0

2

3

5

7

9

10

12

14

15

17

19

17

15

14

12

10

9

7

5

3

2

0

1

3

5

7

8

10

12

13

15

17

19

20

19

17

15

13

12

10

8

7

5

3

1

On the video I make up a musical ideas using this harmony. Listen to what I play and answer me with your idea.

5

V VV V I u T A B

8

V VV V u

T A B

V V

V V

V V

V V

V V

W W

7

10

5

8

7

5

3

5

3

1

0

9

12

7

10

5

9

7

5

4

5

4

2

0

V

V

V

V

3

3

12

10 12

12

V

V V

V V V V u

V V u

9

10

10

V V

V V V V V V

V V

V V

V VV VV V

V V

V V

V V

V V

V V

5

12

10

8

5

3

5

1

1

3

7

5

10 10

8

13

12

10

8

5

12

10

9

5

4

5

2

2

4

7

5

10 10

9

14

12

10

9

V VVW V VVW I T A B

8 sl.

sl.

13

gV

gV

sl.

V I V T A B

V V

12

sl.

9

V V

8

V

I

V V

V V V VV V V V

V V V VV V V V

sl.

sl.

V VV V V V V V

V V W V V W

W W W W

U U

7

3 5 5

7

3

5

12

10

7

8

13

12

15

13

12

8

10

7

8

3

0

7

4 5 5

7

4

5

12

10

7

9

14

12

16

14

12

9

10

7

9

4

0

sl.

sl.

sl.

sl.

sl.

Segment 41. Intervals 7ths 1. In this segment we concentrate on harmonizing the major scale with 7ths. Our starting points are C on the 3rd string at the 5th fret and B on the top string at the 7th fret. We will play 4 beats per interval. 2. This interval may sound dissonant to you, but when you hear it in the context of a full chord, it has a pleasing sound. 3. On the video I make up a musical idea using this harmony. Listen to what I play and answer me with your idea.

CHAPTER 8 SEGMENT 41 Intervals: 7ths Level: Intermediate Gtr I: Untitled (E A D G B E)

1

U U

U I U T A B

U U

U U

U U

U U

U U

U U

U U

U U

U U

U U

U U

U U

7

8

10

12

13

15

13

12

10

8

7

5

3

1

5

7

9

10

12

14

12

10

9

7

5

4

2

0

Though not on the video, below are the intervals for the other string sets.

2

U U

U U

U U

U U

U U

8

10

12

13

15

13

12

5

7

9

10

12

14

12

10

U U

U U

U U

U U

U U

U U

U U

U U

U U

2

4

5

7

9

10

12

14

12

2

3

5

7

8

10

12

14

12

U U

U U

1

3

5

6

0

2

3

U U

0 0

I U U T A B

4

U U

U U

I UU T A B

3

U U

U U

U U

U U

U U

U U

10

8

6

5

3

1

9

7

5

3

2

0

U U

U U

U U

U U

U U

U U

10

9

7

5

4

2

0

10

8

7

5

3

2

0

U U

U U

U U

U U

U U

U U

U U

U U

U U

U U

U U

0

2

3

5

7

9

10

12

14

15

14

12

0

1

3

5

7

8

10

12

13

15

13

12

I U U T A B

U U

U U

U U

U U

U U

U U

U U

U U

10

9

7

5

3

2

0

10

8

7

5

3

1

0

On the video I make up a musical ideas using this harmony. Listen to what I play and answer me with your idea.

5

T A B

7

I T A B

11

V V

V V

V V

V V

7

12

12

10

5

10

10

9

V I V

V V

W W

12 10

V V

W W

13

10

12

9

W W

V I V T A B

V V

10

7

7

8

9

5

5

7

V V

12

8

10

7

V V V V V V V k V V V V V V V

V V

V V

10

5

9

4

V V

V V

V V

V V

W W

5

8

7

4

7

5

V V

V V

W W

5

8

7

4

7

5

V V

V V

W W

V V

V V

7

3

5

2

3

10

3

3

3

10 10 10

8

8

12

10

7

5

3

2

9

2

2

2

9

7

7

10

9

5

4

2

9

sl.

VVVV V V V kVVVVVVV

U U

3

12

3 3 3 12 12 12 13

13

2

10

2 2 2 10 10 10 12

12

sl.

9 sl.

W W

V I V T A B

V V

V V

sl.

15

V V

sl.

V V

V V

5 5 7 7 3

12

4 4 5 5 2

10

VVVVV VVVVV

sl.

V V

V V

10

7

9

5

V V

U U

8

3

5

7

2

4

Segment 42. Intervals: Play-along Exercise Here we play to the C major play-along track using all of the intervals we worked through, starting with 2nds. I will play a musical phrase and then you answer me. Once we get through all of the intervals, we mix them up. Strive to get the sound of each interval in your ear. Make your own play-along tracks to explore other keys. See the video segment as well as the notation that follows.

CHAPTER 8 SEGMENT 42 Intervals: Play-along Exercise Level: Beginner Gtr I: Untitled (E A D G B E)

1

4 V V V V I4 V

V V

V V V V W

5

7

V V V V W

V V V V V V V V

Gtr I

T A B

5

3

3

5

3

7

5

5

7

5

9

6

6

6

10

8

8

8

12

10 10

sl.

5

sl.

V k VV k VV VV VV VV V

VV k VV VV VV VV k VV I T A B

5 5

5 5

5 5

6 7

6 7

8 9

8 9

10 10 10 10 12 10 10 10 10 12 sl.

9

c V VV k j VV VV k V I T A B

1 1

3 3

3 3

8 8

8 8

8 8

8 8

VV VV VV VV VV VV VV VV

VV VV VV V W V W

12 12 12 13 13 12 12 10 12 12 12 14 14 12 12 10

10 10

8 9

8 9

6 7

5 5

sl.

VV VV VV VV VV VV VV VV

8 8

8

8 8

VV V V V V V V V V V V V V VV

10 10 12 10 10 12

12 10 10 12 10 10

8 8

8 8

7 6

7 6

VV V V V W V V V W

5 5

5 5

3 3

3 3

1 1

0 0

sl.

13

V V V V VV VV I V V V V u T A B

3 1

3 1

3 1

3 1

5 3

5 3

V V u

W W

7 5

7 5

k VV VV VV 3 1

3 1

5 3

V VV VV VV VV VV VV VV V

V V V V W V V V V W

5 3

7 5

7 5

7 5

8 6

8 6

7 5

sl.

10 8

8 6

7 5

5 3

7 5

7 5

8

17

W W

I

k VV k VV

V V V V u

U U

8

5

3

3

5

7

7

10

8

8

12

10

9

9

5

4

4

5

7

7

10

9

9

V V V V V V k V k V I V V V V

W W

V V u

V V V V u

V k V

V V V V V V V V u

7

7

7

8

10

10

7

8

8

10

12 12 10

8

7

5

7

7

5

5

5

5

7

9

9

5

7

7

9

10 10

7

5

4

5

5

5 5

I

5 5

5 5

5 5

8 9

8 9

k VV k VV WW

6 7

6 7

5 5

5 5

T A B

2 3

W W

2 3

2 3

2 3

3 5

k

3 5

VV 5 7

V V k V k V

k

VV 5 7

k

VV 5 7

j

k V V VV V V 9 9 10 10 10 12

V V

V V

V V V V VV VV k V V V V V V

U U

8 5

8 5

8 5

8 5

8 5

10 10 7 7

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VV VV VV VV VV V V V V V V 10 9 9 9 9 12 10 10 10 10

V V V V V V V V

5 7

5 7

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3

3

sl.

9

sl.

VV VV VV VV VV VV

T A B

V V W V V W

7

VV VV VV VV VV VV k VV I

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V V

3

sl.

33

V V u

8

T A B

29

V V VV V V u u

10

T A B

25

W W

12

T A B

21

V V k V k V

UU

5 7

5 7

V V V V u

V W V W u

12

10

8

8

10

12 12 13 13

12

8

8

5

3

3

12

10

9

9

10

12 12 14 14

12

9

9

5

5

5

sl.

37

c V V V V V V k j I V V V V T A B

41

I T A B

7

7

7

8

7

5

5

5

7

5

c VV VV VV VV VV k j

c V V V V V V V V V V k j

3 5

7

7

7

8

7

5

5

5

7

5

3 5

3 5

5 6

3 5

c VV VV VV VV VV k j 5 5

5 5

5 5

6 7

5 5

VV

VV WW u

VV VV VV VV WW

VV

VV WW u

VV VV VV VV WW

5 5

8 8

5 5

3 5

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10 10

8 8

8 8

5 6

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5 6

3 5

3 5

sl.

45

V V V V V V V V I V V V V V V V V T A B

49

7 5

7 5

7 5

7 5

7 5

9 7

9 7

V V V V W V V V V W

9 7

9 7

V V V V V V V V 13

12 12 12

12

10 10 10

7 5

7 5

7 5

V V V V V V V V

I T A B

7 5

10

8

8

8

8

7

7

7

V V V V V VV VV VV V V V V V

V V V V W V V V V W

12 12 12 12 12 14 14 14 10 10 10 10 10 12 12 12

14 12 12 12 12 12 10 10 10 10

V V V V VV VV VV VV 6

5

5

5

3 5

3 5

5 6

3 5

UU 3 5

sl.

53

V

I

V V V

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12 12 12

T A B

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10 10 10

sl.

V V V V 8

10

12 sl.

V V V

9 sl.

8

8

k V

8 7

V

V V u V

V V V V V V V V V V u

U U

7

7

5

5

5

3

3

1

3

5

5

5

4

4

2

4

57

I T A B

61

14

12

14

12

12

10

12

10

5 5

5 5

7 7

V V V V V V V V 10

9

10

9

9

7

9

7

VV VV VV VV

V I VV VV V VV T A B

65

V V V V V V V V

5 5

5 5

5 5

6 7

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5 5

V V V V V V V V

W I W

V V

7

8

7

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8

8

5

7

5

12 12 10

9

9

T A B

sl.

7

5

5

4

5

4

W W

5 5

7 7

3

2

3

0 2

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5 5

V V u

5

V V V VV WW

5 5

5 5

VV

VV u

UU

6 7

5 5

5 5

5 5

6 7

5 5

0 2

Chapter 9 Playing Melodies Segment 43. Overview Songs and melody have everything you need to know about improvisation. All the intervals, scales, arpeggios and phrasing are in songs and melodies. Learning to play melodies in all positions of the neck not only helps you to internalize a particular song, but also is a great way to learn to “sing” with your guitar. In this segment of the course we will apply the same principles to melody that we used to play the major scale. 1. Learn the melody of a song on the guitar. We use the song “All of Me” for our study. 2. Sing the melody. 3. In my opinion, basing solos on melody is the best way to approach improvisation. 4. When learning melodies, try to analyze the melody. For example the first notes of “All of Me” outline a C triad, followed by a fill and a second phrase that outlines and E chord. Next we outline the A7 chord and end on the 3rd of the D minor. 5. Learn to play the same melody in different positions by using the first note of each phrase as a starting point. Finger the note with your 1 st finger and play the phrase. This is the same approach we took with our scales and our arpeggios. 6. Next, start the phrase with your 2nd finger and play the phrase of the melody. 7. Next start with your 3rd finger and play the phrase. 8. Finally, start the phrase with your 4th finger and play the melody. 9. Apply this approach to all of the phrases and at all of the starting notes all over the fingerboard. 10. Play the phrases horizontally on each of the strings. 11. Work out the melody in different keys and in all positions. 12. Add expression to the melody by using bends, vibrato and slides.

13. Spice up the melody by adding other notes and expression, which results in an improvised solo based on the melody. The key is to learn a lot of melodies. 14. Another exercise is to pick any note on the guitar and hunt down the melody starting on that different note. This helps connect your ear to your fingers.

CHAPTER 9 SEGMENT 43 Playing Melodies - All Of Me Level: Intermediate Gtr I: Untitled (E A D G B E) Play the first phrase of the melody uing each of your fingers to start the phrase.

1st C 1st finger

V

1

V

I

3rd finger

2nd finger

V

V

W

V

V

V

W

4th finger

V

V

W

5

5

V

V

V

W

5

5

V

W

9

9

Gtr I

T A B

8

8

8

9

9

2nd C 1st finger

3rd C 9

V

I T A B

13

V

W

14

14

1st finger

V

5

V

W

T A B

7

7

12

3

0

0

V

V 5

V

W

14

14

8

5

V

13

V

W

2

2

12

V

W

9

9

V

5

17

V

5

5

V

W

2

2

4th string

12

9

9

V

13

8

4th finger

V

V V V W

3

4th finger

V

3rd string

V V V W 13

8

3rd finger

2nd string

V V V W

8

V

5

5

1st string

I

9

2nd finger

Horizontally

13

9

8

3rd finger

V

13

12

I V T A B

8

2nd finger

V

5

8

5

5th string

V V V W 10

V

5

2

2

0

V

W

2

2

6th string

V V V W 15

V

10

7

7

V V V W 8

3

0

0

Apply the same approach to the other phrases of the first 8 bars.

C

E7

V 19

V

I T A B

8

8

V

W

5

5

V

V

V

V

8

7

gV

3

8

10

9

V

W

5

5

A7 23

I T A B

Dm7

V

V

5

8

V

W

5

5

j

gV

V

4

5

gV

fV

6

5

W

W

8

6

Add expression by using vibrato, hammer ons, pull offs, and bends.

V 27

V

I T A B

8

8

V

W

10

8

8

V

I V T A B

1

10

sl.

V

V gV

10

8

7

9

9 H

31

V

V

3

|||| 9

V

V

V

8

V

W

|||||

5

5

j

H

gV

V M

5

W

|||| 9

9

P

V

1/2

4

V

gV

fV

M

O5

1/2

5

6

V

gV u

V

fW

M

1/2

5

sl.

7

8

6

Make an improvised solo by adding notes to spice up the melody.

35

I T A B

39

I T A B

V V V V V k V V

V V V W 8

8

9

V

10

8

9

V

8

M

1/4

|||

V |||||

5

10

8

j

10

gV

M

||

tr

1/4

8

10

V M

8

V

1/2

4

V gV V W

5

7 (1)

gV

fV

M

O5

1/2

5

6

j V V gV V gV u

|||

9

9

V

5

6

V

fW

9

gV u

M

1/2

5

sl.

(7)

8

6

7

8

9

Chapter 10 Harmonizing Melodies Segment 44. Overview In this chapter I show you how to harmonize a melody. This is a good example of applying theory and technique to creating music, which is what it is all about. We use the first 8 bars of the song, “All of Me”. We record the melody and build on the recording by adding the 3rd above and the 3rd below. We will start with 3 rds since they are the most popular interval to harmonize with. For the following segments, see the video demonstration and the notation that follows. Segment 45. First Part: The Melody 1. Play the melody of a song. In our example we will play the first 8 bars of the song, “All of Me”. 2. Remember to explore all the possible ways to play the melody, in all positions and beginning with each of your fingers, just as we have done with our previous lessons. 3. Record a track of the melody. Segment 46. Second Part: The 3rd Above 1. Next, harmonize the melody with the 3rd above. 2. For the first phrase, over the C major chord, play each melody note a 3rd above in the key of C. 3. When you get to the next chord, E7, play the melody notes a 3rd above in the key of E major. 4. When playing over the A7, think in terms of the A major scale. 5. When playing over the D minor, use the notes in one of the minor scales. 6. Record the harmony.

Segment 47. Third Part: The 3rd Below 1. In this segment we will continue to apply the same concept. The only difference is that we play the melody notes a 3rd below the original melody. 2. For example: for the first phrase over the C major, count down 3 from the first melody note: 1-C, 2-B, 3-A. We identify A as the melody a 3rd below C. 3. Continue to apply this approach to the first 8 bars of the song. 4. Add this harmony over the recorded track of the other 2 harmonies to hear the 3 parts together. 5. Try other intervals using the same method. Remember to play in all areas of the neck, using all possible fingerings. 6. Next, harmonize the melody using all of the intervals and combinations of intervals. Identify the ones you like best and those you do not care for. This is how you begin to develop your own sound and style.

CHAPTER 10 SEGMENT 45-47 Harmonizing Melodies - All Of Me Level: Intermediate Gtr I: Untitled (E A D G B E)

Segment 45-1st part: Melody

C

1

E

V

4 I4

V

V

V

V

W

V

V

8

7

gV

3

V

W

9

9

Gtr I 8

T A B

8

8

9

10

9

9

A 5

I T A B

Dm

V

V

5

V

8

j

gV

V

4

5

5

gV

fV

6

5

V

V u

W

8

6

6

Record a track of the melody.

Segment 46- 2nd part- roll the track and play the 3rd above the melody.

C

9

E

V

4 I4

V

12

T A B

12

V

W

8

8

V

V

V

V

12

10

3

12

13

A

13

7

gV

W

9

9

Dm

gV

V

9

7

I T A B

V

V 8

j

gV

V

7

8

V

gV

V

V u

W

10

9

7

5

5

Record a track of the harmony.

Record a track of the harmony.

Segment 47- 3rd part- roll the track of the harmony and play the 3rd below the melody.

C

17

E

V

4 I4 T A B

V

10

V

W

10

10

V

V

gV

10

9

12

A7 21

I T A B

V

3

10

9

V

9

gV

W

6

6

Dm7

V

V

6

5

gV 6

j

V

gV

5

6

V

V

W

8

6

5

Explore all the possible ways to play these lines, in all positions and beginning with each of your fingers.

W 7

Chapter 11 Triads and Their Inversions: Inversion Excursion Reference Segment 48. Overview Inversions are the various ways to play a chord. In essence, you play the same notes of a chord, but arranged in a different order. Chord inversions are an important part of your study; they add variety to your rhythm playing and really help build excitement when accompanying a soloist. Included in this course is an encyclopedia of chord inversions that I prepared called, Inversion Excursion. Inversions are a lifelong study and should be approached as such. Inversion Excursion is a great reference, but it is important to learn how to find inversions on you own. When working with inversions, strive to recognize the sound of them. 1. Finger the C major triad (C-E-G) on the top 3 strings as follows: C on the 5th fret of the 3rd string, E on the 5th fret of the 2nd string and G on the 3rd fret of the 1st string. 2. Find the 1st inversion of the chord on the same 3 strings by identifying the next chord tone (i.e., C-E-G) on each of the 3 strings. 3. Find the 2nd and final inversion on the same 3 strings following the same procedure (i.e., identifying the next chord tone on each of the 3 strings). 4. Repeat the lesson on each set of strings using major and minor triads. 5. Included in this chapter is a chord shapes supplement to help you get started. 6. Work out all sets of triads on each set of 3 strings, this time skipping one string. We refer to these as “spread voicings.” 7. Apply this approach to all major and minor triads. 8. Do this exercise in other keys with the goal of learning your inversions in all 12 keys. 9. Refer to the Inversion Excursion supplement and take a key or 2 a day and incorporate the inversions into your practice routine.

CHAPTER 11 SEGMENT 48 Triads and Their Inversions Level: Intermediate In addtion to the inversions that follow, begin work with the Inversion Excursion supplement.

Gtr I: Untitled (E A D G B E)

Finger the C major triad (G-C-E) on the top 3 strings as indicated in the tab below. Find the next 2 inversion of the chord on the same 3 strings by identifying the next chord tone (i.e., C-E-G) on each of the 3 strings.

C 2nd inversion

1st inversion

1

VV V

VV I V T A B

VV V

3 5 5

8 8 9

Apply the same approach to the other strings.

12 13 12

VV V

VV V

VV V 1 0 2

5 5 5

8 9 10

VV V

VV V

VV V 0 2 3

5 5 7

9 10 10

VV V

VV V

VV V 2 3 3

5 7 8

10 10 12

Play this Lesson in other keys with the goal of playing in all 12 keys.

F

2

T A B

VV V

VV V

V I e VV 1 1 2

5 6 5

8 10 10

VV V

VV V

VV V 1 2 3

6 5 7

10 10 10

VV V

VV V

VV V 2 3 3

5 7 8

VV V

10 10 12

3 3 5

VV V 7 8 8

VV V 10 12 13

`

B

3

e VV Ie V T A B

1 3 3

VV V 6 6 7

VV V 10 11 10

VV V 3 3 3

VV V 6 7 8

VV V 11 10 12

VV V 3 3 5

VV V 7 8 8

VV V 10 12 13

VV V 3 5 6

VV V 8 8 10

VV V 12 13 13

E

4

`

T A B

4 4 5

8 9 8

4 6 6

e e e VVV e I ee T A B

11 12 13

VV V

VV V

VV V

11 13 13

VV V

1 2 1

G

7

8 8 8

3 5 6

8 8 10

12 13 13

VV V

VV V

VV V 1 1 3

5 6 6

8 10 11

4 5 6

8 8 10

13 13 13

VV V

VV V

VV V 5 6 6

8 10 11

13 13 15

VV V

VV V

VV V

10 11 11

6 6 8

1 3 4

`

e e VV e I ee V T A B

VV V

VV V

D

6

4 3 5

VV V

VV V

VV V

`

ee e VVV I e T A B

VV V

VV V

VV V

11 11 12

6 8 8

3 4 3

A

5

VV V

VV V

e VVV e I e

2 2 3

VV V 9 9 10

VV V 2 1 3

VV V 6 6 6

VV V 9 10 11

VV V 1 3 4

VV V 6 6 8

VV V 10 11 11

VV V 3 4 4

VV V 6 8 9

VV V 11 11 13

` VV V 6 7 6

VV V 9 11 11

VV V 2 3 4

VV V 7 6 8

VV V 11 11 11

VV V 3 4 4

VV V 6 8 9

VV V 11 11 13

VV V 4 4 6

VV V 8 9 9

VV V 11 13 14

B

8

2 4 4

T A B

VV V

VV V

gggg VV I g V

7 7 8

11 12 11

VV V

VV V

VV V 4 4 4

7 8 9

12 11 13

VV V

VV V

VV V 4 4 6

8 9 9

11 13 14

VV V

VV V

VV V 1 2 2

4 6 7

9 9 11

E

9

gggg V VV I

VV V

0 0 1

4 5 4

T A B

VV V 7 9 9

VV V

VV V

VV V 0 1 2

5 4 6

9 9 9

VV V

VV V

VV V 1 2 2

4 6 7

9 9 11

VV V

VV V

VV V

9 11 12

6 7 7

2 2 4

A

10

ggg VV V I

VV V

0 2 2

5 5 6

T A B

VV V 9 10 9

VV V 2 2 2

VV V 5 6 7

VV V 10 9 11

VV V 2 2 4

VV V

VV V 6 7 7

9 11 12

VV V

VV V

VV V 2 4 5

7 7 9

11 12 12

D

11

g VV Ig V T A B

2 3 2

VV V 5 7 7

VV V 10 10 11

VV V 3 2 4

VV V 7 7 7

VV V 10 11 12

VV V 2 4 5

VV V 7 7 9

VV V 11 12 12

VV V 0 0 2

VV V 4 5 5

VV V 7 9 10

G

12

g VV I V T A B

3 3 4

VV V 7 8 7

VV V 10 12 12

VV V 3 4 5

VV V 8 7 9

VV V 12 12 12

VV V 4 5 5

VV V 7 9 10

VV V 12 12 14

VV V 0 2 3

VV V 5 5 7

VV V 9 10 10

CHAPTER 11 SEGMENT 48.2 Minor Triads and Their Inversions Level: Intermediate Gtr I: Untitled (E A D G B E)

Am

1

T A B

VV V

VV V

V I VV 0 1 2

5 5 5

8 10 9

VV V

VV V

VV V

10 9 10

5 5 7

1 2 2

VV V

VV V

VV V 2 2 3

5 7 7

9 10 12

VV V

VV V

VV V

10 12 12

7 7 8

2 3 5

Dm

2

VV Ie V T A B

1 3 2

VV V 5 6 7

VV V 10 10 10

VV V

VV V

10 10 12

6 7 7

3 2 3

VV V

VV V 2 3 5

VV V 7 7 8

VV V 10 12 12

VV V 0 0 1

VV V 3 5 5

VV V 7 8 10

Gm

3

e VVV e I T A B

3 3 3

VV V 6 8 7

VV V 10 11 12

VV V 3 3 5

VV V 8 7 8

VV V 11 12 12

VV V 3 5 5

VV V 7 8 10

VV V 12 12 13

VV V 0 1 3

VV V 5 5 6

VV V 8 10 10

Cm

4

T A B

VV V

VV V

e VVV e I e 3 4 5

8 8 8

11 13 12

VV V

VV V

VV V 1 0 1

4 5 5

8 8 10

VV V

VV V

VV V

8 10 10

5 5 6

0 1 3

VV V

VV V 1 3 3

5 6 8

Fm

5

T A B

VV V

VV V

e e VV e I e V 1 1 1

4 6 5

8 9 10

VV V

VV V

VV V 1 1 3

6 5 6

9 10 10

VV V

VV V

VV V

5 6 8

1 3 3

VV V

VV V

10 10 11

3 3 4

6 8 8

VV V 10 11 13

`

Bm

6

VV V

e e VV Ie e e V T A B

1 2 3

6 6 6

VV V 9 11 10

VV V 2 3 3

VV V 6 6 8

VV V 11 10 11

VV V 3 3 4

VV V 6 8 8

VV V 10 11 13

VV V 3 4 6

VV V 8 8 9

VV V 11 13 13

`

Em

7

e e e VVV e I ee T A B

2 4 3

VV V 6 7 8

VV V 11 11 11

VV V 4 3 4

VV V 7 8 8

VV V 11 11 13

VV V 3 4 6

VV V 8 8 9

VV V 11 13 13

VV V 1 1 2

VV V 4 6 6

VV V 8 9 11

b

Gm

8

4 4 4

T A B

VV V

VV V

gggg VV I g V

7 9 8

11 12 13

VV V

VV V

VV V 4 4 6

9 8 9

12 13 13

VV V

VV V

VV V 4 6 6

8 9 11

13 13 14

VV V

VV V

VV V 1 2 4

6 6 7

9 11 11

b

Cm

9

gggg VV V I

VV V

0 2 1

4 5 6

T A B

VV V 9 9 9

VV V

VV V

VV V 2 1 2

5 6 6

9 9 11

VV V

VV V

VV V 1 2 4

6 6 7

9 11 11

VV V

VV V

VV V 2 4 4

6 7 9

11 11 12

b

Fm

10

ggg VV V I

VV V

2 2 2

5 7 6

T A B

VV V 9 10 11

VV V 2 2 4

VV V 7 6 7

VV V 10 11 11

VV V 2 4 4

VV V

VV V 6 7 9

11 11 12

VV V

VV V

VV V 4 4 5

7 9 9

11 12 14

Bm

11

g VV Ig V T A B

2 3 4

VV V 7 7 7

VV V 10 12 11

VV V 3 4 4

VV V 7 7 9

VV V 12 11 12

VV V 4 4 5

VV V 7 9 9

VV V 11 12 14

VV V 0 2 2

VV V 4 5 7

VV V 9 9 10

Em

12

g V I VV

VV V

0 0 0

3 5 4

T A B

VV V 7 8 9

VV V 0 0 2

VV V 5 4 5

VV V 8 9 9

VV V 0 2 2

VV V 4 5 7

VV V 9 9 10

VV V 2 2 3

VV V 5 7 7

VV V 9 10 12

CHAPTER 11 SEGMENT 48.3 Spread Major Triads Level: Intermediate Gtr I: Untitled (E A D G B E) Work out all sets of triads on each set of 3 strings, this time skipping one string. We refer to these as “spread voicings.”

C

1

V V V

V V I V T A B

12

15

8

12 10

17 14

9 5

V V V

V V V

V V V

V V V

V V V

12 8

15 13

8 5

10

14

5

V V V

V V V

17 12

8 5

13 9

15

7

10

V V V

V V V

V V V

9 5

12 10

5 2

8

12

3

F

2

V V V

V e I VV T A B

V V V

5

8

13

5 3

10 7

14 10

V V V

V V V

V V V 5 1

8 6

13 10

3

7

10

V V V

V V V

V V V

V V V

10 5

13 10

6 2

8

12

3

V V V

V V V

14 10

5 3

10 7

13

5

8

`

B

3

V ee VV I T A B

V V V

V V V

10

13

6

10 8

15 12

7 3

V V V

V V V

V V V

10 6

13 11

6 3

8

12

3

V V V

V V V

V V V

15 10

6 3

11 7

13

5

8

V V V

V V V

V V V

7 3

10 8

15 12

6

10

13

E

4

`

e VV e I e V T A B

3

6

11

3 1

8 5

12 8

A

5

V V V

V V V

8

11

16

8 6

13 10

17 13

D

6

15 11

6 4

11 8

13

5

8

V V V

V V V

V V V 8 3

11 8

16 12

6

10

13

V V V

V V V

V V V

12 8

3 1

8 5

11

3

6

V V V

V V V

V V V

V V V

8 4

11 9

4 1

6

10

1

V V V

V V V

13 8

4 1

9 5

11

3

6

V V V

V V V

V V V 5 1

8 6

13 10

4

8

11

`

V e e VV e I ee

V V V

13

4

9

13 11

6 3

10 6

T A B

V V V

V V V

`

V ee e V I e V T A B

V V V

V V V

V V V

V V V

V V V

V V V

V V V

13 9

4 2

9 6

11

3

6

V V V

V V V

V V V

V V V

V V V

6 1

9 6

14 10

4

8

11

V V V

10 6

13 11

6 3

9

13

4

b

F

7

gggg g VV I g V T A B

V V V

V V V

6

9

14

6 4

11 8

15 11

V V V

V V V

V V V

6 2

9 7

14 11

4

8

11

V V V

V V V

V V V

11 6

14 11

7 3

9

13

4

V V V

V V V

V V V

15 11

6 4

11 8

14

6

9

B

8

V gggg V I g V T A B

V V V

11

2

7

11 9

4 1

8 4

V V V

V V V

V V V

V V V

V V V

11 7

14 12

7 4

9

13

4

V V V

V V V

16 11

7 4

12 8

14

6

9

V V V

V V V

V V V 8 4

11 9

16 13

7

11

14

E

9

T A B

V V V

V V V

gggg V V I V 4

7

12

4 2

9 6

13 9

V V V

V V V

V V V 4 0

7 5

12 9

2

6

9

V V V

V V V

V V V 9 4

12 9

16 13

7

11

14

V V V

V V V

V V V

13 9

4 2

9 6

12

4

7

A

10

V V V

V ggg V V I T A B

V V V

9

12

5

9 7

14 11

6 2

V V V

V V V

V V V

9 5

12 10

5 2

7

11

2

V V V

V V V

V V V

14 9

5 2

10 6

12

4

7

V V V

V V V

V V V 6 2

9 7

14 11

5

9

12

D

11

V gg VV I

V V V

14

5

10

14 12

7 4

11 7

T A B

V V V

V V V

V V V

V V V

14 10

5 3

10 7

12

4

7

V V V

V V V

V V V

7 2

10 7

15 11

5

9

12

V V V

V V V

V V V

11 7

14 12

7 4

10

14

5

G

12

g VV I V T A B

V V V

V V V

7

10

15

7 5

12 9

16 12

V V V

V V V

V V V

7 3

10 8

15 12

5

9

12

V V V

V V V

V V V

12 7

15 12

8 4

10

14

5

V V V

V V V

V V V

16 12

7 5

12 9

15

7

10

CHAPTER 11 SEGMENT 48.4 Spread Minor Triads Level: Intermediate Gtr I: Untitled (E A D G B E)

In addition to the triad inversion studies covered, refer to the Inversion Excursion and take a key or 2 a day and incorporate the inversions into your practice routine.

Am

1

T A B

V V V

V V V

V V I V 8

12

17

9 7

14 10

17 14

V V V

V V V

13

5

10

14 12

7 3

10 7

V V V

V V V

V V V

V V V

13 9

17 14

10 5

12

15

7

V V V

V V V

V V V 5 2

9 7

14 10

5

8

12

Dm

2

V V V e I

V V V

13

5

10

14 12

7 3

10 7

T A B

V V V

V V V

V V V

V V V

6

10

15

7 5

12 8

15 12

V V V

V V V

V V V

6 2

10 7

15 10

5

8

12

V V V

V V V

V V V

10 7

14 12

7 3

10

13

5

Gm

3

V ee V I V T A B

V V V

V V V

6

10

15

7 5

12 8

15 12

V V V

V V V

V V V

11

15

8

12 10

17 13

8 5

V V V

V V V

V V V

11 7

15 12

8 3

10

13

5

V V V

V V V

V V V

15 12

7 5

12 8

15

6

10

Cm

4

V V V

V e VV e I e T A B

V V V

11

15

8

12 10

17 13

8 5

V V V

V V V

V V V

V V V

4

8

13

5 3

10 6

13 10

V V V

V V V

16 12

8 5

13 8

15

6

10

V V V

V V V

V V V 8 5

12 10

17 13

8

11

15

Fm

5

T A B

V V V

V V V

ee e VV I e V 4

8

13

5 3

10 6

13 10

V V V

V V V

V V V 9

13

18

10 8

15 11

18 15

V V V

V V V

V V V 9 5

13 10

18 13

8

11

15

V V V

V V V

V V V

13 10

5 3

10 6

13

4

8

`

Bm

6

V V V

V V ee Ie e e V T A B

V V V

9

13

6

10 8

15 11

6 3

V V V

V V V

V V V

2

6

11

3 1

8 4

11 8

V V V

V V V

V V V

14 10

18 15

11 6

13

16

8

V V V

V V V

V V V

6 3

10 8

15 11

6

9

13

`

Em

7

e e e VV e I ee V T A B

V V V

V V V

2

6

11

3 1

8 4

11 8

V V V

V V V

V V V

7

11

16

8 6

13 9

16 13

V V V

V V V

V V V

7 3

11 8

16 11

6

9

13

V V V

V V V

V V V

11 8

15 13

20 16

11

14

18

b

Gm

8

T A B

V V V

V V V

gggg VV I g V 7

11

16

8 6

13 9

16 13

V V V

V V V

12

4

9

13 11

6 2

9 6

V V V

V V V

V V V

V V V

12 8

16 13

9 4

11

14

6

V V V

V V V

V V V 4 1

8 6

13 9

4

7

11

b

Cm

9

V gggg VV I T A B

V V V

V V V

12

4

9

13 11

6 2

9 6

V V V

V V V

V V V 5

9

14

6 4

11 7

14 11

V V V

V V V

V V V 5 1

9 6

14 9

4

7

11

V V V

V V V

V V V 9 6

13 11

18 14

9

12

16

b

F

10

T A B

V V V

V V V

ggg VV I V 5

9

14

6 4

11 7

14 11

V V V

V V V

V V V

10

14

7

11 9

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Chapter 12 Harmonizing Scales with Triads Segment 49. Overview This lesson builds on previous horizontal lessons, incorporating the study of inversions in a logical approach. Most chord progressions are built using the harmonized major scale, so this lesson is essential to your progress. 1. We start by playing a C triad on the top strings. 2. Identify the next triad in the harmonized scale by playing the notes of the C major scale horizontally on each of the 3 strings. In other words, play a C major scale on 3 strings at the same time with different starting and ending notes, strumming the 3 notes once you identify the next chord. 3. Take the same approach to the other sets of strings. Starting on a C triad, move up the C major scale, playing the notes on each of the strings simultaneously. 4. After you have done this exercise in the key of C, work through the other keys. 5. Finally we can apply the same approach to spread inversions, which are the same chords skipping one string.

CHAPTER 12 SEGMENT 49 Harmonizing Scales with Triads Level: Intermediate Gtr I: Untitled (E A D G B E) Start with the notes of the C major scale C-D-E-F-G-A-B; build a chord on each step of the scale using only the notes of the major scale. Raise each note in the chord to the next scale tone on the string.

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Use the same apporach with spread inversions.

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After you master this Lesson in the key of C, begin work with the other keys with the goal of playing it in all 12 keys and on all sets of strings.

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12 12 15

10 10 14

9 9 12

7 7 10

5 5 7

I

3 4 5

g

T A B

50

VV V

VV V

T A B

49

VV V

g VV I V T A B

48

VV V

VV V

I T A B

g

Segment 50. Learning & Practicing Triad Inversions Now it is up to you to apply the same concepts we used to study the major scale to the study of harmonizing the major scales with triads. 1. Start with the notes of the C major scale C-D-E-F-G-A-B; build a chord on each step of the scale using only the notes of the major scale. (Recall that triads are built using thirds, or every other note.) 2. Finger the C major triad (C-E-G) on the top 3 strings as follows: C on the 5th fret of the 3rd string, E on the 5th fret of the 2nd string and G on the 3rd fret of the 1st string. 3. Raise each note in the chord to the next scale tone on the string. Once you find the most logical fingering, strum the chord. This is the D minor chord,

referred to as the ii chord because it is built on the second tone of the major scale. 4. We refer to each chord with a Roman numeral that corresponds to the scale tone on which the chord is built. 5. Continue to do this, hitting all scale tones. In essence, you are playing the C major scale on 3 strings simultaneously with different starting points, which yields the following chords: x C major is the I, or root chord C-E-G (1-3-5) x D minor is the ii chord D-F-A (1-b3-5) x E minor is the iii chord E-G-B (1-b3-5) x F major is the IV chord F-A-C (1-3-5) x G major is the V chord G-B-D(1-3-5) x A minor is the vi chord A-C-E (1-b3-5) x B minor is the vii chord B-D-F (1-b3-b5) 6. Included in this chapter is a chord shapes supplement to help you get started. 7. Next, apply the same method to harmonize the major scale using spread inversions. 8. Next, find breaking points where you can move from a lower set of strings to the next set of strings using the same concept we used with the major scale and the arpeggios. In other words, play the harmonized major scale on the 3rd, 4th and 5th strings. When you get to the final chord, move vertically and play the last chord on the 2nd, 3rd and 4th strings. 9. Next, move vertically from the lower strings to the higher strings to play the last 2 chords, the last 3 chords, the last 4 chords, etc. 10. After you master this lesson in the key of C, begin work with the other keys with the goal of playing it in all 12 keys and on all sets of strings.

CHAPTER 12 SEGMENT 50 Learning & Practicing Triad Inversions Level: Intermediate Gtr I: Untitled (E A D G B E) Play the harmonized major scale on the 3rd, 4th and 5th strings, as we did in the previous segment. Find breaking points where you can move to the next set of strings using the same concept we used with the major scale and the arpeggios.

1

VV V

VV V

VV V

VV V

VV V

VV V

0 2 3

2 3 5

4 5 7

5 7 8

7 9 10

9 10 12

10 12 14

I VV V

VV V

VV V

VV V

VV V

VV V

VV V

0 2 3

2 3 5

4 5 7

5 7 8

7 9 10

9 10 12

I VV V

VV V

VV V

VV V

VV V

2 3 5

4 5 7

5 7 8

7 9 10

VV V

VV V

VV V

VV V

2 3 5

4 5 7

5 7 8

7 9 10

I VV V

VV V

VV V

VV V

VV V

VV V

VV V

VV V

VV V

10 12 14

9 10 12

7 9 10

5 7 8

4 5 7

2 3 5

0 2 3

VV V

VV V

VV V

VV V

VV V

VV V

VV V

VV V

6 7 9

8 9 10

6 7 9

9 10 12

7 9 10

5 7 8

4 5 7

2 3 5

0 2 3

VV V

VV V

VV V

VV V

VV V

VV V

VV V

VV V

VV V

VV V

5 5 7

6 7 9

8 9 10

6 7 9

5 5 7

7 9 10

5 7 8

4 5 7

2 3 5

0 2 3

VV V

VV V

VV V

VV V

VV V

VV V

VV V

VV V

VV V

VV V

5 5 7

6 7 9

8 9 10

6 7 9

5 5 7

7 9 10

5 7 8

4 5 7

2 3 5

0 2 3

Gtr I

T A B

2

T A B

3

T A B

4

0 2 3

I VV V T A B

0 2 3

8 9 10

Try switching 2 sets of strings. 5

I VV V T A B

0 2 3

VV V 2 3 5

VV V 4 5 7

VV V 5 7 8

VV V

VV V

VV V

3 4 5

5 5 7

6 7 9

VV V 3 5 5

VV V

VV V

VV V

6 7 9

5 5 7

3 4 5

Find as many variations as possible. Do the same with the minor scales. Play in all 12 keys.

VV V

VV V

VV V

VV V

5 7 8

4 5 7

2 3 5

0 2 3

Segment 51. Triad Inversions: Play-along Exercise 1. On this play-along we strum 2 beats of each triad, first on the top 3 strings and then on the 2nd, 3rd and 4th strings, starting with the C triad. Refer to the video demonstration and the notation that follows. 2. It is up to you to expand this exercise to include all sets of strings, in all keys. Also move from the lower strings to the next set of higher strings the same way we have done in previous exercises to achieve all possible variations. 3. Next, play the chords as arpeggios, hitting one note at a time using all down strokes. 4. Move this exercise into the minor scales and into the other keys with the goal of mastering all 12.

CHAPTER 12 SEGMENT 51 Triad Inversions: Playalong Exercise Level: Intermediate Strum 2 beats of each triad, first on the top 3 strings and then on strings 2, 3 and 4, stating with the C triad.

Gtr I: Untitled (E A D G B E)

It is up to you to expand this exercise to include all sets of strings, in all keys. Also move from the lower strings to the next set of higher strings the same way we have done in previous exercises to achieve all possible variations.

1

VV V

VV V

VV V

VV V

VV V

VV V

VV V

VV V

VV V

VV V

VV V

VV V

VV V

VV V

VV V

3 5 5

3 5 5

5 6 7

5 6 7

7 8 9

7 8 9

8 10 10

8 10 10

10 12 12

10 12 12

12 13 14

12 13 14

13 15 16

13 15 16

15 17 17

15 17 17

VV V

VV V

VV V

VV V

VV V

VV V

VV V

VV V

VV V

VV V

VV V

VV V

VV V

VV V

VV V

VV V

15 17 17

15 17 17

13 15 16

13 15 16

12 13 14

12 13 14

10 12 12

10 12 12

8 10 10

8 10 10

7 8 9

7 8 9

5 6 7

5 6 7

3 5 5

3 5 5

VV V

VV V

VV V

VV V

VV V

VV V

VV V

VV V

VV V

VV V

VV V

VV I V Gtr I

T A B

5

I T A B

9

VV V

VV V

1 0 2

1 0 2

3 2 3

3 2 3

5 4 5

5 4 5

6 5 7

6 5 7

8 7 9

8 7 9

10 9 10

10 9 10

12 10 12

12 10 12

13 12 14

13 12 14

VV V

VV V

VV V

VV V

VV V

VV V

VV V

VV V

VV V

VV V

VV V

VV V

VV V

VV V

VV V

VV V

13 12 14

13 12 14

12 10 12

12 10 12

10 9 10

10 9 10

8 7 9

8 7 9

6 5 7

6 5 7

5 4 5

5 4 5

3 2 3

3 2 3

1 0 2

1 0 2

I VVV T A B

13

VV V

VV V

I T A B

Next, play the chords as arpeggios, hitting one note at a time using all down strokes.

on top strings

17

T A B

23

3

5

5

7

5

6

6

9

V V V V

V V V V

8

7

8

10

V V V V

8

10

10

12

V V V V

I T A B

16

15

13

15

17

V V V V 10

10

8

17

15

17

V V V V

10

9

8

7

17

17

15

V V V V

8

7

6

5

17

16

13

15

V V V V

6

5

5

3

12

10

12

14

V V V V

I T A B

29

5

V V V V

V V V V

V V V V

V V V V

V V V V

V V V V I

15

14

13

12

13

12

13

V V V V

13

12

12

10

12

U

5

5

on 2nd 3rd and 4th strings

35

T A B

41

I T A B

2

0

1

0

3

V V V V 12

10

12

10

2

3

2

5

V V V V 14

12

13

12

4

5

4

7

5

V V V V 14

12

13

12

6

V V V V

V V V V

V V V V

V V V V

V V V V

I V V V V

5

9

7

8

V V V V 12

10

12

10

7

9

10

10

9

V V V V 10

9

10

9

46

V V V V I T A B

9

7

8

7

V V V V 7

5

6

5

V V V V 5

4

5

4

V V V V 3

2

3

2

V V V V 2

0

1

Segment 52. Harmonizing a Melody with Triad Inversions In this segment we apply theory to practice by harmonizing the first 8 bars of “All of Me”. In this chord melody exercise we use the same approach we took when we harmonized the major scale with triads. Refer to the video segment and the notation that follows. 1. Start by playing the melody horizontally on the B string. 2. Next, harmonize the melody with triads, choosing inversions of the chord you are playing over that have the melody note on the B string. 3. When you get to the E7, use an E major triad chord not the E7. 4. Using the methods we have used throughout the course, come up with all the different ways to harmonize the melody without trying to memorize what you play. 5. Use the same approach of moving from a horizontal approach to a vertical by switching string sets at different points. 6. Remember that it is important to use what we learn theoretically to create music. This is a great way to apply what we have learned thus far to make music.

0

U 2

CHAPTER 12 SEGMENT 52 Triad Inversions: Harmonizing a Melody Level: Intermediate Gtr I: Untitled (E A D G B E)

Play a phrase of a melody on the 1st string.

C

1

E

V

4 I4

V

V

W

0

0

V

V

V

V

8

7

gV

V

W

0

0

3

Gtr I 8

T A B

3

8

10

4

Find the inversion of the triad that has the melody note on top.

C

5

I T A B

VV V 8 8 9

E

VV V 3 5 5

VV V

WW W

0 1 0

0 1 0

VV V

VV V

VV V

gVVV

8 8 9

7 9 9

VV V

3

8 8 9

10 10 10

4 5 4

VV V

WW W

0 0 1

0 0 1

Here is anoter example incorporating a vertical move accross strings. The melody note in this example is not always the top not of the inversion.

C

9

I T A B

VV V 8 8 9

E

VV V 8 9 10

VV V

WW W

5 5 5

5 5 5

VV V

VV V

VV V

gVVV

8 8 9

7 9 9

VV V

3

8 8 9

10 10 10

9 9 9

VV V

WW W

5 4 6

5 4 6

Here is another example of mixing horizontal and vertical inversions.

C

13

I T A B

VV V 8 8 9

E

VV V 3 5 5

VV V

WW W

5 5 5

5 5 5

VV V

VV V

VV V

gVVV

8 8 9

7 9 9

VV V

3

8 8 9

10 10 10

4 5 4

VV V

WW W

5 4 6

5 4 6

VV V

WW W

9 9 11

9 9 11

In this example we apply just the vertical approach.

C

17

I T A B

VV V 8 8 9

E

VV V 8 9 10

VV V

WW W

9 10 10

9 10 10

VV V

VV V

VV V

gVVV

8 8 9

7 9 9

VV V

3

8 8 9

10 10 10

9 9 9

Apply this technique to the rest of the song and other songs you are working on.

Chapter 13 Harmonizing Scales with 4-Note Chords Segment 53. Overview This chapter builds on the previous chapters where we harmonized the major scale and melody with triads. We will use the same approach with the added 4th note. Remember that the Inversion Excursion supplement of this book has all the variations for your reference. 1. Remember that chords are built by choosing every other note in the scale. With that in mind, start with a C major triad (C-E-G) and add the next note B and you have a C major 7th chord. 2. Play the C major 7th with the root on the 5th string, the 5 on the 4th string, the 7 on the 3rd string and the 3 on the 2nd string. 3. Raise each note in the chord to the next scale tone on the string. The root on the 5th string moves up a whole step to the next scale tone, here: the D on the same string. The G is raised a whole step to the A, the B is raised a half step to the C, and the E is raised a half step to the F. 4. Once you find the most logical fingering, strum the chord. This is the Dm7 chord, referred to as the ii chord because it is built on the second tone of the major scale. 5. Continue to do this, hitting all scale tones. 6. In essence, you are playing the C major scale on 4 strings simultaneously with different starting points, which yields the following chords: Cmaj7 is the I chord or the root chord C-E-G-B (1-3-5-m7) Dm7 is the ii chord D-F-A-C (1-b3-5-m7) Em7 the iii chord E-G-B-D (1-b3-5-m7) Fmaj7 the IV chord F-A-C-E (1-3-5-M7) G7 the V chord or the dominant G-B-D-F (1-3-5-m7) Am7 the vi chord A-C-E-G (1-b3-5-m7) Bm7-5 the vii chord or the half diminished B-D-F-A (1-b3-b5-m7)

7. Apply this lesson using each inversion as a starting point. 8. Using the same approach, harmonize the major scale on each set of four strings. 9. Next, harmonize the major scale with 4 note spread voicings, skipping the 5th string first and then the 4th string, as indicated in the following notation. 10. Once you learn these inversions in the key of C, move to other keys with the goal of playing them in all 12 keys. 11. Be aware that you can add other intervals, such as the 6th, 9th, 11th; to the triad to come up with additional four note chords. 12. Included in this chapter is a chord shapes supplement to help you get started.

CHAPTER 13 SEGMENT 53 Harmonizing Scales with 4-Note Chords Level: Advanced Gtr I: Untitled (E A D G B E) Start with a closed Cmaj7 chord with the root on the 5th string and raise each note in the chord to the next scale tone on the string. 1st inversion

1

I

ii

iii

IV

V

vi

vii

I

vii

vi

V

IV

iii

V I VV V

VV V V

VV V V

VV V V

VV V V

VV V V

VV V V

VV V V

VV V V

VV V V

VV V V

VV V V

VV V V

VV V V

VV V V

6 5 7 5

8 7 9 7

10 9 10 8

12 10 12 10

13 12 14 12

15 14 15 14

17 16 17 15

15 14 15 14

13 12 14 12

12 10 12 10

10 9 10 8

8 7 9 7

6 5 7 5

5 4 5 3

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 V

V V V

V V VV

V V V

10 7 10 8

12 9 12 10

13 10 14 12

15 12 15 14

17 14 17 15

18 16 19 17

20 17 21 19

18 16 19 17

17 14 17 15

15 12 15 14

13 10 14 12

12 9 12 10

10 7 0 8

8 5 9 7

V VV V

V VV V

13 10 12 12

12 9 10 10

T A B

5 4 5 3

I

ii

2nd inversion

2

V I VV T A B

8 5 9 7

3rd inversion

3

V V I VV T A B

12 9 10 10

V VV V 13 10 12 12

move down 1 octave

V VV V

V VV V

V VV V

V VV V

V VV V

V VV V

V VV V

V VV V

V VV V

V VV V

V VV V

3 0 2 2

5 2 3 3

6 4 5 5

8 5 7 7

10 7 9 8

12 9 10 10

10 7 9 8

8 5 7 7

6 4 5 5

5 2 3 3

3 0 2 2

4th inversion

4

VV VV

VV VV

VV VV

VV VV

VV VV

VV VV

VV VV

VV VV

VV VV

VV VV

VV VV

VV VV

VV VV

VV VV

3 2 3 3

5 4 5 5

6 5 7 7

8 7 9 8

10 9 10 10

12 10 12 12

13 12 14 14

12 10 12 12

10 9 10 10

8 7 9 8

6 5 7 7

5 4 5 5

3 2 3 3

1 0 2 2

VV V I V

VV V V

VV V V

VV V V

VV V V

VV V V

12 12 12 10

13 13 14 12

I VVV V T A B

1 0 2 2

1st inversion

5

move down 1 octave

move up 1 octave

VV V V

VV V V

VV V V

VV V V

VV V V

VV V V

VV V V

VV V V

VV V V

15 15 16 14

5 5 5 3

7 6 7 5

8 8 9 7

10 10 10 9

12 12 12 10

10 10 10 9

8 8 9 7

7 6 7 5

5 5 5 3

15 15 16 14

13 13 14 12

12 12 12 10

V I VV

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 V

V V V

V V V

V V V

3 1 4 2

5 3 5 3

7 5 7 5

8 6 9 7

10 8 10 9

12 10 12 10

13 12 14 12

15 13 16 14

13 12 14 12

12 10 12 10

10 8 10 9

8 6 9 7

7 5 7 5

5 3 5 3

3 1 4 2

V V I VV

V VV V

V VV V

V VV V

V VV V

V VV V

V VV V

V VV V

V VV V

V VV V

V VV V

V VV V

V VV V

V VV V

V VV V

7 5 5 5

8 6 7 7

10 8 9 9

12 10 10 10

13 12 12 12

15 13 14 14

17 15 16 15

19 17 17 17

17 15 16 15

15 13 14 14

13 12 12 12

12 10 10 10

10 8 9 9

8 6 7 7

7 5 5 5

T A B

2nd inversion

6

T A B

3rd inversion

7

T A B

4th inversion

8

VV V I V

VV VV

VV VV

VV VV

8 8 9 9

10 10 10 10

12 12 12 12

13 13 14 14

T A B

1st inversion

9

V I VV V T A B

9 9 10 8

10

T A B

12 10 14 12

VV VV

VV VV

VV VV

VV VV

VV VV

VV VV

VV VV

3 3 4 3

5 5 5 5

7 6 7 7

8 8 9 9

7 6 7 7

5 5 5 5

3 3 4 3

VV V V

VV V V

VV V V

10 10 12 10

12 12 14 12

14 14 15 13

VV VV

VV VV

VV VV

VV VV

13 13 14 14

12 12 12 12

10 10 10 10

8 8 9 9

move up 1 octave

move down 1 octave

VV V V

VV V V

VV V V

VV V V

VV V V

VV V V

VV V V

4 3 5 3

5 5 7 5

7 7 8 7

9 9 10 8

7 7 8 7

5 5 7 5

4 3 5 3

VV V V

VV V V

VV V V

VV V V

14 14 15 13

12 12 14 12

10 10 12 10

9 9 10 8

move up 1 octave

2nd inversion

V I VV

move up 1 otave

move down 1 octave

move down 1 octave

V V V

V V V

14 12 15 13

V V V

V V V

V V V

5 3 7 5

16 14 17 15

14 12 15 13

12 10 14 12

V VV V

V VV V

V VV V

V VV V

V VV V

10 9 10 10

9 7 8 8

7 5 7 7

5 3 5 5

4 2 3 3

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

16 14 17 15

5 3 7 5

7 5 8 7

9 7 10 8

10 9 12 10

12 10 14 12

10 9 12 10

9 7 10 8

7 5 8 7

V VV V

V VV V

V VV V

V VV V

V VV V

V VV V

V VV V

V VV V

V VV V

5 3 5 5

7 5 7 7

9 7 8 8

10 9 10 10

12 10 12 12

14 12 14 13

16 14 15 15

14 12 14 13

12 10 12 12

3rd inversion

11

I VV VV T A B

4 2 3 3

4th inversion

12

I VVV V T A B

5 5 7 7

move up 1 octave

move down 1 octave

VV VV

VV VV

VV VV

VV VV

VV VV

7 7 8 8

9 9 10 10

10 10 12 12

12 12 14 13

14 14 15 15

VV VV

VV VV

VV VV

4 3 5 5

5 5 7 7

4 3 5 5

VV VV

VV VV

VV VV

VV VV

VV VV

VV VV

14 14 15 15

12 12 14 13

10 10 12 12

9 9 10 10

7 7 8 8

5 5 7 7

spread voicings skipping the 5th string move up 1 octave

1st inversion

13

VV V V

VV V V

VV V V

8 9 9

10 10 10

12 12 12

8

10

12

VV I V V T A B

move down 1 octave

VV V V

VV V V

VV V V

VV V V

3 4 3

13 14 14

12 12 12

10 10 10

8 9 9

3

13

12

10

8

VV V V

VV V V

VV V V

VV V V

VV V V

VV V V

VV V V

VV V V

VV V V

VV V V

13 14 14

3 4 3

5 5 5

6 7 7

8 9 9

6 7 7

5 5 5

13

3

5

7

8

7

5

2nd inversion

14

VV V V

VV V V

12 12 10

13 14 12

12

VV I VV T A B

move up 1 octave

move down 1 octave

VV V V

VV V V

VV V V

VV V V

VV V V

VV V V

VV V V

VV V V

VV V V

15 16 14

5 5 3

6 7 5

8 9 7

10 10 9

12 12 10

10 10 9

8 9 7

6 7 5

5 5 3

15 16 14

13 14 12

12 12 10

13

15

5

7

8

10

12

10

8

7

5

15

13

12

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 V

V V V

V V V

V V V

1 4 2

3 5 3

5 7 5

6 9 7

8 10 9

10 12 10

12 14 12

13 16 14

12 14 12

10 12 10

8 10 9

6 9 7

5 7 5

3 5 3

1 4 2

3

5

7

8

10

12

13

15

13

12

10

8

7

5

3

3rd inversion

15

I VV V T A B

move up one octave

move down 1 octave 4th inversion 16

VV V V

VV V V

VV V V

VV V V

VV V V

5 5 5

6 7 7

8 9 9

10 10 10

12 12 12

7

8

10

12

13

V I VV V T A B

VV V V

VV V V

VV V V

VV V V

VV V V

VV V V

3 4 3

13 14 14

12 12 12

10 10 10

8 9 9

6 7 7

5 5 5

5

15

13

12

10

8

7

VV V V

VV V V

VV V V

13 14 14

3 4 3

5 5 5

15

5

7

spread voicings skipping the 4th string 1st inversion

17

VV I V V

VV V V

VV V V

VV V V

VV V V

VV V V

VV V V

VV V V

VV V V

VV V V

VV V V

VV V V

VV V V

VV V V

VV V V

3 5 4

5 6 5

7 8 7

8 10 9

10 12 10

12 13 12

13 15 14

15 17 16

13 15 14

12 13 12

10 12 10

8 10 9

7 8 7

5 6 5

3 5 4

3

5

7

8

10

12

14

15

14

12

10

8

7

5

3

VV I VV

VV V V

VV V V

VV V V

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Apply the same approach to harmonizing the major scale in all 12 keys.

VV V V

Segment 54. Learning & Practicing Harmonizing Scales In this segment we harmonize the major scale with 4 notes the same way we did with triads. We play the harmonized scale finding breaking points to move vertically from a lower set of strings to the higher strings. 1. Play the harmonized C major scale on a lower set of strings. When you get to the last chord of the scale, move vertically and play it on the next set of strings. You can switch from strings 6-5-4-3 to -5-4-3-2 and from strings 5-43-2 to 4-3-2-1. 2. Next, switch strings on the last 2 chords of the scale. 3. Next, switch strings on the last 3 chords of the scale, etc. 4. Remember to do this exercise in all 12 keys, spending a little time each day.

CHAPTER 13 SEGMENT 54 Learning & Practicing Harmonizing Scales Level: Advanced Gtr I: Untitled (E A D G B E) Apply vertical movements to switch string sets on all steps of the harmonized scale. Practice this in all areas of the fingerboard and in all 12 keys. Do the same with the minor scales.

1

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VV V V

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T A B

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6 5 7 5

Segment 55. Harmonizing Scales: Play-along Exercise 1. In this play-along we harmonize the major scale with 4-note inversions, playing 2 beats of each chord starting with the Cmaj7 chord on the inside strings. 2. Next we combine the horizontal and vertical approach by switching string sets at different points in the scale. 3. Apply the same concept to play the harmonized major scale with 4-note spread voicings. 4. Finally, we play the chords as arpeggios, picking the notes individually.

CHAPTER 13 SEGMENT 55 Harmonizing Scales: Play-along Exercise Level: Advanced Gtr I: Untitled (E A D G B E) Harmonize the major scale with 4-note inversions, playing 2 beats of each chord starting with the Cmaj7 chord on the inside strings.

1

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Next we combine the horizontal and vertical approach by switching string sets at different points in the scale.

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Spread voicings

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Segment 56. Harmonizing a Melody with 4-Note Chords 1. Now let’s apply the concept learned in the previous sections to making music. We revisit the first 8 bars of “All of Me”, using the same approach we used to harmonize the melody with 3-note chords, this time using 4note chords. 2. Note that harmonizing melodies with 4-note chords offers many more options. For example, in addition to 7th chords we can use 6th, 9th or 6/9 chords. When we play over the E7 and the A7, we can use the dominant chords rather than triads. 3. For our example we will start with the major C 6/9 chord to the E7 chord. See the video demonstration and the notation that follows. 4. Use this approach for all the songs you are working on. 5. Mix it up by using triads and 4-note chords, major 7th and major 6th chords, dominant 7ths and dominant 9ths.

CHAPTER 13 SEGMENT 56 Harmonizing a Melody with 4-Note Chords Level: Intermediate Gtr I: Untitled (E A D G B E) Use the same approach we used to harmonize the melody with 3-note chords, this time using 4-note chords.

C

1

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E7

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WW W W

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gVVV V

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3

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VV VV

WW WW

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Gtr I

T A B

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Mix it up by using triads and 4-note chords, major 7th and major 6th chords, dominant 7ths and dominant 9ths.

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Chapter 14 Modes Segment 57. Overview Modes are scales that are built using a common scale. If we start on each note of the major scale and play up to the octave we have our 7 modes based on the major scale. Do not get caught up with the theory, just remember that you are simply playing a major scale starting and ending on intervals other than the root. The important part of learning modes is to recognize the sounds of the different intervals and use them to color your solos by starting and ending on notes other than the root. Beginning on each note of the major scale and playing up to the octave yields the seven modes or scales. These scales are also related to the chords that are built on the same step of the scale, as covered in the lessons on harmonizing the major scale. 1. Strum a Cmaj7 chord to get the sound of the chord in your ear. 2. In the key of C, play C-D-E-F-G-A-B-C and we have our familiar major scale also called the Ionian mode. 3. Strum a Dm7 chord to get the sound of the chord in your ear. 4. Next, start on the 2nd note, D, and play up to the octave and you have the Dorian mode. D-E-F-G-A-B-C-D. This scale is a minor scale, related to the ii chord, Dm7; it works well when improvising over the ii chord. This scale is also great to use over the I chord because it highlights the 9th, the D in the key of C, which adds nice color to a solo. 5. Strum an Em7 chord to get the sound of the chord in your ear. 6. Starting on the E, or the 3rd note, play the scale up to the octave, E-F-G-A-BC-D-E, yields the Phrygian mode, perfect for playing over the iii chord, the Em7 in the key of C. This scale is also good to use over the I, and ii chord. Over the ii chord the Phrygian mode highlights the 9th of the chord. 7. Strum an Fmaj7#11 chord to get the sound of the chord in your ear.

8. Starting on the F or the 4th note and playing up to the octave, F-G-A-B-C-DE-F yields the Lydian mode. This is another major scale that works well over the IV chord. It is also good over the ii and V chords. 9. Strum a G7 chord to get the sound of the chord in your ear. 10. Starting on the 5th note of the scale yields the Mixolydian mode, G-A-B-CD-E-F-G, which is another major scale that works well over dominant chords or the G7 in the key of C. Many classic jazz musicians that I have played with like to use the Mixolydian mode over the I chord by starting and/or ending a phrase on the 5th. 11. Strum an Am7 chord to get the sound of the chord in your ear. 12. Starting on the 6th note, A, play the scale up to the octave, A-B-C-D-E-F-GA, which yields the A natural minor scale or the Aeolian mode. This scale works well over the vi chord or any minor chord. It is also good over the ii chord (the Mixolydian mode of the Dorian) the IV and I chord. 13. Strum a Bm7-5 chord to get the sound of the chord in your ear. 14. Starting on the 7th note of the major scale B, play the scale up to the octave, B-C-D-E-F-G-A-B, which yields the Locrian mode. This scale works well over the vii chord and is also good over the I chord because it highlights the major 7th interval. 15. The 7 modes of the major scale and the corresponding chords are: x Cmaj7 is the I chord or the root; the related mode is the major scale also referred to as the Ionian x Dm7 is the ii chord; the related scale is the Dorian x Em7 the iii chord; the related scale is the Phrygian x Fmaj7 the IV chord; the related mode is the Lydian x G7 the V chord or the dominant; the related mode is the Mixolydian x Am7 the vi chord; the related mode is the Aeolian x Bmin7-5 the vii chord or the half diminished; the related mode is the Locrian

Vertical 16. We can approach modes the same way we approached the many ways to play the major scale. Play a one-octave scale beginning with your 1st finger hunting down the notes and coming up with logical fingerings. 17. Next, fret the same note with your 2nd finger and repeat the exercise. 18. Next, start with your 3rd finger and play another one octave scale. 19. Finally, start with your 4th finger and play another variation of the scale. 20. Use this same approach with every mode in the key of C. 21. Play this lesson in other keys, with the goal of playing in all 12 keys. Horizontal 22. Play the 7 modes of the C major scale, ascending and descending on each of the 6 strings, one at a time, beginning with the root of the mode. 23. Combine horizontal scales with vertical using the same approach we took with the major scales. That is, playing horizontally and choosing different notes to move vertically to the next string. 24. Play this lesson in other keys, with the goal of playing in all 12 keys.

CHAPTER 14 SEGMENT 57 Modes Level: Intermediate Gtr I: Untitled (E A D G B E)

Beginning on each note of the major scale and playing up to the octave yields the seven modes or scales. These scales are related to the chords that are built on the same step of the scale. Start by strumming the chord to get the sound in your ear and then play its related scale.

Cmaj7

Dm7

Em7 Dorian

Ionian 1

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CHAPTER 14 SEGMENT 57.2 Vertical Modes Level: Intermediate Beginning on each note of the major scale and playing up to the octave yields the seven modes or scales. These scales are related to the chords that are built on the same step of the scale. Start by strumming the chord to get the sound in your ear and then play its related scale.

Gtr I: Untitled (E A D G B E)

Cmaj7

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C Major

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CHAPTER 14 SEGMENT 57.3 The Horizontal Ionian Mode Level: Intermediate Gtr I: Untitled (E A D G B E)

Play the 7 modes of the C major scale, ascending and descending on each of the 6 strings, one at a time, beginning with the root of the mode. It is up to you to combine horizontal scales with vertical using the same approach we took with the major scales. Cmaj7

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CHAPTER 14 SEGMENT 57.4 The Horizontal Dorian Mode Level: Intermediate Gtr I: Untitled (E A D G B E)

Dm7

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CHAPTER 14 SEGMENT 57.5 The Horizontal Phrygian Mode Level: Intermediate Gtr I: Untitled (E A D G B E)

Em7

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CHAPTER 14 SEGMENT 57.6 The Horizontal Lydian Mode Level: Intermediate Gtr I: Untitled (E A D G B E)

b

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CHAPTER 14 SEGMENT 57.7 The Horizontal Mixolydian Mode Level: Intermediate Gtr I: Untitled (E A D G B E)

G7

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5

3

CHAPTER 14 SEGMENT 57.8 The Horizontal Aeolian Mode Level: Intermediate Gtr I: Untitled (E A D G B E)

Am7

1

I T A B

3

5

7

8

10 12 13 15 17 15 13 12 10

8

7

I T A B

V V V V V V V V V V V V V V V

5 2

V V V V V V V V V V V V V V I V T A B

5

V V V V V V V V V V V V V V V

2

4

5

7

9

10 12 14 12 10

9

7

5

4

2

V V V V V V V V V V V V V V V 0

2

3

5

7

8

10 12 10

8

7

5

3

2

0

0

1

3

5

6

8

10

8

6

5

3

1

0

2

V V V V V V V V V V V V V V V 7

9

10 12 14 15 17 19 17 15 14 12 10

9

7

V V V V V V V V V V V V V V V 5

7

8

10 12 13 15 17 15 13 12 10

8

7

5

CHAPTER 14 SEGMENT 57.9 The Horizontal Locrian Mode Level: Intermediate Gtr I: Untitled (E A D G B E)

`

Bm7 5

1

V V V V V V V V V V V V V V V I T A B

3

8

10 12 13 15 17 19 17 15 13 12 10

8

7

V V V V V V V V V V V V V I V V T A B

5

7

I T A B

4

5

7

9

10 12 14 16 14 12 10

9

7

5

4

V V V V V V V V V V V V V V V 2

3

5

7

8

10 12 14 12 10

8

7

5

3

2

V V V V V V V V V V V V V V V 0

1

3

5

6

8

10 12 10

8

6

5

3

1

0

V V V V V V V V V V V V V V V 9

10 12 14 15 17 19 21 19 17 15 14 12 10

9

V V V V V V V V V V V V V V V 7

8

10 12 13 15 17 19 17 15 13 12 10

8

7

Chapter 15 Chord Progressions Segment 58. Overview Chord progressions are 2 or more chords organized into groups. Songs are written by putting melody over chord progressions. Though my approach is to learn how to play all variations of chords and their inversions in every key, you only need to know a handful of chords and a few chord progressions to play hundreds of songs in all different styles of music. In the coming segments I teach you the most widely used progressions. In the video segment that accompanies this segment I give you samples of these progressions as played in songs you know. 1. When working through these lessons try to internalize the sound of each progression. 2. When listening to music try to identify the progression being used. 3. When working on songs, play the progressions in all keys using all the inversions. This is a great way to take the exercises we have been working on and apply them to making music. 4. My mentors have always told me that to become an accomplished player, learn songs. The more songs you learn the easier it is to improvise. 5. Rather than thinking about scales, modes and memorized licks, my approach is to base improvisation on the melody. 6. The way I approach music is to learn as many melodies as possible and learn the chord progressions that are used to harmonize them. The way to study them is by using the same approach we have been using with the scales and arpeggios and apply it to melodies and chord progressions, coming up with as many variations as you can. 7. Learning these progressions is key to learning songs and playing songs is what it is all about!

Segment 59. Learning Chord Progressions: ii-V-I and ii-V 1. The ii-V-I progression is an important progression in jazz. 2. Start in the key of C with a C chord. Finger the C on the 5th fret of the 3rd string, the E on the 5th fret of the 2nd string and the G on the 3rd fret of the 1st string. 3. Move the notes on each string up to the next scale tone the same way we harmonized the major scale. This is the D minor or ii chord. 4. Next, from the C major chord, move up the harmonized major scale 5 steps to the G, or V chord. 5. A good way to start working through this progression is to play the I chord followed by the ii chord to the V chord and back to the I. 6. Next, start on the ii chord and play ii-V-I. 7. Play the ii-V changes all over the fingerboard using inversions, in all keys. Use inversions that allow you to stay in the same position rather than moving your hand all over the fingerboard. 8. Jazz players usually use 4-note chords, so use the same concepts with the Cmaj7, Dmin7 and G7 inversions. 9. Sometimes, just play the ii-V inversions all over the fingerboard and in all keys. 10. Learn this progression all over the fingerboard, using all inversions using the same approach we have used throughout this course. 11. Remember to internalize the sound. 13. Included in this chapter is a chord shapes supplement to help you identify ii-V-I chords that are related, or that require minimum movement to go from one to the other.

CHAPTER 15 SEGMENT 59 Progressions: ii-V-I and ii-V Level: Intermediate Gtr I: Untitled (E A D G B E) Finger a C chord. Then move the notes on each string up to the next scale tone the same way we harmonized the major scale. This is the D minor or ii chord. Next, from the C major chord, move up the harmonized major scale 5 steps to the G, or V chord. I chord

1

V chord

ii chord

VV I V

I chord

Next, start on the ii chord and play ii-V-I.

VV V

VV V

VV V

VV V

VV V

VV V

VV V

VV V

VV V

VV V

VV V

5 6 7

3 3 4

3 5 5

5 6 7

5 6 7

3 3 4

3 3 4

3 5 5

3 5 5

3 5 5

3 5 5

Gtr I 3 5 5

T A B

Find a ii-V-I using the 1st inversion 1 chord

4

I T A B

ii chord

VV V

VV V

8 8 9

10 10 10

V chord

Play this ii-V-I

I chord

VV V

VV V

VV V

VV V

7 8 7

8 8 9

10 10 10

10 10 10

VV V

VV V

VV V

VV V

VV V

VV V

7 8 7

7 8 7

8 8 9

8 8 9

8 8 9

8 8 9

Find a ii-V-I using the 2nd inversion ii chord

V chord

VV V

VV V

VV V

VV V

VV V

VV V

VV V

VV V

VV V

VV V

VV V

VV V

12 13 12

13 15 14

10 12 12

12 13 12

13 15 14

13 15 14

10 12 12

10 12 12

12 13 12

12 13 12

12 13 12

12 13 12

I chord

7

I T A B

Play this ii-V-I

I chord

Jazz players usually use 4-note chords, so use the same concepts with the Cmaj7, Dmin7 and G7 inversions.

Dm7

10

G7

VV I VVV

VV VV V

5 6 5 7 5

5 6 5 7 5

T A B

Cmaj7

VV V V

VV V V

4 3 5 3

4 3 5 3

1st inversion

Dm7

VV V V

VV V V

VV V V

VV V V

5 4 5 3

5 4 5 3

5 4 5 3

5 4 5 3

G7

Cmaj7

V V V

V V V

VV VV

VV VV

V V V

V V V

V V V

V V V

10 7 10 8

10 7 10 8

8 7 9 8

8 7 9 8

8 5 9 7

8 5 9 7

8 5 9 7

8 5 9 7

Sometimes, just play the ii-V inversions

2nd inversion

Dm7

14

V VV I V T A B

13 10 12 12

G7

Cmaj7

Dm7

V VV V

VV V V

VV V V

V VV V

V VV V

V VV V

V VV V

13 10 12 12

12 10 12 10

12 10 12 10

12 9 10 10

12 9 10 10

12 9 10 10

12 9 10 10

G7

VV VV V

VV VV V

5 6 5 7 5

5 6 5 7 5

Dm7

VV V V

VV V V

4 3 5 3

4 3 5 3

G7

VV VV V

VV VV V

5 6 5 7 5

5 6 5 7 5

Learn this progression all over the fingerboard, all inversions using the same approach we have used throughout this course.

VV V V

VV V V

4 3 5 3

4 3 5 3

Segment 60. Learning Chord Progressions: I-IV and I-IV-V 1. The I-IV and the I-IV-V are both very common progressions found in many songs. 2. Start with the C chord: finger the C on the 5th fret of the 3rd string, the E on the 5th fret of the 2nd string and the G on the 3rd fret of the 1st string. 3. Next, find the closest IV chord or F. C at the 5th fret on the 3rd string, F at the 6th fret on the 2nd string and A at the 5th fret of the top string. 4. Play the chords I-IV-V 5. Next, play the first inversion of each chord by moving horizontally on each string to the next chord tone. 6. Next, play the second inversion of each chord by moving horizontally on each string to the next chord tone. 7. Find the I and IV chords on the next set of strings. 8. Identify all of the I-IV chords all over the fingerboard and in all keys. Remember to find chords that are close to each other so you move minimally from one chord to the next. 9. Do the same with your spread inversions. 10. Add the 4th note to the chords and play a C dominant chord to the F7 and back to the C7. 11. Try all the inversions of the major 7th chord. 12. Next, add the V chord or G to the I and IV in the key of C. 13. Play the I-IV-V progression all over the fingerboard using all different combinations. 14. Internalize the sound. 15. Use a song form that has these chord changes and play it using all the inversions to explore your many options.

CHAPTER 15 SEGMENT 60 Progressions: I-IV and I-IV-V Level: Intermediate Gtr I: Untitled (E A D G B E) Play a C chord as indicated below. Then, find the closest F chord.

root position

1

2nd inversion

1st inversion

VV V

VV V

WW W

12 13 12

13 13 14

12 13 12

VV VV WW V V W

VV VV WW I V V W

Apply the same approach to bar chords

Do the same on all sets of strings

VV VV WW V V W

VV VV WW V V W

VV VV WW V V W

Gtr I

T A B

3 5 5

5 6 5

3 5 5

8 8 9

8 10 10

8 8 9

5 5 5

6 5 7

5 5 5

8 10 8 9 10 9 10 10 10

13 13 13 12 14 12 14 15 14

VV W V VV WW V V W V 5 5 5 3

Apply this approach in all 12 keys all over the finger board. Next, do the same with 4 note chords.

2 3 3 1

VV V V

5 5 5 3

VV V V

WW W W

10 9 10 9 10 10 10 10 8 10 8 8

Now, lets add the V chord to the I-IV

9

VV I V

VV V

VV V

VV V

3 5 5

5 6 5

5 5 4

3 5 5

VV I V

VV V

VV V

VV V

10 10 10

8 7 9

8 9 10

T A B

13

T A B

8 9 10

VV V

VV V

VV V

VV V

8 8 9

8 10 10

7 8 7

8 8 9

VV V

VV V

VV V

VV V

13 12 14

13 14 15

12 12 12

13 12 14

VV V

VV V

VV V

VV V

12 13 12

13 13 14

10 12 12

12 13 12

VV V V 5 5 5 3

VV V V

VV V V

2 3 3 1

4 5 5 3

VV V V 5 5 5 3

Play the I-IV-V progression all over the fingerboard using all different combinations.

VV V

VV V

VV V

VV V

5 5 5

6 5 7

3 4 5

5 5 5

VV V V

VV V V

10 10 10 8

12 12 12 10

VV V V 9 10 10 8

VV V V 9 10 10 8

Segment 61. Learning Chord Progressions: I-vi-ii-V 1. In this segment we cover the I-vi-ii-V progression. 2. A good way to really get the sound in your ear is to sing the bass notes. In the key of C the bass notes are C-A-D-G. 3. Explore the various positions to play this progression using the same approach we took in the previous segments of this chapter. 4. The style of music you are playing will determine if you will use triads, 4 note chords or 4 and 5 note chords with extensions. 5. Add the 4th note to the chords: C-Am7-Dm7-G7. Play in all positions, using all inversions. 6. Use this progression as a study to learn it all over the fingerboard, finding as many variations as possible. 7. Next, substitute a dominant chord for the ii and V: Cmaj7-A7-D7-G7. 8. Another variation is to play the ii chord as a Dm7: Cmaj7-A7-Dm7-G7.

CHAPTER 15 SEGMENT 61 Progressions: I-vi-ii-V Level: Intermediate Gtr I: Untitled (E A D G B E) A good way to really get the sound in your ear is to sing the bass notes. In the key of C the bass notes are C-A-D-G. C 1

I

A

D

G

etc.

V V V V

V V V V

V V V V

V V V V

V V V V

V V V V

3

3

3

3

3

3

Gtr I

T A B

5

5

3

5

5

3

5

5

3

5

5

3

5

5

3

5

5

3

Explore the various positions to play this progression using the same approach we took in the previous segments of this chapter.

6

VV V VV V I V VV V VV T A B

3 5 5

6 7 7

5 5 7

UU U 3 5 5

3 4 5

VV V V

VV V V

VV V V

5 5 5 3

5 5 5

6 5 7 5

5

VV VV V

UU U U

VV V V

3 4 3 5 3

5 5 5 3

8 9 9 8

VV V V

VV VV

5 5 5

10 10 10

5

10

10 10 9 10

VV V V

UU U U 8 9 9 8

VV VV V V 8 8 9 10 10 8

VV VV V V

VV VV V

5 5 5 7 7 5

5 6 7 7 5

UU UU U U

VV VV V V

5 5 4 5 5 3

8 8 9 10 10 8

Use other inversions, adding notes to the chords. Following are 4 examples. Find more and play them in all positions, using all inversions.

14

V I VV T A B

8 5 9 7

V VV V 8 5 7 7

V VV V

VV V V

13 10 12 12

12 10 12 10

VV V V 5 4 5 3

VV V V 1 2 2 0

VV V V

V V V

5 6 5

3 6 4

5

5

V VV V 7 5 5 5

V VV V V

7 5 5 5 5

VV V V

V VV V V

VV V VV

VV V V

8 6 5 7 5

10 10 10 9 10

12 12 12 10

8 8 9 7

13 13 14 12

10 8 10 7

VV V V

V V V

Next, substitute a dominant chord for the ii and V: Cmaj7-A7-D7-G7.

18

V I VV V T A B

5 5 5 3

VV V V 5 5 5 3

gVV V V 6 5 7 5

VV V V 6 5 7 5

gVV V V

VV V V

7 5 7 5

7 5 7 5

f VVV V

VV V V

4 3 5 3

4 3 5 3

VV V

VV V

V gVVV

VV VV

V V

V V

VV VV

VV VV

3 5 5

3 5 5

5 5 6 5

5 5 6 5

5 3 5

5 3 5

3 3 4 3

3 3 4 3

example from video at 3:22

22

VV V I V

VV VV

VV V V

VV V V

V gVVV

VV VV

V fV V

V V V

8 8 9 10

8 8 9 10

8 8 9 7

8 8 9 7

10 10 11 10

10 10 11 10

10 8 10 9

10 8 10 9

T A B

VV ggVV VV V V V gV

VV VV

VV VV

VV k VV

3 5 5

5 5 6 5

5 5 6 5

5 5 6 5

2 4 4

3 5 5

6

VV V gV

ggVV f VV

5 5 5 4

4 4 4 3

VV gV f VV VV fV V V fV V gV 5 5 5 4

6

7 6 7 5

VV V k V

7 6 7 5

7 6 7 5

Another variation is to play the ii chord as a Dm7: Cmaj7-A7-Dm7-G7.

26

VV V I V

V

VV VV

V

8 8 9 10

10

8 8 9 10

8

T A B

V gVVV

V

VV VV

V V gV

V V V

V W V WW V fW

5 5 6 5

5

5 5 6 5

5 3 5 4

5 3 5 4

5 3 5 4

3 3 4 3

VV V V

VV gVVV V VV V V

VV VV V V

VV VV V

VV VV V

5 4 5 3

5 4 5 3

5 5 6 5 7 5

5 5 6 5 7 5

5 6 5 7 5

5 6 5 7 5

VV VV V

VV VV V

3 4 3 5 3

3 4 3 5 3

example from video at 3:58

30

34

V V gVVV V VVV V V V V

I

VV VV V

VV VV V

VV VV V

T A B

8 9 10 10 8

8 9 10 10 8

8 9 10 10 8

I T A B

5 5 6 5 7 5

5 5 6 5 7 5

5

VV V gV

VV V V

VV V V

ggVVV fV

gf VV fV gV

f WW gf WW

8 8 9 8

8 8 9 8

8 8 9 8

7 7 8 7

6 6 7 6

5 5 6 5

V V V VV V V V VV V V V

VV V V

VV V V

f VVV gV

f VVV gV

5 3 5 3

7 6 7 5

7 6 7 5

8 10 9 8

8 10 9 8

5 3 5 3

5 3 5 3

VV V V

VV V V

VV V V

6 5 7 5

6 5 7 5

6 5 7 5

7 6 7 5

V gVVV gV f V VVV gV f V f VV 5 5 6 5

4

3

4

3

0 1 0 2 3

V

V

ggVVV f V V V 5 7 6 5

6

V gV

5 5

5

gV

V fV

4 5

4

V gVVV

VV VV

gVVV V

ff VVV V

10 12 11 10

10 12 11 10

10 11 11 10

10 10 10 9

fV

V V VV

3 4

3

3

1 0 2

V V V VV VV V V 12

10 10 10 9

10 10 10 9

c k V gVV WW ggVVV ff VVV WWW 2 4 3 4 4

1 3 2 3 3

1 3 2 3 3

Chapter 16 Chord Melody Techniques Segment 62. Overview Chord melody is a great way to add color and dimension to a melody. In this segment I demonstrate the 3 techniques that I have come up with using the first 8 bars of “All of Me”. By now you should have played this melody in all keys, horizontally, vertically, a combination of both, in all areas of the fingerboard. 1. Start by playing the melody as indicated in the notation that follows. 2. Next, on the last note of each phrase play the applicable chord that has the hold note on top. Strum the chord in place of the last note. Begin with the triad. In our example we will play the C triad with the melody note E on top. 3. Play this phrase in all positions starting with each of your fingers to find all the variations. Use your inversions and play this phrase and the others all over the fingerboard. 4. When we play the second phrase over the E7 chord, use the E major triad in place of the last melody note, E. 5. Next, play the same phrase using a 4-note chord: E7. 6. Use the same approach over the A7, ending the phrase with the A triad with the E on the top. We can also explore by using the A7 or the A7 flat 9, in place of the last note of this phrase. 7. When you get to the Dm, you have additional options. For example, the Dm7, Dm6, Dm9, etc. 8. Use the horizontal approach to explore further. 9. Next, play the underlying chord that has the melody tone on top on the first and last note of each phrase. 10. Finally, play the chord inversion that has the melody note on top in place of every note in the melody. See the video demonstration and the notation that follows. It is beneficial to work with one phrase at a time, finding all the variations and inversions before moving on to the next phrase. 11. When you come across a note that is not part of the chord simply slide the chord into the note.

12. Next, add bends and runs using scales or arpeggios during the pause. Work out simple runs that lead to the next chord with the melody note of the phrase on the top of the chord. 13. Do not be concerned with playing in time when you first start. 14. Use this approach to learn songs you are working on.

CHAPTER 16 SEGMENT 62 Chord Melody Techniques Level: Intermediate Gtr I: Untitled (E A D G B E)

Start by playing the melody as indicated in the notation that follows.

C

E7

V 1

V

I

V

W

5

5

V

V

V

V

8

7

gV

V

W

5

5

3

Gtr I

T A B

8

8

8

10

9

A7 5

I T A B

Dm7

V

V

5

8

V

W

5

5

j

gV

V

4

5

gV

fV

6

5

W

W

8

6

Next, on the last note of each phrase play the applicable chord that has the hold note on top. Strum the chord in place of the last note. Find as many variations as you can for the first phrase.

C

V 9

I T A B

8

V

8

Cmaj7

VV V

WW W

5 5 5

5 5 5

V

8

V

8

VV V V

WW W W

5 4 5 3

5 4 5 3

Cmaj6

V

8

V

8

V V V

W W W

5 2 5 3

5 2 5 3

Cmaj7

V

8

V

8

Cmaj6

VV V V

WW W W

V

8 9 9 10 8

9 9 10 8

V

8

V V V

W W W

9 7 10 8

9 7 10 8

adding the next phrase

Cmaj7

14

E

V V V

V V VV WW V W I V W T A B

8

8

5 4 5 3

another inversion

8

10

V V V

V gV VV WW V W

3

5 4 5 3

E7

8

7

9

5 4 6

8

10

V V V

V gV VV WW VV WW

3

5 4 6

E7

8

7

9

5 4 6 5

V gV V W V W V W

3

8

5 4 6 5

10

8

7

9

5 7 6

5 7 6

7

7

adding the next phrase

A7

21

I T A B

V

V

5

A

V V gV

W W W

5 2 5 4

5 2 5 4

8

V

V

5

8

A7

gVVV

WW W

5 6 7

5 6 7

V

V

5

8

A7

gVVV V V

WW WW W

5 6 5 7 5

5 6 5 7 5

V

5

V

A9

gVVV V

WW W W

5 6 5

5 6 5

5

5

8

V

V

5

VV V gV

WW W W

5 4 5 4

5 4 5 4

8

Adding the next phrase

Dm

26

I

j gV V gV f V

T A B

4

5

6

5

W

WW W W

8

6 5 7 5

Dm7

j gV V gV f V 4

5

6

5

W

WW W W

8

6 5 7 5

Dm6

j gV V gV f V 4

5

6

5

W

W W W

8

6 4 7 5

Continue to come up with as many variations as you can. Use the horizontal approach and expression to explore further. Next, play the underlying chord that has the melody tone on top on the first and last note of each phrase.

C

35

I T A B

VV V

V

8 8 9

8

C

VV V V

WW W W

5 4 5 3

5 4 5 3

VV V

V

8 8 9

8

VV V V 9 9 10 8

C

WW W W 9 9 10 8

VV V

V

8 8 9

8

VV V

WW W

5 5 5

5 5 5

Below is an example. Explore more options using the same approach.

Cmaj7

38

VV V V VV WW V W I V W T A B

8 8 9

8

5 4 5 3

5 4 5 3

VV V VV V V 3

8 8 9

10

8 8 9

E7

A7

V gV VV WW V W

VV V V W VV V W gV W

7

5 5 4 5

9

5 4 6

5 4 6

Dm7

8

5 2 5 4

5 2 5 4

j gV V gV f V 4

5

6

5

W WW W

WW W W

8 5 7 5

6 5 7 5

Finally, play the chord inversion that has the melody note on top in place of every note in the melody. Take each phrase and come up with as many variations as you can.

Cmaj7

E9

A7

Dm7 slide into the chord from below

46

VV V V VV VV WW V W I V W T A B

8 8 9

3 5 5

5 4 5 3

5 4 5 3

VV VV VV V V V 3

8 8 9

10 10 10

8 8 9

ggVVV V 7 7 6 7

gVV V V

VV VV

WW WW

9 7 9 7

5 4 6 5

5 4 6 5

VV VV 5 5 4 5

V ggVV V 8 6 8 7

V fV V

W W W

5 2 5 4

5 2 5 4

j gV VV gVVV gV f V V gV

f VV VV

6 5 6 5

5 5 6 5

4 1 4 3

5 2 5 4

W WW W

WW W W

8 5 7 5

6 5 7 5

Segment 63. Chord Melody Techniques: Play-along Exercise In this play-along we apply the chord melody techniques we learned to the song “All of Me”, playing through the song 5 times using the steps below. Refer to the video demonstration and the notation that follows. 1. 2. 3. 4. 5. 6.

Play the melody only. End each phrase with a chord. Start and end each phrase with a chord. Play a chord on each melody note. Next, I demonstrate how to use all the techniques together. Finally, I increase the tempo and go through a couple of choruses as an example, demonstrating what can be done using these techniques. Rather than copy what I do, come up with your own chord melodies using these techniques.

CHAPTER 16 SEGMENT 63 Chord Melody Techniques Play-along Exercise Level: Advanced Gtr I: Untitled (E A D G B E)

Play the melody only.

C

V 1

I

E7

V

V

W

5

5

V

V

V

V

8

7

gV

3

V

W

5

5

Gtr I

T A B

8

8

8

10

9

A7 5

I T A B

V 5

Dm7

V 8

V

W

5

5

j

gV

V

4

5

gV

fV

6

5

E7

9

I T A B

V

8

6

gV

fW

W

V

gV

W

W

U

10

8

8

Dm7

G7

V

U

U

12

10

12

V

3

5

V I T A B

W

Am7

4

3

3

5

9

7

D7

13

W

gV

fV

W

W

V

V 3

12

11

10

10

10

10

10

C

V 17

I T A B

13

E7

V 8

V

W

5

5

V

V

V

V

13

12

gV

3

13

15

9

A7 21

I T A B

V

V

10

8

V

W

5

5

j

V

4

5

gV

fV

6

5

Fm

W

V

V

10

8

7

W I T A B

13

5

5

W

V

W

10

8

7

G7

V 10

V 13

W

W

8

6

C

A7

V 9

Dm7

29

gV

I T A B

W

Dm7

F

25

V

V 8

W

V

12

10

C

W

W

12

12

U

U

8

8

End each phrase with a chord.

C

V 33

I T A B

8

E7

V

8

VV V V

WW W W

5 4 5 3

5 4 5 3

V

V

V

V

8

7

gV

3

8

10

9

VV V

WW W

5 4 6

5 4 6

A7

37

I T A B

V 5

Dm7

V

8

V V gV

W W W

5 2 5 4

5 2 5 4

j

gV

V

4

5

gV

fV

6

5

E7

41

I T A B

V 5

45

I T A B

12

WW W W

8

6 5 7 5

Am7

gV 4

W gf WW W

W WW W

V

3 1 0 2

3 1 0 2

5

gV

W

WW W W

UU U U

10

8 8 9 7

8 8 9 7

Dm7

G7

V

U

UU U U

12

10

12 10 12 10

V

3

9

7

D7

V

W

gV 11

f VV V gV

WW W W

W

10 9 10 9

10 9 10 9

10

V

V 3

10

10

C

V 49

I T A B

13

E7

V

8

VV V V

WW W W

5 4 5 3

5 4 5 3

V

V

V

V

13

12

gV

3

13

15

9

A7

53

I T A B

V 5

V

8

VV V gV

WW W W

5 4 5 4

5 4 5 4

j

W

V

V

10

8

7

Dm7

W 61

I T A B

13

gV

V

4

5

gV

fV

6

5

Fm

I T A B

WW W

5 4 6

5 4 6

Dm7

F

57

VV V

10

V 13

WW W W

8

6 5 7 5

C

W gW

V

W

10 9 10

8

7

A7

V 9

G7

V

W

V

ggWWW W

V

7 7 6 5

8

10

C

W

W gW W

UU U

UU U

12

12 9 10 9

8 8 9

8 8 9

Start and end each phrase with a chord.

C

65

I T A B

VV V 8 8 9

E7

V

8

VV V V

WW W W

5 4 5 3

5 4 5 3

VV V

V

VV V

gVVV V

V

8 8 9

7 9 7 9

9

3

8 8 9

10

VV V

WW W

5 4 6

5 4 6

A7

69

VV I VV T A B

5 5 4 5

Dm7

V

8

VV V gV

WW W W

5 4 5 4

5 4 5 4

j

gV

V

4

5

gV

fV

6

5

E7

73

V I gVV T A B

5 4 6

gV 4

W f WWW

W WW W

V gVV

3 1 0 2

3 1 0 2

5 4 6

V

8 5 7 5

6 5 7 5

W WW W

WW W W

UU U U

10 8 9 7

8 8 9 7

8 8 9 7

Dm7

G7

V

UU U U

UU U U

7

5 6 5

7 6 7 5

V

3

4

V V I gVV

gV

f VV V V

WW W W

WW W W

VV V gV

7 5 5 4

6

5 5 5 4

5 5 5 4

5 5 5 4

5 5 5 4

T A B

WW W W

Am7

7

D7

77

W WW W

V 10

5

C

81

I T A B

VV V 8 8 9

E7

V

8

VV V V

WW W W

5 4 5 3

5 4 5 3

V

VV V

VV V

gVVV

V

8 8 9

7 9 7

9

VV g I VV T A B

5 5 6 5

8 8 9

10

V

8

VV V V

WW W W

5 4 5 4

5 4 5 4

j

V

V

10 10 9 10 8

8

7

93

T A B

8 6 5 7 5

V

4

5

gV

fV

6

5

5 4 6

5

V 8

WW W W

8 5 7 5

6 5 7 5

A7

W gW W W

V

WW WW

V

10 9

8

7 8 9 10

9

G7

V

W WW W

C

10 8

Dm7

W W I WWW

gV

Fm

WW W I WW T A B

5 4 6

Dm7

F

89

WW W

3

A7

85

VV V

V 8

W gWWW

V

7 5 6 5

5

C

W WW W

W WW W

12 10 10 10

12 10 10 9

UU U

UU U

8 8 9

8 8 9

Play a chord on each melody note.

C

97

I T A B

VV V 13 12 14

E7

VV V 8 9 10

VV V V

WW W W

5 4 5 3

5 4 5 3

VV V

VV V

VV V

gVVV V

VV V

8 8 9

7 9 7 9

9 7 9

VV V

WW W

5 4 6

5 4 6

3

8 8 9

10 10 10

A7

101

VV I VV T A B

5 5 4 5

Dm7

V gVV V

VV V V

WW W W

8 6 5 5

5 4 5 4

5 4 5 4

j

ggVV gVV

VV V gV

4 3 4 3

5 4 5 4

VV VV

f VV VV

6 5 6 5

5 5 6 5

E7

105

V I gVV T A B

5 4 6

WW W W

8 5 7 5

6 5 7 5

Am7

VV gV

W f WWW

W WW W

V gVV

4 2 1 3

3 1 0 2

3 1 0 2

5 4 6

VV V

VV VV

W WW W

WW W W

UU U U

7 9 7 9

10 8 9 7

8 8 9 7

8 8 9 7

Dm7

G7

3

9 7 9

D7

109

W WW W

V V I gVV

gVV V V

f VV V V

WW W W

WW W W

VV V gV

VV VV V

V VV V

UU UU

UU U U

7 5 5 4

6 5 5 4

5 5 5 4

5 5 5 4

5 5 5 4

5 5 5 4

10 10 9 10 9

7 5 5 4

5 6 5 5

7 6 7 5

T A B

C

113

I T A B

VV V 8 8 9

E7

VV V 3 5 5

VV V V

WW W W

5 4 5 3

5 4 5 3

VV V

VV V

VV V

gVVV gV

VV V

8 8 9

7 7 7 6

9 7 9

3

8 8 9

10 10 10

A7

117

ggVVV I V T A B

5 7 6 5

VV gVV 8 7 8 7

VV V V

WW W W

5 4 5 4

5 4 5 4

j

VV VV V

V

10 10 9 10 8

8 10 9 10 8

7

4 3 4 3

5 4 5 4

VV VV

f VV VV

6 5 6 5

5 5 6 5

5 4 6

5 4 6

VV VV V

V VV V V

8 6 5 7 5

5 6 5 7 5

8 6 5 7 5

W WW W

WW W W

8 5 7 5

6 5 7 5

C

VV gV V

WW WW

10 9

8 9 8 10 8

7 8 9 10

G7

W W I WWW T A B

VV V gV

W gW W W 10 8

Dm7

125

ggVV gVV

Fm

WW W I WW T A B

WW W

Dm7

F

121

VV V

A9

VV V V 5 4 5 3

VV VV V

3 5 4 5 3

ggWWW W

VV VV gV

7 7 6 5

5 5 4 5 4

C

W WW W

W WW W

12 10 10 10

12 10 10 9

UU U

UU U

8 8 9

8 8 9

Now take all these concepts and techniques and put them together. Experiment using differnt inversions and fills and make it your own.

Chapter 17 Harmonizing Scales with Three Notes Segment 64. Overview This lesson builds on our study of harmonizing the major scale, but instead of adding one interval, we will harmonize the major scale with two intervals. The same approach can be applied to harmonizing melodies. This is another way to develop chord voicings. Experimenting with different combinations of intervals will spark creativity in addition to helping you gain a better understanding of the fingerboard. It is important to note that several of the 3 note combinations we will work through are impossible to play simultaneously; you just can’t stretch your fingers that far. When working through such harmonies, simply treat them like arpeggios, picking one note at a time while thinking vertically. Essentially, you are playing the notes of the major scale horizontally on 3 strings with different start and end points. 1. Start in the key of C with a C chord. Note that a C chord is made up of 2 intervals: a 3rd and a 3rd. 2. Do not think of these as triads; rather focus on the intervals between each note. 3. Play the notes of the major scale horizontally, ascending and descending with each interval staying on the same string. Remember, you are playing the notes of the major scale on 3 strings simultaneously with different start and end points. Below are the combinations of intervals to work through. Start on the top 3 strings, and then move to the 2nd, 3rd and 4th strings. Some of these require a fair degree of stretching. Be careful - if you feel strained, stop and take a break. See the notation that follows for each of these variations.

Root plus: II and II

III and II

IV and II

II and III

III and III

IV and III

II and IV

III and IV

IV and IV

II and V

III and V

IV and V

II and VI

III and VI

IV and VI

II and VII

II and VII

IV and VII

4. Listen to the sound combinations and think about which players or styles they remind you of. Then think about which you prefer to use in your own playing. 5. Apply this same concept to melody. See the video for a demonstration and the notation that follows. We will apply it to the song “All of Me”. 6. Apply this approach when adding a song to your repertoire. Whenever I learn a new song I will spend time harmonizing the melodies with this approach to really internalize the song. Once I do it I know the song forever.

CHAPTER 17 SEGMENT 64 Harmonizing Scales with Three Notes Level: Advanced Gtr I: Untitled (E A D G B E)

Start with a couple of examples in familliar territory followed by several combinations of intervals to work through. Do not think of these as triads; rather focus on the intervals between each note. Remember, you are playing the notes of the major scale on 3 strings simultaneously with different start and end points. root plus II and IV

root plus III and III

1

VV VVV VVV VVV VVV VVV VV VV V V V V V V VV VV VV V V V V VV VV VV V V I

VV VV VV VV VV VV VV V V V V V V V V V V V V V V V V

Gtr I

T A B

3 5 5

5 6 7

7 8 9

8 10 12 13 15 13 12 10 8 10 12 13 15 17 15 13 12 10 10 12 14 16 17 16 14 12 10

7 8 9

5 6 7

3 5 5

3 3 5

5 5 7

7 6 9

8 10 12 13 15 13 12 10 8 8 10 12 13 15 13 12 10 8 10 12 14 16 17 16 14 12 10

7 6 9

5 5 7

3 3 5

examples of spread inversions root plus V and III on a different set of strings root plus V and VI

3

VV VV VV VV VV VV V V V V V V V V V V V V V V VV VV I VVV VV VV V V V V V V V V T A B

1 2 0

3 4 2

5 5 3

6 7 5

8 9 7

10 12 13 12 10 10 12 14 12 10 9 10 12 10 9

8 9 7

6 7 5

5 5 3

3 4 2

1 2 0

root plus VII and IV

5

5

6

8

10 12 13 15 17 15 13 12 10

8

6

5

5 3

7 5

9 7

10 12 14 15 17 15 14 12 10 8 10 12 14 15 14 12 10 8

9 7

7 5

5 3

root plus III and II big stretch! may need to treat as arpeggio.

VV VV VV VV VV VV VV V V V V V V V V V V V V I V VV V V V V V V V V V V V VV V V V T A B

V V VV V V V V V V V V V V V V V V VV V VV V V V V V V V V V V V V V VV V V V V V V V

5 4

6 5

8 7

10 12 13 15 17 15 13 12 10 9 10 12 14 16 14 12 10 9

8 7

6 5

5 4

3

5

7

8

7

5

3

10 12 14 15 14 12 10

8

VV VV VV VV VV V V V V V V V V V VV V VV VV V V V V 1 5 5

3 6 7

5 8 9

7 8 10 12 13 12 10 8 7 10 12 13 15 17 15 13 12 10 10 12 14 16 17 16 14 12 10

5 8 9

3 6 7

1 5 5

Work through the following combinations of intervals on the top strings. We touched on a couple of these already in our examples above. root plus II and III

7

root plus II and IV

VV VV VV VV VV VV VV V V V V V V V V V V V V V V V V

VV VV VV VV VV VV V V V V V V V V VV V VV VV V V V I T A B

1 3 5

3 5 7

5 6 9

7 8 10 12 13 12 10 8 7 8 10 12 13 15 13 12 10 8 10 12 14 16 17 16 14 12 10

5 6 9

3 3 5

1 3 5

3 5 7

root plus II and V

9

5 3 5

7 5 7

8 6 9

10 12 13 15 17 15 13 12 10 8 10 12 13 15 13 12 10 8 10 12 14 16 17 16 14 12 10

8 6 9

7 5 7

5 3 5

8 3 5

7 3 5

1 5 5

8 3 5

10 12 13 15 17 19 20 19 17 15 13 12 10 5 6 8 10 12 13 15 13 12 10 8 6 5 7 9 10 12 14 16 17 16 14 12 10 9 7

3 5 5

5 6 7

7 8 9

10 12 13 15 17 19 17 15 13 12 10 6 8 10 12 13 15 13 12 10 8 6 9 10 12 14 16 17 16 14 12 10 9

8 5 7

7 3 5

3 6 7

5 8 9

7 8 10 12 13 12 10 8 7 10 12 13 15 17 15 13 12 10 10 12 14 16 17 16 14 12 10

5 8 9

1 5 5

3 6 7

root plus III and IV

VV VVV VVV VVV VVV VVV VV VV V V V V V V VV VV VV V V V V VV VV VV V V I T A B

8 5 7

VV VV VV VV VV V V V V V V V V V VV V VV VV V V V V

root plus III and III

13

3 3 5

root plus III and II

V V V V V V V V V V V V V V V V V V V V V V VV V V V V V V I T A B

5 5 7

7 6 9

8 10 12 13 15 13 12 10 8 8 10 12 13 15 13 12 10 8 10 12 14 16 17 16 14 12 10

V V VV VV VV V V V V V V V V V V V V V V V V V V V V V V

root plus II and VII big stretch! may need to treat as an arpeggio

11

7 6 9

root plus II and VI

V VV VV VV V V V V V V V V VV V V V V V V V V VV V V V I T A B

5 5 7

8 10 12 13 15 13 12 10 8 10 12 13 15 17 15 13 12 10 10 12 14 16 17 16 14 12 10

7 8 9

5 6 7

3 5 5

VV VV VVV VVV VVV VV VV V V V V V V VV V VV VV V V V V VV VV V VV V V V V 5 5 5

7 6 7

8 8 9

10 12 13 15 17 15 13 12 10 10 12 13 15 17 15 13 12 10 10 12 14 16 17 16 14 12 10

8 8 9

7 6 7

5 5 5

root plus III and V

15

root plus III and VI

V VV VV VVV VV VV V V V V V V V V V V VV VV V V V V VV VV V V V VV V V V V VV I T A B

7 5 5

8 6 7

10 12 13 15 17 19 17 15 13 12 10 8 10 12 13 15 17 15 13 12 10 8 9 10 12 14 16 17 16 14 12 10 9

8 6 7

7 5 5

V V VV V V V V V V V V V V V V VV VV VV V VV VV VV V V V V V V VV VV VV VV V V 8 5 5

V V V VV V V V V V V V V V V VV VV VV V VV VV VV VV V V V V V V V V V V V V VV I V T A B

10 12 13 15 17 19 20 22 20 19 17 15 13 12 10 6 5 8 10 12 13 15 17 15 13 12 10 8 6 5 7 5 9 10 12 14 16 17 16 14 12 10 9 7 5

root plus IV and III

19

5 6 5

7 8 7

8 10 12 13 15 17 15 13 12 10 8 10 12 13 15 17 18 17 15 13 12 10 9 10 12 14 16 17 16 14 12 10 9

7 8 7

5 6 5

V VV VV VV V V V V V V V V VV V V VV VV V V V VV VV V V VV V V V V VV V V V V I V T A B

8 6 5

3 6 5

5 8 7

8 10 12 13 15 13 12 10 8 7 7 10 12 13 15 17 18 17 15 13 12 10 9 10 12 14 16 17 16 14 12 10 9

5 8 7

3 6 5

10 12 13 15 17 19 20 19 17 15 13 12 10 8 10 12 13 15 17 18 17 15 13 12 10 8 7 9 10 12 14 16 17 16 14 12 10 9 7

VV VV VV VVV VV VV VV V V V V V V VV V V VV V V V V V V VV V V VV V V V V V V 7 6 5

8 8 7

10 12 13 15 17 19 17 15 13 12 10 10 12 13 15 17 18 17 15 13 12 10 9 10 12 14 16 17 16 14 12 10 9

8 8 7

7 6 5

root plus IV and VI big stretch! may need to treat as an arpeggio

root plus IV and V

21

V VV VV VV V V V V V V V V V V V V V V VV V V V V V V V

root plus IV and IV

VV VV VVV VV VV VV V V V V V V V V V VV V VV VV VV VV VV VV V V V V V V V V I T A B

8 5 5

root plus IV and II

root plus III and VII

17

10 12 13 15 17 19 20 19 17 15 13 12 10 6 8 10 12 13 15 17 15 13 12 10 8 6 7 9 10 12 14 16 17 16 14 12 10 9 7

8 6 5

V V VV VV VV V V V V V V V V V V V V V VV VV V V V V V V V VV VV VV VV VV V V V 10 12 13 15 17 19 20 22 20 19 17 15 13 12 10 6 8 10 12 13 15 17 18 17 15 13 12 10 8 6 5 7 9 10 12 14 16 17 16 14 12 10 9 7 5

root plus IV and VII play as an arpeggio

23

V I V T A B

5

6

V

V V

12 7

8

V

V V

13 9

10

V

V V

15 10

12

V

V V

17 12

13

V

V V

19 14

15

V

V V

20 16

17

V

V V

22 14

15

V

V V

20 12

13

V

V V

19 10

12

V

V V

17 9

10

V

V V

15 7

8

V

V V

13 5

6

V 12

CHAPTER 17 SEGMENT 64.2 Harmonizing Scales with Three Notes Strings 2-3-4 Level: Advanced Gtr I: Untitled (E A D G B E)

root plus II and II big stretch -play as arpeggio

1

V VVVVVVVVVVVV VVVV VV VVVVVVVVVV V V V V V V V V V V V I VV V VV T A B

10

7

5 12

6

9

14

10

8 15

12

10 5

2

0 7

4

1 9

5

3 10

7

root plus II and III

2

9

3 7

4

1 5

2

0 15

12

10 14

10

8 12

9

6 10

7

5

VV VV VV VV V V V VV V V V VV VV VV VV V V V V V V

6 8 10 12 7 9 10 12 10 12 14 15

1 2 5

3 4 7

5 5 9

6 7 10

5 5 9

3 4 7

1 2 5

12 10 8 6 12 10 9 7 15 14 12 10

8 10 12 13 7 9 10 12 10 12 14 15

3 2 5

5 4 7

6 5 9

8 7 10

6 5 9

5 4 7

3 2 5

13 12 10 8 12 10 9 7 15 14 12 10

root plus II and VI

root plus II and V

V V VV VV V V V V V V V VV VV V V V V V V V V V V V V V

V V VV VV V V V V V V V VV VV VV V V V V V V V I V V V V T A B

5

root plus II and IV

VV VV VV VV V V VV VV VV V V VV VV VV VV V V V V I T A B

4

5

10 12 13 15 7 9 10 12 10 12 14 15

5 2 5

6 4 7

8 5 9

10 7 10

8 5 9

6 4 7

5 2 5

15 13 12 10 12 10 9 7 15 14 12 10

12 13 15 17 7 9 10 12 10 12 14 15

6 2 5

8 4 7

10 12 10 5 7 5 9 10 9

8 4 7

6 2 5

17 15 13 12 12 10 9 7 15 14 12 10

root plus II and VII big stretch treat as arpeggio

6

V I V T A B

10

7

V

VV

13 12

9

V

VV

15 14

10

V

VV

17 15

12

V VV 18 5

2

V

VV

8 7

4

V

VV

10 9

5

V

VV

12 10

7

V

VV

13 9

5

V

VV

12 7

4

V

VV

10 5

2

VVV 8 15

12

V

VV

18 14

10

V

VV

17 12

9

V

VV

15 10

7

V 13

root plus III and II

7

root plus III and III

VV VVV VVV VVV V V VV VV VV V V VVV VVV VVV VV V V VV VV V V V VV VV

VV VV VV VV V V V VV V V V VV VV VV VV V V V I V V V T A B

1 4 5

8 10 12 6 9 10 12 14 10 12 14 15

5 7 9

3 5 7

8 10 12 13 9 10 12 14 10 12 14 15

6 12 10 8 14 12 10 9 15 14 12 10

1 4 5

3 5 7

5 7 9

6 9 10

root plus III and IV

9

6 7 9

8 9 10

5 5 7

6 7 9

3 4 5

13 12 10 8 14 12 10 9 15 14 12 10

root plus III and V

V VV VV VVV V V V V V V V VVV VV VV V VV V V V V VV VV VV VV VV VV VV VV

VV VV VVV VVV V V V VV V V V VVV VVV VV VV V V V VV VV VV V VV VV VV I V T A B

5 5 7

3 4 5

10 12 13 15 9 10 12 14 10 12 14 15

5 4 5

6 5 7

8 7 9

10 9 10

8 7 9

6 5 7

5 4 5

15 13 12 10 14 12 10 9 15 14 12 10

12 13 15 17 9 10 12 14 10 12 14 15

6 4 5

8 5 7

10 12 10 7 9 7 9 10 9

8 5 7

6 4 5

17 15 13 12 14 12 10 9 15 14 12 10

root plus III and VI

11

V V VV VV V V V V V V V VV VV V V VV VV V V V V VV VV VV V V V V VV VV V V I V V T A B

13 15 17 18 9 10 12 14 10 12 14 15

8 4 5

10 12 13 12 10 5 7 9 7 5 7 9 10 9 7

8 4 5

18 17 15 13 14 12 10 9 15 14 12 10

root plus III and VII big stretch play as an arpeggio

13

V I V T A B

10

9

V

VV

15 12

10

V

VV

17 14

12

V

VV

18 15

14

V VV 20 5

4

V

VV

10 7

5

V

VV

12 9

7

V

VV

13 10

9

V

VV

15 9

7

V

VV

13 7

5

V

VV

12 5

4

VVV 10 15

14

V

VV

20 14

12

V

VV

18 12

10

V

VV

17 10

9

V 15

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CHAPTER 17 SEGMENT 64.3 Harmonizing Scales with Three Notes Application Level: Intermediate Gtr I: Untitled (E A D G B E) Harmonize the first phrase of All of Me with different interval combinations. II and III

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Chapter 18 Voice Leading Segment 65. Overview Voice leading, or using moving lines within chords, is a great way to add movement and excitement to rhythm playing. This lesson has four different exercises that will develop your voice leading skills. When doing the following exercises, make sure you strive for clean sounding chords. For this first exercise, refer to the chord shapes provided. 1. Using the low 4 string inversions, identify each of the major 7 chords and their inversions. 2. Move minimally on each chord, to the major 6 chord. All you have to do is identify the major 7th interval and drop it a whole step. Strum the major 7 chord for 2 beats followed by the major 6th chord for 2 beats and repeat until it is smooth and clean. 3. Next we play a ii-V change in the key of G with the Am7 and the D7. From the ii chord, move a ½ step down from the minor 7, or G note, to the next scale tone F# for the D7. It might help to think of this as playing a D7 with a raised 4th to a D7. Again, play 2 beats of each chord going for a smooth clean sound. 4. Next, move from a Gmaj9 to the G as demonstrated in the video. 5. We can also continue moving the line from the 9 to the root to the maj7th and finally the 6th, all on the same string. 6. Using the above method, play each of the following chord changes. Try different keys and different sets of strings. Refer to the chord grids on the following pages for chord shapes and a sample of suggested fingerings.

||: Gmaj7 G6|Gmaj7 G6 |Am7 D7 |Am7 D7:|| ||: Gmaj9 G|Gmaj9 G|Am7 D7b9|Am7 D7b9:|| ||: Gmaj9 G|Gmaj7 G6| G Maj9 G|Gmaj7 G6:|| ||: Am9 Am| Am7 D7|Am9 Am|Am7 D7:|| ||: Am Am(maj7)|Am7 D7:|| ||: Am9 Am|Am7 D7:|| 7. Play over songs using the above to elaborate, especially when a song calls for the same chord for more than one bar of music. Listen for the melody and be careful not to clash with it.

Segment 66. Voice Leading Exercise 1 1. Play the following dominant chords around the cycle of 4ths. Hint: your pinky never leaves the 3rd string. ||: G7|C7

|F7

|Db7 |Gb7 |B7

|Bb7 |Eb7 |Ab7 | |E7

|A7

|D7 :||

2. Next we add the ii chord before the dominant chord. Think of the ii chord as the V chord with a raised 3rd. For example: In the first bar, rather than thinking of Dm7, think of a G7 with a raised 3 rd. ||: Dm7 G7|Gm7 C7|Cm7 F7|Fm7 Bb7|Bbm7 Eb7|Ebm7 Ab7| |Abm7 Db7|Dbm7 Gb7|Gbm7 B7|Bm7 E7|Em7 A7|Am7 D7:|| 3. It is up to you to use this same approach with all your inversions in all areas of the fingerboard. Segment 67. Voice Leading Exercise 2 1. In this exercise we go from major 7th to dominant, targeting the IV chord around the cycle of fourths. Listen for the moving line within the chord and try to bring it out a bit in your playing. ||: Cmaj7 C7|Fmaj7 F7|Bbmaj7 Bb7|Ebmaj7 Eb7| |Abmaj7 Ab7|Dbmaj7 Db7|GbMaj7 Gb7|Bmaj7 B7| |Emaj7 E7|Amaj7 A7|Dmaj7 D7:|| Segment 68. Voice Leading Exercise 3 ϭ. The last exercise is a ii-V-I study around the cycle. Again, think of the ii chords as the V chord with a raised 3rd. ||: Dm7 G7|Cmaj7 C6 |Gm7 C7|Fmaj7 F6 | |Cm7 F7||Bbmaj7 Bb6 ||Fm7 Bb7|Ebmaj7 Eb6 | |Bbm7 Eb7|Abmaj7 Ab6|Ebm7 Ab7|Dbmaj7 Db6| |Abm7 Db7 |Gbmaj7 G6|Dbm7 Gb7|Bmaj7 B6| |Gbm7 B7|Emaj7 E6|Bm7 E7|Amaj7 A6| |Em7 A7|Dmaj7 D6|Am7 D7|Gmaj7 G6:||

Ϯ.

Do not think of chords as “grips”, think of musical lines on a string. ϯ. Make up your own exercises using the same concepts.

Segment 69. Voice Leading: Performance Example In this video segment I demonstrate voice-leading using the concepts presented in this chapter as well as additional chord extensions. For example I may use some minor 9ths in place of minor 7ths and 9ths and 13ths in place of the dominant 7th chords. Chapter 19 Finger Control Segment 70. Overview In this lesson we introduce finger control exercises. These 6 exercises are designed to help you build finger strength and build your picking strength and pick control. 1. Apply your open hand, where the fingers meet your palm, to the neck of the guitar near the 3rd fret. 2. Keep your palm parallel to the fret board. 3. Place your thumb on the back of the neck behind the 2nd fret. 4. Curl the fingers of your hand so that they are perpendicular to the strings and apply the fingertips of each finger to the 2nd string, one finger per fret. In other words, your 1st finger on the 3rd fret, 2nd finger on the 4th fret, 3rd finger on the 5th fret and your 4th finger on the 6th fret. If the palm of your hand needs to come off the neck a bit that is okay but keep it parallel to the guitar neck. 5. Keep this hand position while you play each of the 6 following exercises one at a time. Repeat them a few times each before moving to the next. 6. If you feel strained take a break! 7. Do these exercises on different strings and in different positions. 8. Make up your own exercises using these concepts. 9. Do this for 10 minutes, or so, as a daily warm up.

Chapter 20 Picking & Tremolo Segment 71. Overview Picking I have played with many great guitarists over the years and I have always taken note of their picking. What I have found is that everyone picks differently. 1. There is not one correct way to pick the guitar. 2. You have to find your own approach and choose the pick you feel most comfortable for you. 3. What works for me is using a lot of down strokes, ala Charlie Christian. I will switch to alternate picking, i.e., down up, down up, if the tempo is too fast for all down strokes. 4. Sometimes I will rest my fingers on the pick guard. 5. Sometimes I will mute the strings with the palm of my right hand for effect. 6. I find that down strokes create a good attack and sound. When using down strokes I often pick through the string and rest the pick on the next string. 7. I find that using down strokes both gives me a better tone and slows me down in my playing which helps me to play fewer notes and think more melodically. Tremolo 8. Tremolo picking is alternate picking where you pick down up, down up as fast as you can play. 9. To develop your tremolo, play on one string at a time to a metronome. Start slow at first going for a good even tone. 10. As you warm up, increase the speed of the metronome. 11. When you get to a tempo that you can no longer play evenly to, stop and write down the speed. 12. Continue this a little bit every day and you will be amazed at how fast you are playing in 6 months.

13. A neat thing to do with tremolo picking is what I call stutter picking where you use the tremolo picking on one string and add simple lines alternating between the open string and the fretted note.

Chapter 21. Improvisation Segment 72. Overview In this last chapter we apply all we have learned throughout the course to improvising solos. We continue the goal of putting theory to practice with the aid of play-along tracks. Segment 73. Improvisation: Major Tonality In this segment we explore how to make musical ideas using simple melodic ideas based on the major tonality. We apply the concepts we have learned throughout the course to improvising over the jam track. Segment 74. Improvisation: Major Improvisation Example In this segment we roll the major play-along track and I improvise over it using what we have learned in this tonality. Throughout the video demonstration I tell you what scale, arpeggio, chord tone, etc., that I am using, so you get a good idea of its sound and application.

CHAPTER 21 SEGMENT 74 Improvisation: Major Improvisation Example Level: Beginner Gtr I: Untitled (E A D G B E)

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Segment 75. Improvisation: Major Play-along Exercise In this segment we roll the major play-along track and trade fours. I play four bars and then you play four bars. You can copy what I am doing, or play something in response to what I play. Throughout the video demonstration I tell you what scale, arpeggio, chord tone, etc., that I am using, so you can follow me, if you like. Segment 76. Improvisation: Minor Tonality In this segment we explore how to make musical ideas using simple melodic ideas based on the minor tonality. We apply the concepts we have learned throughout the course to improvising over the jam track.

3

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CHAPTER 21 SEGMENT 75 Improvisation: Major Improvisation Play-along Exercise Level: Intermediate Gtr I: Untitled (E A D G B E) " Major Pentatonic"

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Segment 76. Improvisation: Minor Tonality In this segment we explore how to make musical ideas using simple melodic ideas based on the minor tonality. We apply the concepts we have learned throughout the course to improvising over the jam track. Segment 77. Improvisation: Minor Improvisation Example In this segment we roll the minor play-along track and I improvise over it using what we have learned in this tonality. Throughout the video demonstration I tell you what scale, arpeggio, chord tone, etc., that I am using, so you get a good idea of its sound and application.

CHAPTER 21 SEGMENT 77 Improvisation: Minor Improvisation Example Level: Beginner Gtr I: Untitled (E A D G B E) 1

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Segment 78. Improvisation: Minor Improvisation Play-along Exercise In this segment we roll the minor play-along track and trade fours. I play four bars and then you play four bars. You can copy what I am doing, or play something in response to what I play. Throughout the video demonstration I tell you what scale, arpeggio, chord tone, etc., that I am using, so you can follow me, if you like.

CHAPTER 21 SEGMENT 78 Improvisation: Minor Improvisation Play-along Exercise Level: Beginner Gtr I: Untitled (E A D G B E)

1

4 I4

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Segment 79. Improvisation: Dominant Tonality In this segment we explore how to make musical ideas using simple melodic ideas based on the dominant tonality. We apply the concepts we have learned throughout the course to improvising over the jam track. Segment 80. Improvisation: Dominant Improvisation Example In this segment we roll the dominant play-along track and I improvise over it using what we have learned in this tonality. Throughout the video demonstration I tell you what scale, arpeggio, chord tone, etc., that I am using, so you get a good idea of its sound and application.

8

CHAPTER 21 SEGMENT 80 Improvisation: Dominant Improvisation Example Level: Beginner Gtr I: Untitled (E A D G B E)

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Segment 81. Improvisation: Dominant Improvisation Play-along Exercise In this segment we roll the dominant Play-along track and trade fours. I play four bars and then you play four bars. You can copy what I am doing, or play something in response to what I play. Throughout the video demonstration I tell you what scale, arpeggio, chord tone, etc., that I am using, so you can follow me, if you like.

CHAPTER 21 SEGMENT 81 Improvisation: Dominant Improvisation Play-along Exercise Level: Beginner Gtr I: Untitled (E A D G B E)

1

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Segment 82. Improvisation: Extended Dominant Improvisation In this video segment we continue our study of the dominant tonality. We roll the C7 dominant play-along track and I demonstrate how to play over it using all we have learned throughout the course. We use the C7 mixolydian, which is the F scale starting and ending on C, the whole tone scale, and diminished tonalities, the super locrian and the suspended 4th. Throughout the video demonstration I tell you what scale, arpeggio, chord tone, etc., that I am using, so you get a good idea of its sound and application.

CHAPTER 21 SEGMENT 82 Improvisation: Extended Dominant Improvisation Level: Beginner Gtr I: Untitled (E A D G B E)

1

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Segment 83. Improvisation: Extended Dominant Improvisation Play-along Exercise In this segment we roll the extended dominant play-along track and trade fours. I play four bars and then you play four bars. You can copy what I am doing, or play something in response to what I play. Throughout the video demonstration I tell you what scale, arpeggio, chord tone, etc., that I am using, so you can follow me, if you like.

CHAPTER 21 SEGMENT 83 Improvisation: Extended Dominant Improv. Play-along Exercise Level: Beginner Gtr I: Untitled (E A D G B E)

1

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Segment 84. Improvisation: Major-Minor Pentatonic Scales Pentatonic Major and Minor Scales Two scales that are closely related to one another and prevalent in jazz, rock, country, folk, and bluegrass are the major and minor pentatonic scales. Many guitar players have had successful careers using only these two scales. 1. As its name implies, pentatonic scales are composed of five notes (penta = five and tonic = notes). 2. Play the pentatonic major scale in the key of C. (C-D-E-G-A). 3. The pentatonic minor scale, commonly referred to as the blues scale, is made up of the following intervals: Root, b3 rd, 4th, 5th, b7th, and players often add the flat 5th to this scale. 4. To play the pentatonic minor or blues scale, start with the C pentatonic major scale, but begin playing on the “relative minor,” which is the 6th note in the scale A. Continue to play the same notes up an octave. 5. Play the pentatonic minor scale in the key of A. (A-C-D-E-G). Note that these are the same notes we used for the C pentatonic major scale, just starting and stopping on the A. 6. Sing these scales to internalize their sound. 7. You can also mix the major and minor pentatonic scales for great effect. For example, try starting a phrase with the C major pentatonic and ending with the C minor pentatonic. 8. Learn to play these scales all over the fingerboard, playing in all keys, using all possible fingerings. 9. Play horizontally, vertically and combine both approaches. 10. Included in this chapter is a visual of a few pentatonic major and minor scales to help you get started.

Segment 85. Improvisation: Major Pentatonic Improvisation Example In this segment we roll the major pentatonic play-along track and I improvise over it using what we have learned in this tonality. Throughout the video demonstration I tell you what I am focusing on so you get a good idea of its sound and application.

CHAPTER 21 SEGMENT 85 Improvisation: Major Pentatonic Improvisation Example Level: Beginner Gtr I: Untitled (E A D G B E)

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Segment 86. Improvisation: Major Pentatonic Play-along In this segment we roll the major pentatonic play-along track and trade fours. I play four bars and then you play four bars. You can copy what I am doing, or play something in response to what I play. Throughout the video demonstration I tell you what I am focusing on so you can follow me, if you like.

CHAPTER 21 SEGMENT 86 Improvisation: Major Pentatonic Play-along Exercise Level: Beginner Gtr I: Untitled (E A D G B E)

1

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4 I4

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Segment 87. Improvisation: Minor Pentatonic Improvisation Example In this segment we roll the minor play-along track and I improvise using what we have learned in this tonality. Throughout the video I tell you what I am focusing on so you get a good idea of its application.

7

5

5

CHAPTER 21 SEGMENT 87 Improvisation: Minor Pentatonic Improvisation Example Level: Beginner Gtr I: Untitled (E A D G B E)

1

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Segment 88. Improvisation: Minor Pentatonic Improvisation Play-along Exercise In this segment we roll the minor play-along track and trade fours. I play four bars and then you play four bars. You can copy what I am doing, or play something in response to what I play. Throughout the video demonstration I tell you what I am focusing on so you can follow me, if you like.

8

5

CHAPTER 21 SEGMENT 88 Improvisation: Minor Pentatonic Improv. Play-along Exercise Level: Beginner Gtr I: Untitled (E A D G B E)

1

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Segment 89. Improvisation: Flat 9 Minor Tonality In this lesson we cover the flat 9 scale. It has an exotic Middle Eastern flavor that makes it a favorite for Gypsy Jazz guitarists. 1. The flat 9 scale is derived from the harmonic minor scale by starting and ending on the 5th step of the scale. In the key of Cm the 5th note is G. 2. For this study we will use the I-V progression in Cm. That is: Cm and G7. 3. The formula for the flat 9 scale is: root, flat 9, 3, 4, 5 flat 6, and 7. In the key of C minor the notes are: G, Ab, B, D, F, G. 4. Play the harmonic minor scale starting and ending on the 5th of the scale up to the octave and back. You can also resolve by ending on the C minor chord using the C harmonic minor scale. 5. The 5-note arpeggio used over the G7 chord in this tonal center is the G7 with the added flat 9, which is the G7b9 chord. The notes that make up the G7b9 chord are: G, Ab, B, D, F. 6. Practice this scale using all fingerings with the goal of learning it in all 12 keys and in all zones of the fingerboard. 7. Practice it horizontally and vertically and combine both approaches as we have done with other studies. Segment 90. Improvisation: Flat 9 Minor Tonality Play-along Exercise In this segment we roll the flat 9 minor play-along track and trade fours. I play four bars and then you play four bars. We use the G7 flat 9 scale resolving with the C minor tonalities. You can copy what I am doing, or play something in response to what I play. Throughout the video demonstration I tell you what I am focusing on so you can follow me, if you like.

CHAPTER 21 SEGMENT 90 Improvisation: Flat 9 Minor Tonality Play-along Exercise Level: Beginner Gtr I: Untitled (E A D G B E)

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Segment 91. Improvisation: Flat 9 Major Tonality In this segment we explore the flat 9 major tonality. We use the flat 9 scale over the dominant chord, just as we did in the last segment, but resolve on a major chord instead of a minor chord. When we get to the C major chord, use any of the major tonalities to resolve the phrase. You can even resolve using a pentatonic minor tonal center. Segment 92. Improvisation: Flat 9 Major Tonality Play-along Exercise In this segment we roll the major play-along track and trade fours. I play four bars and then you play four bars. Remember, that when we get to the C major chord, use any of the major tonalities to resolve the phrase. Use different notes of the major chord as a target note to resolve. You can even resolve using a minor tonal center. You can copy what I am doing or, play something in response to what I play. Throughout the video demonstration I tell you what I am focusing on so you can follow me, if you like.

CHAPTER 21 SEGMENT 92 Improvisation: Flat 9 Major Tonality Play-along Exercise Level: Beginner Gtr I: Untitled (E A D G B E)

1

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Segment 93. Improvisation: Diminished Tonality Our next scale is another exotic sounding scale that really catches a listener’s ear. Its repeating minor intervals and the dissonance of the flatted 5 th interval make it mysterious and unique. The symmetry of the diminished scale and chords make it very versatile and easy to visualize on the fret board. 1. The diminished scale is a symmetric scale that starts with a whole step followed by a ½ step. This pattern of whole step ½ step continues until you reach the octave. The diminished scale works well for playing over the V7 chord. 2. Diminished 7th chords are built by stacking minor thirds. In other words, there are 1-½ steps between every note, making this chord symmetrical. 3. Use the formula above to write out all your diminished scales. You will discover that because of the symmetry of the diminished scale and arpeggio, there are only 3 diminished scales and 3 diminished arpeggios. Each of them services 4 dominant chords. The diminished chord or arpeggio that relates to the 4 dominant chords contains only the 3rd, 5th, and 7th note of the dominant chord and never the root. The fourth note is the flat 9, which is a ½ step above the implied root of the dominant chord you are playing over. 4. Included in this chapter is a visual of the diminished chords and the dominant chords that they service to help you get started. 5. Play the Ab diminished arpeggio horizontally, on the 3rd string. 6. Next play the scale, which is a series of whole steps, followed by a half step. 7. Play this arpeggio vertically as well. 8. Also included in this chapter is a visual of a diminished scale and arpeggios to help you get started.

Segment 94. Improvisation: Diminished Tonality Play-along Exercise In this segment we roll a diminished play-along track in the key of F and trade fours. I play four bars and then you play four bars. You can copy what I am doing, or play something in response to what I play. Throughout the video demonstration I tell you what I am focusing on so you can follow me, if you like.

CHAPTER 21 SEGMENT 94 Improvisation: Diminshed Tonality Play-along Exercise Level: Beginner Gtr I: Untitled (E A D G B E)

1

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Segment 95. Improvisation: Diminished Over Dominant Tonality Recall that the diminished arpeggio is made up of 4 notes, each a minor 3rd apart. In this segment I show you how to use the diminished arpeggios over dominant chords. Remember that because of its symmetry, all of the related diminished arpeggios are a minor 3rd apart. 1. Start with a G7 chord with the added flat 9. (See the lesson on the flat 9 tonality for review) 2. If we omit the root, G, and play the other notes, we have the diminished arpeggio. So, to play over a dominant chord, simply start the diminished arpeggio ½ step higher than the dominant chord’s root. 3. Play the Ab diminished on the top 4 strings. (See notation and chord grid) 4. Flat each of the 4 notes a ½ step, one at a time. This will yield 4 dominant chords that are related to the Ab diminished chord. The 3rd, 5th and 7th are always in the diminished and applicable dominant chord. 5. Since the root is never in the diminished arpeggio, imply the tonal center and obtain your dominant flat 9 chord and arpeggio by simply playing the flat 9 and lowering it a ½ step. 6. Summary: 1 diminished arpeggio services 4 dominant chords. x Ab diminished services the G 7, Bb7, Db7, and E7 x A diminished services the Ab7, B7, D7 and F7 x Bb diminished services the A7, C7, Eb7, and Gb7 (F#7) Segment 96. Improvisation: Diminished Over Dominant Play-along Exercise In this segment we roll the G7 to C major play-along track and trade fours. I play four bars and then you play four bars. We will play using the diminished scales and arpeggios over the G7, resolving on the C major. Remember that the Ab diminished arpeggio is closely related to the G7b9 arpeggio. You can copy what I am doing, or play something in response to what I play. Throughout the video demonstration I tell you what I am focusing on so you can follow me, if you like.

CHAPTER 21 SEGMENT 96 Improvisation: Diminished Over Dominant Play-along Exercise Level: Beginner Gtr I: Untitled (E A D G B E)

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Segment 97. Improvisation: Augmented Whole Tone Tonality In this segment we explore the whole tone scale. As its name implies, it is a scale built with whole tones between each step. The whole tone scale, like the diminished, is symmetrical, meaning the set of intervals repeats, resulting in a visual pattern that resembles a checkerboard on the fret board. This scale sound has a strange, unstable quality that may remind you of the music used in a dream scene in movies.

1. The whole tone scale is a symmetric scale built using a series of 6 whole tones or steps. 2. There are only 12 notes in music. The whole tone scale is made up of 6 notes, each a whole step apart. Therefore, there are only 2 whole tone scales, each services six notes. 3. Play the whole tone scale horizontally in the key of G. (G-A-B-C#-D#-F-G) on the G-string. 4. Move up a fret and play the whole tone scale starting on the Ab and you have the other whole tone scale. Refer to the notation and fret board visual on the following pages for suggested variations on how to play this scale all over the fret board. 5. The augmented arpeggio is derived from the whole tone scale. The formula is 1-3-#5. In the key of G, the notes of the augmented arpeggio or chord are G-B-D#.

Segment 98. Improvisation: Whole Tone Tonality Play-along Exercise In this segment we roll the whole tone play-along track over a G7 and trade fours. I play four bars and then you play four bars. The key tones in G are: G-B-D#. You can copy what I am doing, or play something in response to what I play. Remember, that the scale is built with whole tones, so if you play horizontally, its pattern is easy to recognize. Throughout the video demonstration I tell you what I am focusing on so you can follow me, if you like.

CHAPTER 21 SEGMENT 98 Improvisation: Whole Tone Tonality Play-along Exercise Level: Intermediate Gtr I: Untitled (E A D G B E)

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Segment 99. Improvisation: Super Locrian Tonality In this segment we explore the super locrian tonality. I think of the super locrian as a combination of the whole tone and the diminished scales. The super locrian is built using the following formula from the root: ½ step, whole step, ½ step, whole step, whole step, whole step, and whole step. The intervals are: root, flat 9, sharp 9, 3, flat 5, flat 6, flat 7. The key with all scales is the same: get the sound in your ear so you are thinking of the tonal center, not the theory. We can also look at this from the perspective of the Ab melodic minor ascending over the G7 chord. We start on the G, which is the major 7th interval.

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Segment 100. Improvisation: Super Locrian Tonality Play-along Exercise In this segment we roll the G7 play-along track and trade fours using the super locrian tonality. I play four bars and then you play four bars. You can copy what I am doing, or play something in response to what I play. Throughout the video demonstration I tell you what I am focusing on so you can follow me, if you like.

SEGMENT 100 CHAPTER 21 Improvisation: Super Locrian Tonality Play-along Exercise Level: Intermediate Gtr I: Untitled (E A D G B E)

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Segment 101. Improvisation: I-IV-V-I Progression In this segment of the video we cover the I-IV-V-I progression in the key of C. The goal for the following play-along using this progression is to come up with simple melodic ideas using what you have learned throughout this course. For example: x x x x x

Make use of 3-note and 4-note arpeggios All the notes in the C major scale will work over these chords Start the arpeggios on different tones The pentatonic major and minor scales are always an option Identify common tones, or notes that are in each of the chords

With this information in mind, pick one or two concepts each time you play over the following play-along track and make simple melodic ideas with them. Make other jam tracks in other keys and in other tempos. Segment 102. Improvisation: I-IV-V-I Progression Play-along Exercise In this segment we roll the I-IV-V-I progression play-along track and trade fours. I play four bars and then you play four bars. You can copy what I am doing, or play something in response to what I play. Throughout the video demonstration I tell you what I am focusing on so you can follow me, if you like.

5

U 5

CHAPTER 21 SEGMENT 102 Improvisation: I-IV-V-I Progression Play-along Exercise Level: Intermediate Gtr I: Untitled (E A D G B E)

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Segment 103. Improvisation: ii-V Progression In this video segment we cover the common ii-V progression. The goal for the following play-along using this progression is to come up with simple melodic ideas using the concepts we have covered throughout this course. For example: x Tonal centers x Resolving on the V chord with the note that is closest to the last note you played over the ii chord x The dorian scale x The blues x The harmonic minor x A combination of scales x Make use of 3-note and 4-note arpeggios and chord tones x You can also just think of playing over the V chord with the dominant tonality With this information in mind, pick one or two concepts each time you play over the following play-along track and make simple melodic ideas with them. Make other jam tracks in other keys and in other tempos. Segment 104. Improvisation: ii-V Progression Play-along Exercise In this segment we roll the ii-V progression Am7-D7 play-along track and trade fours. I play four bars and then you play four bars. You can copy what I am doing, or play something in response to what I play. Throughout the video demonstration I tell you what I am focusing on so you can follow me, if you like.

sl.

CHAPTER 21 SEGMENT 104 Improvisation: ii-V Progression Play-along Exercise Level: Intermediate Gtr I: Untitled (E A D G B E)

1

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Segment 105. Improvisation: ii-V-I Progression In this video segment we cover the common ii-V-I progression in the key of G. This segment is similar to the ii-V except we resolve on the G chord. The goal for the following play-along using this progression is to come up with simple melodic ideas using what you have learned throughout this course. For example: x x x x x x

Common tones All the notes in the G major scale will work over these chords Make use of 3-note and 4-note arpeggios and chord tones The pentatonic major and minor scales can be used You can also just think of playing over a V-I progression Tonal centers

With this information in mind, pick one or two concepts each time you play over the following play-along track and make simple melodic ideas with them. Make other jam tracks in other keys and in other tempos. Segment 106. Improvisation: ii-V-ŝ Progression Play-along Exercise In this segment we roll the ii-V-ŝ progression play-along track and trade fours. I play four bars and then you play four bars. You can copy what I am doing, or play something in response to what I play. Throughout the video demonstration I tell you what I am focusing on so you can follow me, if you like.

CHAPTER 21 SEGMENT 106 Improvisation: ii-V-L Progression Play-along Exercise Level: Intermediate Gtr I: Untitled (E A D G B E)

1

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Segment 107. Improvisation: ii-V-ŝ Progression In this video segment we cover the common ii-V-ŝ progression, this time resolving on a minor chord instead of a major chord. The chords we use are Am7-D7-Gm. The goal for the following play-along using this progression is to come up with simple melodic ideas using what you have learned throughout this course. For example: x Common tones x Use all the minor tonalities such as natural minor, dorian, harmonic and pentatonic minor scales x Since we resolve on a minor chord, the flat 9 scale works well when playing over the V chord x The super locrian x Make use of 3-note and 4-note arpeggios and chord tones x Tonal centers With this information in mind, pick one or two concepts each time you play over the following play-along track and make simple melodic ideas with them. Make other jam tracks in other keys and in other tempos. Segment 108. Improvisation: ii-V-I Progression Play-along Exercise In this segment we roll the minor ii-V-I progression play-along track and trade fours. I play four bars and then you play four bars. You can copy what I am doing, or play something in response to what I play. Throughout the video demonstration I tell you what I am focusing on so you can follow me, if you like.

CHAPTER 21 SEGMENT 108 Improvisation: ii-V-i Progression Play-along Exercise Level: Intermediate Gtr I: Untitled (E A D G B E)

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Segment 109. Improvisation: I-vi-ii-V Progression In this segment of the video we cover the I-vi-ii-V progression in the key of C. This is a common progression that can be heard in all styles of music. The goal for the following play-along using this progression is to come up with simple melodic ideas using what you have learned throughout this course. For example: x x x x x x x x x

All the notes in the C major scale will work over this progression Imply other tonal centers over the V chord to build tension Play the root of each chord Connect the roots with leading tones Play just the 3rd of each chord Connect them with leading tones Play just the 5th of each chord Connect them with leading tones The pentatonic major and minor scales are always an option

With this information in mind, pick one or two concepts each time you play over the following play-along track and make simple melodic ideas with them. Make other jam tracks in other keys and in other tempos. Segment 110. Improvisation: I-vi-ii-V Progression Play-along Exercise In this segment we roll the I-vi-ii-V progression play-along track and trade fours. I play four bars and then you play four bars. You can copy what I am doing, or play something in response to what I play. Throughout the video demonstration I tell you what I am focusing on so you can follow me, if you like.

CHAPTER 21 SEGMENT 110 Improvisation: I-vi-ii-V Progression Play-along Exercise Level: Intermediate Gtr I: Untitled (E A D G B E)

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