A Complete System for The Rock Te ela cs py Paul AS ©10 Complete PI i Sie tid © Learn to solo over Te OA Presents] Modal Chord Progressions P .S aS . © Over 86 Licks and Pattérns, r SS \ © Complete Theory Section 4 © Scale Glossary Included ‘ ‘a contains all Music Examples and Play-Along Tracks 5 a Me CCOAWUDAY TROD aN in eee eNOProgression 1: Dorian Sound Example 1-17 Progression 2: Phrygian and Exotic Sounds Example 18 - 29... Progression 3: Slow Blues. Example 30 - 40 . Progression 4: “Straight-Eight Blues” Example 41 - 48 .. Progression 5: Lydian Sound: Example 49 - 57... Progression 6: Major Pentatonic and Mixolydian Sounds Example 58 - 61... Progression 7: Natural Minor. Example 62-73 .. Progression 8: 12-Bar Blues, Example 74 - 77. Progtession 9: 16-Bar Shuffle Blues .. EXAMPIE 78 ~ BO ono rn Progression 10:Major Sounds .. Example 81 -'87, Building Chords in a Key Center... Unit Ten: Diatonic 7th Chord Unit Eleven: Modes.. Unit Twelve More Relative Minor Unit Thirteen: The Harmonized Minor Scale Unit Fourteen: Harmonic Minor. Unit Fifteen: Jazz Melodic Minor. Unit Sixteen: ‘Symmetrical Scales (Whole Tone and Diminished)... Unit Seventeen: €xtensions and Suspensions. The Ultimate Practical Scale Glossary The Five Traditional Major and Minor Pentatonic Fingering Patterns. The Five Traditional Major and Minor Scale Fingering Patterns The Seven "Three-Note-PerString* Molor and Minor Scale Fingering Patterns......105 The Five Traditional Blues Scale Fingering Patterns... 107 ‘he Five Traditional Harmonic Minor Scale Fingering Paiterns 108 Two ‘Thrée-Note-PérString” Harmonic Minot Scale Fingering Patterns The Five Traditional Melodic Minor Scale Fingering Patterns Two "Threé-Noie-PerString® Melodic Minor Scale Fingering Pattern: The Diminished Scale... The Japanese Pentatonic... The Whole Tone Scale ; The Gypsy Minor Scale The Enigmatic Scate .. 113e e ° e e e . e e ° e e e e « e e e e e e e e e e Seeeececvseceseseeceseseoaceseoce Introduction Like one college quarter, or one phase at Gil this system is designed fo be gone through In fen weeks. Right now | am challenging you lo comm fo slick with I for that period. After the ten weeks you will 366. molor improve- ment In your soloing, ul as you continue your learning and growing as 6 musician this materia! wil grow with you. Irs designed fo be used over and over. There's enough vocabulary and information in each of Inese seclions fo Keep you busy for many years. I's token me at leas! ten yeors fo assemble many of these phtoses and licks, After the fen weeks slarl back at your own pace going through material you feel you need work on. You'll Need: . . Lo. . 1) Your guitar ond amp of Lay o> 2) ACD oF cassette player forthe ihythm Wocks | os : was 3) An olclronic tuner can also come In handy Ihave carelully organized each of the rhythm tracks fo lecture a different style of rock soloing. For example, thore is slow blues, fast blues, minor and major sounding progressions, as well as other modes like phrygian, lydian and mixolydion. Also, the first four progressions stay mosily within one key, but ot Progression Five they begin getting harder—adding key changes. As you work through these progressions you should also go through, at your own speed, “the Proctical Guide to Harmony and Theory” doing all the assignments. If theory is tololly new fo you. You moy acl ally want fo spend some timo with the practical guide belore you sta! into these progressions. As you go through this system use these guidelines: 1) There are ten thythm tracks corresponding to each of the fen chapters, use one each week for ten sliaigh! wooks. 2) For each rhythm track keep a “log” In which you name the phrases ond licks you're working on. Devise with creative names for your phrases, for exomple: "Ridiculous Strelching Legato” or”Siippery Arpeagios". Any name: fnat'l allow you fo remember the phrase, ine welrder the better. I've found this patt is very important, without it you may forget some of the vocabulary you ore building 3). Al the fop of each rhythm track | Indicate the tempo with c metronome marking. Be sure you ccn play in thot tempo using simple mythmic groupings lke quarter notes and eighth notes os well as ine more dificult triplets ‘and sixteenth notes. | often find players are so busy going for those death defying licks thal they have rouble playing in simple, even, eighth notes. 4) Vioralo Is an important part of your sound so I “ecommend soloing over each progression of leas! 6 few limes focusing only on controling your vibroto in the suggested rhylhms instead of merely vibrating ot whatever speed your refloxes happen to vibvate al. If you do Ihis exercise you'll Build conito! over those reflexes and make your solos much more listen able, (Ol course all guitarists don't vibrato in even eighth notes or triplets, but wouldn't It be nice ifyou could if you wanted lo.) 5). Basles are most imporiantt You can always tell how good someone is by how well they do the simple things. As in martial ars, spoils or ony endeavor, basics ore the secret of true mastery. The people who ore able fo slick ‘out rough the ciudgery and constant repelilion of the basics are Ihe ones who become greol 6) Don't bite af more than you can chew, Howard Roberls once compared learning Io juggling: let's soy 0 juggler con handle three bolls o! lime, if he odds 0 fourlh he may drop them all. Gai Ihe idea? Keep yoursel challenged with new moterial but don't acd foo much al one time or you may become over wheimed. 7) This Is eal Important: It you're getting frustrated or hoving trouble keeping up, then my guess Is you ore doing OK, just hang in there, keep doing the exercises Ihe bes! you con ond don't quill Take salisfaction in the fact ‘hal you ate hanglag in there and doing the assignments, nol whether oF not you con tel i! your playing is gol {ing better. | promise your playing will get better. Remember back In school during ekess and you'te wotching the clock, it moves much fasler il you don’ poy attention to th Realize this also: Thal feeling you hove when you are not sollsfied is very Important io help drive you to be best you con be! Adjust ‘his system fo fil your own needs OU stick wilh if for ten weeks. Affer tha! feel free fo skip oroUND i YoU Wish. Prepare to become a better guitarist! Good luck, and remember: “Praciice makes perfec!” elPROGRESSION i DORIAN SOUNDS co (byehm Guitar Pt) Am ecccocesss? Analysis and Scale Choices This progression revolves around the “two” chord (ID in the key of G (which is the A minor chord). Although all the chords aré built from the G major s-ale, there is no G chord played, Since. the first chord we hear is A minor, and the progression sounds lke it should always retum to A minor we say ‘we are playing in A Dorian. (Dorian is the sound of a major scale centered around its Il chord) Our main scale choice will be A Dorian: A-B-C-D-ET#GrA. Since the A Dorian scale consists of all the same notes as G major and E minor, you may use all the same scale patterns. Just remem- ber that “A” is now the impartant note. Because of their similarities, the A minor pentatonic (A-C-D-E-Q) and A blues scale (A-C-D-EHE-) an be used instead of, or in adkition to, the A Dorian scale. Each wil have it's own tonal “color.” ooseo oe ese ee aoe ST oeeTPSSOSSSSSSeSeeSseSeeeeseeseeFeeeeeseeseoeeo®e Since the harmony Is derived from Q major you may go ahead and use all seven of the Gm ilor scale arpeggios. G. Am, Bm. C, 0, Em and Fdim (as wells thelr corresponding 7th chord arjxs- jos. All of these arpeggios can work anywhere in the progression. .hust tke the other scale choic- $ It's important how you phrase and exactly where you place, the arpeggios thal makes them realy ‘sound good. So do some experimentation! ‘There 1s one chord in the progression you must watch out for £7, the ‘Mse* chord. The E7 chord contains 3 GE note. which wil clash with the Gt contained in the Dorian of minor pentatonic “scales ‘Over the E7, I recommend the A harmonic minor scale (A-B-C-D-E-F-GE-A), This is a great oppor tunity to pull out any A harinotle minor scaletcks! Be careful, E7 creeps ufion you and thin only lasts for two bars. Be prepared for t. (If any of thig goes whéws right. over yal head, skip to the ‘Practical Guide to Harmony and Theory” sections “and stort reading! Phrasing and Vibrato Tempo: J = 120 bpm Phrasing: For even phrasing when improvising, use Bth notes. Bthrnote triplets and 16th notes If the regular 16th’s are not challenging for you try using arpeggios. (Ok. if you are one of those shredder types. you could try I6thrnote triplets. This would be equivar Fert to regular I6th notes at 180 bpm, (shredding that’s groups of six notes squeezed into each Dest Be careful {o make sire yow are ockedin’ with the rhythm. your notes are clear and yeu ¥e not tense OF course. over any of these progressions. go aheze! and “oat” any rhythm you wish (play as fast a3 You want While not lockingvin to the beat). As you do this, try to Keep your Foot tapping to the time us strengthening your awareness of the rhythm uncermeath This will aso improve your abi ty to come out of your “Beating” phrases solid. | think Ficcie Van Halen once described this floating ‘dea, then ending tn sofd time, as "-falin: down the stairs and landing on your fect” Vibrato: Vibrato is tke the glue that holds your phrases together, Over each of the progressions. | recommend you ty to vibrate in speciic rhythmic grcuings. At this tempo, I suxyfest you vat with eighth notes (that’s one pull on each eighth note oF two pulls every beat: 1 & 2 & 3 Se 4&0 JF you want 2 faster more dlficut workout. try tplets. This vibrato workout ray sound weird at fist. but i's realy Nelprut in improving this technique, wihich affects your Avera style and sound Suggested Phrases and Licks FNest are some fairly basic A minor pentatonic phases. Note that mony of tie fcks and phrases in this book ave prevanted without a “meter” This is because most can be payed beginning on any beat. Also, many can be played as continuously repeating pattems ~- each repetition would fal on 0 iifeven, beat Example 1 (Go 4) Example 1A:Example 2 (cD 5) : _ Simple Bending Phrases and Exercises Use either your third or fourth fingers for the bends. Whichever finger you use, be sure to support the bend with the other avalable fingers. Play each example repeatedy to build strength Example 3 (cb 6) Example SA: Example 3B: z Example 4 (co 7) ‘Ascending through the minor pentatonic scale Example 4A: Example 4B: Example 4C: BEx>v4 Ex 4 BS Example 5 (co 8) Play the following bends wi the Ath finger. ‘Your 3rd finger Gupported with the ingen). For the high note, use Example 5A: Example 5:SOCHOSHHSHSHSSSEOSHSSHSSSHSSHSESSESSSEESESSeSeseesessoeeeseeoeeoseeenn” Advanced Blues Scale Phrases These three examples. derived from the A blues scale, covet most of the fretboard. Each plirase Is notated “in time” with IGUrnote phrasing, 5th Position (co 9) Example re SSS Sas = ==] — == SS == =H Example 8 (20 11) This example scarts in Sih position, sides vp to the Tath and to the [4th postion Arpeggios with Sweep Picking Here are some arpeggto ileas of varying difficulty. Wet expand on these techn through the progressions To a certain point. i's helpful to adjust licks so you can play them with your own style. If you want to add a few hammerons and pulroffs. or charge the picking a litle, go ahead. Rememb focus {son builtin your vocabulary and improving your ability to apply it to soloing siti Sweeprplcking: In Example 9 (D shapes), the first three notes on the G. B and E strings are all downstrokes; that’s a “sweep.” Just push your pick straight through from one string to Ure next. without stopping - almost as if you are strumming a chord, but with the fingers of the feft hand fretting only one note at a time. [Also really helps to palm mute with your right hand on the bridge. dampening the singing af any unwanted strings. If this technique Is hanging you up, let me give you a tip: Keep trying diferent sweep picking ideas. don't get bogged dawn feeling you have to master one Sweening phrase before Yyou move to another. You may find that you "get" this technique after the third, fourth or (AU Sweeping pivase you try. Good WetThree-Sting Arpeggios: ‘Shapes a 9 (co 12 Ths example moves from a C walor expe to a D major arpegsia THESE are the IV and V chords in the key of G@ major (or the Ill and IV in A Dorian) Example 10 (cb 13) Example tl (co 14) Notice the “7th” chord arpeggios ascending, Staring wiht & wainor? (he VI7 chord in G. major, then ascending through the harmonized scale. This one uses only “up sweeps” Tve Found this phrase really helps a lot of people get the hang of sweeping Example WA: Em? Fins) Example IIB: Gmaj7 Amteeoseeesseseod e0o8eee808 6 00 at = W Example 12 (cd 15) This is aD’ shape srpeggio idea with @ very ‘brain scrambling’ sequence based on 2 Russ Parish ick, Example 13 (co 16) A Pike: Ward styie Wok usExample 14 (co 17) K combination of Examples 12 and 15 A fe, <> fo e Example 15: Legato Phrases (co 18) e Teall is one Even Stephen Teqad’ because BITRE Holes ave Fayed as Gren I6th notes You can @ use this sequence te move through any of the seven “three-noteperstring Fingering patterns’ sce the Seale Glossanp. $ a e _ (sy eekte the ee = era aads EE ere ee SET Fae bey << sae e Ron on — e —= = i = =e —} = ae z = = pra = Example 16: Free or Moating Phrases (cb 19) Tike T mentioned eailier, we dont always have to play In meter, These [aces can be “Toated’ at any ‘Speer you wish, ever the progression (the faster the better. The important thing is to not lose track of where yeu are and to be able to resolve your plyases on strong beats. « « SCHSHSSCHOCEHSECEEOCHOEHHHOHF LE EEOOECoeeerocecoeooos SOO OOFTSSOSSSSSSSSSOSSHESSESEOESSEEEEESELEEE 17: Harmonic Minor Over The “Five” Chord (65 20) 1s one simple ‘oating meter” phrase using Uie. A harmpnic rrinor scale (A“B-C-D-E-F-GPA. Because It includes “GY (the 3rd of the E chord). it works better over tie & chord than the A Dorian for blues sciles. Another popular Kdea is to play diminished 7th ampegalo phrases starting from hal = step below the key note tt this case, GR You wil find @ couple of cool ones described for Progression 9. Adjust them to the right localion So they contain a Gt, . Your Asskgument: improvise over Progression }. using the play"along recording, at least five times {W/2 hour totad 9 day for Five consecutive days. Work on new phrases, rhyltmnic groupings and Vibrate, Akways tap your foot! Keep 2 log and give names to each new phrase you develo. (Name your oti favorites so you can heep track of those as wel By the end of the week, have at least Ore new phrases in your vocabulary: Then take a two day break.“4 ' PROGRESSION 2: PHRYGIAN AND EXOTIC SOUNDS eo * (Rythm Oita Paty . : ve Bs we) Bs Wey ies * ey Bs mc) ¥s ps cs SI POSSSSSSSSSHSSHSSSOSSHSOSHSSHSSSOSHSSHSOSSHOSHSHHSHESSHESSSOSESEEE cs BS \as cs BS ’ Analysis and Scale Choices Like in the first progression, here we also use chords from the key of G major but again. the sound Js not centered around G. This time it's centered on the Ill chord B minor or BS. So, our main scale choice is B Phryglan (B-C-D-E-F#-GrA-B), which contains the same notes as G ‘major, only centered on B. This scale works throughout the whole progression. If you're not familar with the Phrygian Mode, is “SpanistvExotic sound shoud Jump out at you It’s very cooft (Refer, f necessary. to the "Practical Guide to Harmony and Theory” chapter on modes) Extra Scale Choices for Section A: ‘The harmony is very open. in other words, the notes and chords don't clearly define particular scale choices. so the options are many. Let's check out some exotic ones.se eesVeeVseeeeseVewvestTeeeeesegeoeeeeo > > > > > > > , > > > > > > > > > ) ) y Phrygian Dominant : Preyigan normally has a minor third. In Section A, since there is no third played in the BS chord, toe Twve the hale to odor the chord major as well Ih 6 Phrygian, if you raise the minor third to a major third (D to D2), keeping the other notes the some, you get a scale sometimes called “Phrygian dominant.” (We cal t “dominant” because it centalns 8 mefar Srd and a b7th tke a dominant chord) . ‘The B Phrygian dominant is rine up of the same notes as E harthonic minon-so you dox't have. to earn new scale pattems. (See your Scale ‘ldssary for harmonic tint Mngering pattems To play Phrygian dominant. remember this Qo up a fourth {5 fret), and play harmonic tminor. So. in order « to Imply B Phrygian dominant over Section A, play E harmonic minor. Phrygian Major When using Phrygian. try not only sharping the third, ike Phrygian dominant. but also sharp the 7th in B Pinygian that’s the A note moved up to AB. Some people call this the “Gypsy minor” scale, this ones “out there’ Here are all three Phrygian scale fingerings. For more ways to play these, see your Scale Glossary B Powygian (majo 8 Phrygian Dominant (E narraonic minor) 18 Fteygian Major (© Gypsy minor) Diminished 7tn arpegaio Diminished 7th Arpeggios: For a "Neoclassical Sound” try playing diminished 7th arpeggios stating on °C’ tthe Hl. Since diminr ished arpeggios are symimetical. any note in the arpeggio can be consiered the root. The C dimin- ished arpeggio bs spellee CEIGYA. so you can actualy play the Eb, Gb or A diminished arpeggios and actieve the same effect! Remember, the above scale choices work only for Section A. they don’t work too well for Section B.Scale Cholces for Section B: - Because there are several chords in this section which Befine the harmony, our scale cholces are more firited here than in Section A. For Section 6. | recommend the B Phryglan/G major scale Jopanese Pentatonic: There are several of tivese scales, but this one works well aver both Sections A and B (you've heard tt before in old movies and as background music at Sushi places). Try Ie out! Phrasing and Vibrato (Tempo: J = 100 bpm) Phrasing For “even phrasing’ when improvising, use 8th notes, Bth-note triplets and 16th notes Wf yea cam play I6thrnate triplets (that’s groups of six notes over each beal), go for kt! As before. you can go ahead and “fat” any rhythm. playing as fast or slow as you wish, but work at keeping your foot tapping ta help strengthen your awareness of the rhythm undemeath, and make sure you exit your phrases solidly Vibrato: For tis tempo, try 2 slow vibratercontrot work2ut using Bth notes (that’s one pull on each eighth nate ~ L& 2 & 3 &, ele. For a faster feel try triplets {that’s three pus every best Suggested Phrases and Licks Since we are using a mode of G major. any phrase or arpeggio used in Progression | shunt also work here int Progression 2. just adjust the rhythm to fit at this slower tempo, Example 18 (co 22) Heres @ vin that Isnt (00 hard to play fast It actually sounds only through several fingering pattems, it repeats the same pattem is written ascending, ep than it is. As it moves diag pease in three octaves. Although this est with reversing the Idea to descend, eeoe COOKE SOOOHOEHOEH OHHH OHSS ED ODEO EELO® SeeseesosesesvoeveeseePee Gee Le (escensting) ORL RE | See ee ee ae ee es ae yee 18 Betas . | ‘ e } Examples 20 & 21 (co 24 & 25) a Flere are two very simple repeating phrases. Use strict altemate picking and remember. Missive 8, ‘repetition! . e 1) ‘Example 20A: (Ascending) e e veee ‘oeesooce ‘The types of sequences on these pages were made popsiar by the amazing Paul Gilbert, The timing I is written as “groups of six” (or sextuplets), but they could be played as ever sixteenth notes as well. AAtthough the examples are written in only one fingering pattem, they are, of course, adjustable | throughout all of the other major scale "three"note-per'string” patterns. Alternate Picking: Make sure you're using strict altemate (downup) picking. The best way to improve your speed and get the left and right hands synctwonlzed iS to start with Basic ideas and master them through massive repetition. One more thing- try adjusting these Sequences to Prrygii dominant and Prrygian major as well eveceeeooesExample 22 (co 26) A | _This example is actualy Example 20 applied to the entire Phrygian scale fingering, ‘Tiy applying this pattem 16 all Seven three-wote-perstring pattems. Use stict altemate picking throughout. | = ae IB = : = : = ‘o SS SS = Example 23 (co 27) Tis example 5 actually Example 21 applied to the entre Phigian scale fingering. Again, try apply ing this pattem to all seven three-note-per-string pattems and use strict alternate picking, Example 234: (Ascending) J 3 SSS SS eee ov FE + a et! i ———— = = Example 238 (Descending) ee ef faite bt ftp tt, ppt tt ns mM sim Coftiaue down. Ti ae tl | 7 4Arpeggios and Sweep Picking Since this progression fs in the 6 Phryglan mode, you can use all the arpeggios in that made (same as. G mmjeth. Let's try playing the © harmonized scale Example 24 The @ Harmonized Seale - Using “D’ Shapes (2b 28) This vext example again makes use of what | call D” shape arpeggios Because they use the same Form as the good, old open © chord, fGmor eA mice Wea mor, Ved mor (ieh 25: The G Harmonized Scale - Using °C’ Shapes (cD 29) Teall trent °C shap: arpeggiay Because they use the samme form as open © chord. They work easily 25 both sixteenth note oF tiplet patterns 356 major A minor IB minor BaccoPOSSSSHSHSHSSSSHHSSSSHSSSHSHSHSSSHSHSHSSSSHHSHSSSHEAHSCOAFOSCORECR009"%"" Vil=F Diminished (Srabscvee Bxarnple 26: Circular Arpeagios (6 30) Big Tyisd Sweeps: | got this idea from Kel Marioka, and | think he may have gotten It from Marty Friedraan or Jason Becker. He called it “circular arpecgies’ because when you play it, the notes on your fingerboard roughly follow a circle or oval shape. 1 expanded on this idea in the secein exarm- ple, as figure eiqhis These are really cool sweeprpicking ticks! B minor tind B minor tadExample 28: Siiding Legato (co 32) ee Rey paeee £ ff pepe ) eoecne o> Example 29: Big Slides (co 33) Example 29A: eeoeece ais oe: 3 Example 298: (using Japanese pentatonic £ Ee oo oe Your Assignment: Improvise over Progression 2 at least five times a day for five consecutive days ‘Work on new phrases, rhythmic groupings and vibrato. Always tap your foot. Keep a log and give names to each new phrase you develop. By the end of the week. have at feast three new phrases in your vocabulary, Then take a two day break.CooooemecasecesooneenEroenmeeen | e ° e e e ° e e e e e e e e e e e e e PROGRESSION 3: SLOW BLUES rane de J = J . hopemeemina Undapeomntg gn amon ‘ ess tas eee (A minor peatstonie) (A major pentatonic (A minor pent (ie nsor ) pe. Analysis and Scale Choices Blues Is something most good players can play In thelr sleep. This version ig the traditional “quich change I2-bar’ in the hey of A. The rhythm is 2 slow shulfle. We call it “I2-bar” because there are a total of 12 measures (or bars) each time through. The term shuffle means a “triplet feel" type groove, accenting the first and third beats of each triplet: Virplet, 2-tilprlet. S-trpriet. 4trpret ete In the blies, itis typical that only the LIV and V chords are played (you know. chords bull on those steps of the major scale, When harmonizing the major scale using triads. these three chords ‘are all major. When the chords are extended to the seventh the [Is a Major 7 chord, the IV Is 2 Major 7 and the V is Dominant 7.Wel the blues don't folow those nes. In a typical blues progression, afl three chords are played as dominant 7th. Ina minor blues progression. the 1 and the IV chords are usually minor and the V chord is usialy a dorrinant 7h Often in rock, we dome play thirds in the karmony at all that's what I did Here. Every chord is built wits only a root 5th, and an altemating major 6th to play the traditional Chuck Bemy riff with the litle Ginger stretch. This gives you, the soloist. the most scale ‘opto. ‘The term “quick change” just means the IV chord Is played on the second bar retuming t6 the t chord in the third bar. Jn the traditional “Jonnay B. Gowie” styte W2-bar farm, the First four-bars are the I chocd (that’s sometimes cated a “slo change bives’) | tinithe “quik change" evolved because Iehelps Keep the chords interesting and moving ‘along when piaying at 2 stow tempo. . ‘The last two bars are called the “tumaround” The turr-around Is any chord progression that helps lead you back to the begining of the song There are many ways [0 play tunarounds. I chose 2 simple descending iff, starting on the A in the eleventh bar and ending on the V chord (B) at the twelth bar. As | said, the harmony is very open {none of the chords contain a third). so you ar€ ree to color them major or minor. ‘The first scale choices 1 recomimend are the A blues and A minor pentatonic scales; both work throughout the whole progression, beginning to end. The major pentatonic scale also works throughout. If you wish. go ahead and switch back and forth from major pentatonic £0 minor pentatonic. [A Major Pentatonic scale Cox’ Angerng? © =r00 i@ = major third A Minor Pentatoric scale Chex’ fingering (ool minor tind For Advanced Players: ‘There's an old tick that's really cook Try playing A major pentatonic over the | chord (A), and when it changes to the IV chord (D), switch to A minor pentatonic (these scale choices are marked In parenthesis over the progression “This trick works even better IF you center your phrasing arcund the major third to minor third switeh: CE over the A chord, and Ck aver the D chord. This also works out to be the major third over the I chord and the F7 of the [V chord, Over the last four bars, try just playing minor penta tonic. For a larger note choice, try using A Dorian (that’s the G major scale). And for a more sophisticated major or dominant sound, try A Mixolydlan ithat's D majo. Atthesigh you don't have to switch scales, it works wel to play A Mixclydian on the I chord and then A Dorian over the IV chord. You ould also think A Mixolydan over the A chard and D Mixalydian (G major) over the D chord, which really amounts to the exact same thing,If any of this stuff goes whew. over your head, don't worry. As you work with it, it will become ‘dearer. (You may want to skip to the "Practical Guide to, Harmony and Theory” section) Tm not using any arpeggio examples in this section, but | sometimes lke to use dominant arpeagios ‘over the chords. For example, over A play A7, over E play E7 arpeggios, etc. For Real Advanced Players: x, : ~~ A cool “jazz sounding’ idea is to play A Lydian 47 over the A, and D Lydian $7 over the D (This is the fourth mode of the melodic minor scales An easier way to think is. Go.up a fifth from the cchord {7 frets) and then play melodic minor) See your Scale Glossary for the melodic mind and. Lydian 67 scale pattems ‘Summing Up: Although your scale choices are many, I recommend that you have many good old pentatonic/blues scale phrases up your sleeve. Phrasing and Vibrato Tempo: Siow (J = 75 bpm) Suggested Phrases and Licks Many of the phrases from the other progressions will work here as well Of course, youl need to make small adjustments so they'l fit at the slower tempe and new key center. One of the most Important things to do with this program is mix and switch many of the plvases over different pro~ ‘gessions That's what improvising 5 all about! The spontaneous reorganization and adapting of phrases and fick you already know. Vibrato: For a slow, even vibrato control workout, use triplets. When improvising try the triplet shuffle. The shuffle rhythm is an uneven eighth note feel, playing on the first and third parts of ‘each triplet. Also, try out constant triplets (see the first suggested phrase). ‘Again, go ahead and “float” any rtythm that “feels good” Play as fast or slow as you wish, while not locking up to the beat. Be sure to keep your foot tapping to help your awareness of the rhythm tndemeath and make sure you exit your phrases “landing on your feet” squarely and in time. Example 50: Siurs for moving through the pentatonic scales (cD 35) Frere’s a great pentatonic exercise you can phy Wa triplet Teel that's movable through all five pentar tonic pattems. "Be sure to work it through those fingering pattems that you may not use as often. Example SOA: i. 2> i, 2> —. —. >Example 3: (co 36) : Examples 31 and 32 are two phrases that feature the Change from major Srd to minor third — reflecting bie 1 to IV chord movement. A eeveceeee eee : : e e - — = —9 s———— “@ e e e e e e e e e e e Example 33: Siow Bends and pulroff‘s in A Minor Pentatonic (cD 38) e Here are three simple 60's style. fifth position blues licks In blues, it’s not always so important what e pstee 2 Oe 9 © > se ee 8 (Se Set We. peeeecoeoccce eeoessoeLL n Example 36: Gapton "White Room’ Lick (co 41) Examples 37 - 40 ae difficult. but totally cool. modern blues Feks for total shredders. In the con text of a slow blues. | suggest playing them real fast and “lost” them over the rythm. Example 37 (co 42){ Brareple 58 (GO 43) | A — | eee SS i OE = = — = ! fa eee ‘Your Assignment: Improvise over Progression 3 at least five times a day for five consecutive days Work on new phrases, shythimic groupings, vibrate and afways tap yout Toot And remember to keep that log! By the end of the week, have at 1east three new plirases in your vocabulary. Then take a two day break. Ba euccedeveesPROGRESSION 4 FAST “STRAIGHT-EIGHT” BLUES CJommy B. Goode Sty) co Analysis and Scale Choices Here 1s another version of the Blues that every guitarist should be able to play in his for hes) sicep. The Fee! is “straight elghths" leven steady eighth notes) as opposed to shuffle triplet feed as in the Progression 3. This time the key is Bb, a little unusual for guitar these days, but good practice (Bb wwas the otiginal key for Johnny B. Goode by Chuck Bern). Like rnost Odes. we only use the LIV and V chords. Like Progression 3, each chord is built with ‘only a root. Sth, and an alternating major 6th (litte finger stretch. So again, your scale choices for Solaing are many, The “wien-around’ here js real simple. Uncough the fast two bars we st stay on the one chord (how's hat for slmplel OF course, there are diferent ways to play the “turnarounds” but this version 6 totally stripped dawn.Scale Choices: {in tis case, the harmony & very open You are (reeats color the chacds many diferent ways Fst choice the Bb bhies scale and B} minor pentatonle throughout the whole progression, ‘As In the last progression, you can switch from Bb major pentatonic over the } to Bb minor penta” torte aver the 1, but since ths progression Is moving along $0 fast. you may want to pick one. sae fand just stay with ‘You can also go for Bb Dorian (Ab major scaleh This will givé you a chance to use your'major scale pattems and licks, and give you a more Sophisticated sourc! than the blue’ scale A cod! trick is to dd the “KS CE" or techvicaly Fb in this key) to the dovlan scale, giving it a°bisesy sound * BS Dorian with added $5: Lestly, for a sophisticated major sound, try ‘at frst, but check It out! Mixolydian (€> majoA. This ray sound a tule strange | righty recommend good od tradional pentatonie/tues scale phrases, they'll always come in handy. Phrasing and Vibrato ‘Tempo: Pretty dam fast! (J = 160 bp.) Phrasing: For “even phrasing” when improvisins be sure that you can smoothly and aggressively play eighth notes while picking all downstrokes; this wil Keep your time sounding very solid This ist carved in stone but i's a handy rule: When playing eighth notes. use al! downstrakes (that fs unless youre strumming an acoustic guitar). To test this, try playing elghth notes ~ repeating one note over and over ~ using all downstrokes. Now do the same with altemate picking. Do you hear the diference? | rest my case. For a cool slow staceato “stop action effect’. try muted quarter note Wipkets. W you veatly want to sip. try sixteenth notes. ‘Again, you can go ahead and “oat” any meter over the rhythm (playing as fast or slow as you wish ‘while not locking up lo the beat) but keep your foot tapping to help make sure you exit your phras” 25 solidly. Keep in mind that while playing cascades of notes in a Noating kind of rhythm may be ‘an excellent son! for “shredding’, IC may not be stylistically appropriate to the feel af the song you aie playing. Always check out the great players In each style Listen to how they phrase. Do they always “lock-in"? Do they seem to Nioat across the top? What Kind of scales are they using? ete Keep ln mind, basics are real important. Ge sure you can play those even meters first before you start forgetting about the nme and “aating’ al over the place Vibrate: For an even. slow “Visrato contre workout, try quarter note triplets, Suggested Phrases and Licks Example 41 (co 47) Ther’s bn example of @ harraneroOn/palroft phase Gets movable Uweugh all five pentatonic patterns. Is a bit of a challenge. however, because these are all sixteenth notes. You might try using It In just ‘one location, playing it repeatedy on only twe strings until you build up your speed. If it’s stil too hard, try It slower as eighth notesDecCeeeeseseseseosesssesessasesssoosoesseasoaseseeenserveseounn**” pivot peor pier Apply these babies the rest of the way up and down the pentatonic fingering pattem, And be sure to ise them through those other pentatonic fingering pattems that you may not know as well This exercise will definitely increase your mobility all over the fingerboard The indicated picking may or may not work for you. It uscs ail outside steing crasses: doing that ives yots upstrokes on dowerbeats and downstickes on uptbeats. Whether you use inside or outside string cressing. | reconimend alternate picking, Classic Chuck Berry Style Phrases These next phrases work Uiraughaut the progression. Chuck uses a combination of sues. Dorian and Mixolydian scales, Each phrase is played with a straight cighth feel, $ suagest using a Clear, lwwangy sound For that classic 50's sound. Example 42 (co 48)Use all downsirokes Use all downstrokes Example 46 Double-stops (cD 52) Double-stops are twornote chords. Here are double-stops derived from Bb Dorian on the 2nd and Srd strings. 28 ‘This neck diagram indicates the double-stops In thirds for B+ Dorian (as played in the above exan™ ple. Down Hi Tis 1s a special altemate picking segment to help you fnprove your Felt and right hand synchroniza” tion and picking speed. Use these exercises over the progression artd also as a dally exercise. You should adjust them to other Keys as wel Why do I call this “Downhill Picking’? I grew up in Seattle and like most people from up there, 1 was a skier. I noticed when beginners were in ski school, thelr instructors gave them real short skis and put them on fairly flat slopes. so they could get the hang of it gradually. The idea was, each time they came back to the mountain, they would gradually progress to longer skis and steeper slopes. COOSEHSHSHOHTSESHHOHOCOLESENEO®: ° e ® e e ® ° e ® e 4 e © e e ® e e ePDSOSHSHSHSSSSHSHSHSHSHSHSHSSHSHSSHSHSHSHSHSHSHSSSSHSSHSSHSSHSSSHCESEBEEEEEEN®D Imagine W you took a beginner up to the most dificult and steepest hil, with ley, Five foot moguls, {gave firm six foot long skis, tld him to go for It and then gave him a push. He might have a bit tl trouble, I doubt he'd enjoy himself of get very good at skiing (he might even get Kid Long ago, I made 2 decision to toaitt how to pick fast. | figured Td get @ bunch of reat aficut Paganini and Bach pieces toyether and work at them like crazy; picking every note. After 2 few Years, guess what? 1 stit couldn't pick very fast . You know what | had attached & lot of pan to picking ~ 1 ai the Wand ackusly I got better at my hammeron’s and pulFot’s LY te My original loca was If | could handle the hord stuff, then the easy Sulf would be a breeze. The problem was. the hard stuff never got very fast! It was as if | was always stiugaling on the steep hit with moguls. | finaly wised up anc! got the idea to reverse the process, and using tne idea from above, work out on short skis fist. Within a short time. I could shred threugh the following exercts~ fs Fainly fast This is how I shortened my skis: D. Instead of scale pattems with lots of notes. | created small phrases that repeat over and ‘over, alfowing me to concentrate mainly on left and right hand synchronization (I borrowed some of these Ideas from Paul Gibert and other fast players). 2). Whenever crossing from one string to another the pick only picks on the outsides of the strings, $0 25 to isolate and develop only one type of string crossing at time. 1 also found’ In my classes at GIT and AIM Ut most guitarists, inckding mysell find IC easter tO outside Cross “Outside” versus “Inside” string crossing wile Altermle Picking The motion of the ‘The motion of the pick dining an Biel during an cuts” string cross ¥___inside” string cross x 3) [put all the notes up high on the neck, so when picking. the string would be more rigid md not vibrate as much. This gives the pick a more solid and stable target than if the string is played at the lower frets or open, 2) 1 thik ts harder to pick the bigh strings because they zie thin and the pick more easily crabs oF gets caught on them, so al these are of the “D” and How To Practice Them: D Play them as fast as possible, try using a metronome and setting iL faxter than you can play. then furiously try to catch up, challenging yoursell 2 Also play them slower and in total control, absolutely perfectly synchronized. correcting any mistakes, not allowing yourself to be sloppy. 3) Throughout, | recommend using right hand palm muting on the bridge, ancl make sure, euery note Is clear.Examples 47A - D (co 53) ‘These examples are written in A Dorian To play them Ger Frogresdion 5) side them up one fret. ‘That will place them in Bb Dorian. eoccceceeoe Example 47D:‘Examples 48A_& B (cb 54) “These next two examples add a new thytimic device to ourjpicking pattems Each of these phrases “consist of an odd number of beats. Exaripfe 4BA is two and one half beats long, and 48B is three beats long. When played repetitively each of these phrases will Keep starting on a different part of the measure. This gives the phrases an intricate and unpredictable “swirling” quality. Example 484: CFO O CCH CCC CLOOe Example 48B: eeeceeeoce e Your Assignment: Improvise over Progression 4 at least five times a day for five consecutive days Work on new phrases, rhythmic groupings and vibrato, Remember, always tap your foot! Remember to keep a log and give names to each new phrase you develop. Tiy to adjust licks used over the other rhythm tracks to Progression 4 as well By the end of the week, try to have three new phrases in your vocabulary. Them take a two day break. Eee sain PROGRESSION 5: LYDIAN SOUNDS Sis marae We bic -TDSEs cobSsccccccces ‘After “bhesing out! For Progressions 3 and 4, now K's go for a more Intellectual challenge with the most complicated progression so far, You may wat to go through this text very carefuly. If you have trouble, don't get frustrated. Hang in there! After all you can't expect to crank through this fone tke Steve Val or Joe Satria right away © patient.» > > . ° : ‘The other difficuity may be 2 general lack of experience playing Lydian mode, due to the fact that ° ie in the past it's Deen Kind of a jazz-fusion scale. Well, mare and more nowadays you hear it with © —eaxs rock. IES one of my favorite sounds. e If you compare Lydian to majer, you? see they're the same, except for one note ght in the middle: e Ws a #Ath, the same as the unstable $5ti used in the blues scale (aise called the Urtone). So essen e i tially, Lydian is 2 major scale with a really cool note right in the middle! . : | Analysis and Scale Choices « « at - = | There 1s only one place within the harmonized majér vale that two major tds" occur next to each > | other: the IV and V chord. This progression alternates bach and forth between these two major : chord. Furthermore, I estabish the IV chord as the main tonal center by playing ft frst ond using e | Its root a8 2 peda tone undemeath both chords, The term pedal (one is used (0 descite a con” = | tantly Fecunng or sustained ass note underpinning a changing. harmony. I | Look at the progression is comprised of four sections. Each sectlon Is identical except they are in | Giferent keys. I created Section A. then used the same chords »p a minor third for Section By back e | ‘down a minor third for Section C and lastly down anotier inior third for Section! 1). So, whatever ° you play In your sola you can just move it up and down in minor thirds. e oe Each section Is eight bars. so stay on top of it, You must anticipate those key changes. If you = practice this, become a very useful sik — e Scale Choices: Section A e C major and D major chores both over the pedal tone °C’ (The IV and V chords in G mijon e Pay °C Lydion.” = yi ° © Lydian equals the same Mngering pattems a Gi major and & minor. e e If you're @ rock guy wha Bkes to play minor pentatonic. you should know: C Lydian, G major, and E tinor are al the same. If Is eager. go ahead ard use E minor or E minor pertatonic patterns and e. licks. the resuiting sound wil be C Lydian, e e ‘Section Br e Eb major and F major chords bot aver the pedal tone “ES” (The IV and V chords in Be major) e Pay TS Lydian.” e e ES Lydian equils the same fingering pattems as Bb major ang G minor e e Section C: ° ‘Te same as the A section, (Tue IV and V chords in G major) e Back to °C Lydian” ¢ Section D: ° AA major and B aloe chords bath over Ure pedal tone “A! (The IV and V chords in E major) e Pray “A Lydian. : A Lydian equals the same fiscving pattems as E major ané CE minor patterns. 3 Phrasing and Vibrato: ° Tempo: J = 145 bpm Phrasing. For “even phrasing’ ike the last progression), be sure you can smoothly and sagressively e play eighth notes, picking all downstrokes. e bi e “The next faster Mythmic phrasing would be eighthraote triplets. tke Progression 4. These are. a bit ° of 2 challenge to play agolst the straight (eek. For fast. even phrasing. try sixteenth notes e For thot cool. sticcato “slop atten’ Fee again ty quarternate Cripets e e eaLastly, “test” any meter you wish over the stiythm (play as fast oF slow as you wish, while not locking tp to the beat), but keep your Toot tapping to help you make sure you exit your phrases solidly. ‘Again, let me remind you that basics are real tmportant. be sure you can play solidly “in Une ‘Vibrato: For an even, slow “vibrato controf’ workout. try quarter note triplets For 2 faster vibrato, try an elghth note rythm. Suggested Phrases and Licks . - Sectlons A and C are betiin the C Lydian tonal center, the same notes 83 G.malor © minor. A Doran or B Pinygian. So. you can use all the lyases. irom Progressions [aut 2 here as well Also, the “downhill picking’ phrases from the last progression work great Here too. They may even be imore playable at this slower tempo; be sure to side them up or down thiee frets over the key changes where necessary. Over Sections A and C. go ahead and play Uiose licks and phiases exactly as they're written. Duriag the key changes in Section B, just slide ‘em up three frets. For Section D, silde down three frets. ‘One of the most Important things about improvising is being able to adjust your vocabulary (icks and phrases you already know, spontaneously reoreanizing them into dlifereat situations | don’t think many good soloists actually make up cool plises on the spot. they reorganize them on the. spot 1 you use phrases from the previous sections, one of your Jobs will be to adjust the timing of those phrases for the different tempos here. Al of the folowing piirases are written in °C Lydon” Transpose each of them to ES and A for Sections B and D. Example 49 (cD 56) Tevs start with this very simple, slow phrase. IW features the Important Lydian notes, the #4 and the major Sra. Notice each bar begins on FE (the £4). Use this as @ demo lick for C Lydian Sfide it up three frets for Section B and down three frets for Section D. Hn sth 44) Sth maj ara Example 50 (co 57) This example “sweeps” Uhraugh three Tournote arpeggios derived from the © Lysian (G major) mode: Grmaj7, Cmaf? and Fim7(b5). The phrase ends on an FE (the 24), nicely emphasizing the Lydian sound 1 COO SOOO HOSOEHOHSEOSOEOHHOSOOO OHSS ELOHOC OH OOOO® | eveExample 51 (co 58) ‘Stides connect the three sweeprpicking arpeggios (Em, C and D) in this example. — Example 52 (£0 59) ‘Shs give this example a legato sound. Jeu, a i Example 53 (CO 60) ‘These three very cool “diagonal” phrases are borrowed from Kei Marioka. Campte 3A - # . . voy 7Example 54 (C0 61) : ‘The $4 in Lydian can also be Galea €11 n— v— "@ _ —_ e = a ee — 3. 8 7 - == — = = e e e oon e = £_# te SS = SSS e — _— n os e -: =, -° : = ° = = ° e Example 55C: Fém9(b5) e e = _ _ oe * fk fase SS SSE ee =————S —< > = Ss ° v ns on — v n B —— = = = e °Example 56 (> 63) Tere fs a scaler (oeo with siret altemate pictng, The first example ascends on one string und the second example descends on one string, Exampie 56A, ‘. 24 Example 568 Bares shift Example 57 (CO 64) Tiere is & legato Sivle singie-sting passage Example 57 (Big seve 5 “ 49 st OO 00 OVO 0000 OOF 050000500000 S20 CisD OOOO OHOOMEES EES OS OCC OO OeExample 57A tcontinued B00 ececceeeeeeesenton a ee eo Re Example 578 6 eleedocccvcccccnccses® | I | | ft | | Wb \ edsle Your Assigiment: lenprovise over Progression 5 at least fve times a day for five consecutive days Work on new phrases, rhythmic groupings and vibrato, always tap your foot. Remember to keep 2 log and give names to each new phrase you develop. Try to adust licks used over the other rhythm tracks £0 Progression 5 as wel By the end of the week ty to have three new phrases in your vocabulary. Then take @ two day breakROGRESSION 6: MAJOR PENTATONIC AND MIXOLYDIAN SOUNDS iythm Guitar Psa) * ‘ripe teet shutte J) = 2 wos A sae cine Ppeee® t c-We are more than halfway through the ten progressions now, your vocabulary shoud be gréwing as. ‘well as your ability to apply it to different tempos and Keys. This next progression features major sounds but with a b7. that's Mixolydian, As with Lydian, this ‘scale (or mode), when compared to a major scale, has only one different note: the 57. Continuing with our more challenging progressions, this one has a key change falf way through also has a slow and laid back groove that should hep you focus.on play melocically. Analysis and Scale Choices - ‘You may notice a whole bunch of chords that are written like fractions (D/F#. These are called “slash chords’. They are simply chords with a note other than the root played in the bass. The chord is indicated fst and Ue bass note is indicated after the slash Sections A and 6 of this progression are identical, except each is in a different key. Both sections are sixteen bars long and feature a “dominant 7th’ or major chord as the min tone center. (Be sure to follow the repeat signs on each tine) Each section can be split in half. The frst half starts with the | chord, then moves ta the IV chord with its 3rd in the bass (D/F# and F/A) Next is the IV chord with its 4th in the bass (D/Q and F/B). In the second half of each section, like the Iydian (Progression 2), major chords are played a whole step apart. In Section A. AJ and G/A (A major and G major) could be considered the Sth and 4th chords in the key of D major; notice here we play the Sth chord first. To make the chords more interesting, | play them over their second steps: "B’ in the bass of the “A chord.. and “A’ in the bass of the "Gi chord. I's not necessary to understand all this to be able to play a good solo over these chords. If it com pletely blew over your head, you may want to relax, pour yourself a soothing beverage and skip to the Practical Guide to Harmony and Theory. Section A: Mixolyelan is the firth mode of the major scale, Here the chords revolve. around “A7", the V chord in the key of D major For soloing, you can use the D major or B minor scale pattems and licks, as well as all the arpeggios in the Key of D major. The resulting sound will be A Mixolydian, Section B: Just like Section A, moved up a minor third, the sound here is C Mixolydian. For soloing use F major or D minor scales, licks and their arpeggios. Major Pentatonic: Probably the most used scale for guitar solos over this type of progressian ts major pentatonic. Use [A major pentatonic for Section A. then C major pentatonic for Section Bs Although major pentatonic does not contain a $7, the other important notes like the root, 2nd, major 3rd, 5th and major Gth are all there. This scale can be used in place of both the major and the ‘mbsolycian mode, precisely because of It's tack of a 7th. If you are used to playing minor pentatonic, remember this: Just slide the minor fingering pattems a minor third down (3 frets) to play major pentatonic. Keep in mind. the root and other significant notes will now fallin different locations within each pattern ‘Another Interesting scale choice that can be used in the second half of each of the two sections is Lydian $2, This is actually one of the melodic minor modes: YW cover it at the end of this section See Se SSSSSHSHESHSOSHSSOOHSSOSSSSHSOSSSSHHSHSHSOESHOHSHOOEEE oonSPSCHSSHSHSSSSSHOSSSHSSHESSSHSSSHSSSSHHSSSHSSHHSSSSHSSHSHESSSESESEHSOOEY | Phrasing and Vibrato 0 Tempo: Medium speed shuffle (J = 150 bpm) Phrosing le sure that you can smoothly and aqgressively play along in the shuffle rhythm picking ‘all downstrokes. Also try triplets, end for a more. challenging shythra. try sixteenth notes Lastly, “Noat’ any meter you wish over the thythm (play as fast or slow as you wish. while not focking up to Ure beat), but heep your foot tapping to help you make sure you exlt your phrases soll ‘And don't forget about that foot: you should be, getting better at ths. Basics are real important; be sure you can play “in time” as Well as floating all ote place. Vibrator For an even slow “vibrato contro workout. try quarter notes. or a faster vibrato, try quarter note triplets. Suggested Phrases and Licks [Ad the folowing phrases are written in A mixelydian Just stde them up Bree frets °C’ for Section B. Example 58 (co 66) Tet start with some of the ireditlonal major pentatonic phrases used by great guitarists Example SGA: Duane Atrman style > oS fF J = Example S&C: Jimmy Page 3 7 vo sim ) oo es 4sExample SBD: Eric Clapton : Example S8E: Leste West evcecesere Je te UY. de tee ao <2 y = SS Flere are Some coal Tal-iepato Tal iCCG Sequences Each moves Gwough The three-note-per stale pattems This neck dlagram shows the three-noteper'sting Tngering pattem for A Mixa B mhor or D major A Misolydian B Minor D MajerSeescecooeese Example 59E: Circular Arpeggios A major tind Example 60: A7@9) (co 68) This example has a bluesy “altered dominant, die to its use of bath the major and minor Sral's the #9).® Example 6t A Lydian $7 (aka. Lydian Dortinant) (co 69) Over the second hall of each section of the progression, you can ty Using the lydlan $7 scale (thiy is the fourth mode. of the melodic minor scale. . Experiment with other sequcnces using this Mgcring patter. @ =root: A Lydian 67 @ = root: & Melodie minor evcccconeseegorseceses Your Assignment Improvise over Progression 6 at least five times a day for five consecutive days. Werk on new phrases, rhythmic groupings and vibrato (always tap your foot. Remember to heap a log and give names to each new phrase you develop. Try to adust licks used over the other rhythm tracks to Progression @ as well By the end of the week. try to have three new phrases in your Vocabulary. Then take 2 two day break. S8SCOTHSSCOHOHHHSSSHHOSOEOSO” PROGRESSION 7: NATURAL MINOR sa nn @ am SOSHCHSHCSHHSSCHOSHSSCHOSSEHESELEES r | |"Harmonics are produced by sighlly toughing the low E-tring an sling finger up and down neck ee ee a neenennmenninty Am7 AS E. sus? ES Em? ES - — = - S a “= = ois oS | - = x . 7 $3 Ff 2 be Le + = 2 : | te = +- + = = Hi Lets go back to basic sounds with the second most used scale: the Minor Scale. Continuing with ‘our more challenging progressions, this one fas three Key changes. It also has a fast cruising groove that will give you a chance to practice those tipping licks you've been developing, Analysis and Scale Choices There are three sections: A.B, and C Each is sixteen bars long, The first two sections are identi" ‘cal except that Section A Is in A minor and Section B is in C minor, Section C is in E minor, arn fie Progression Li has a functioning five chord-B79) at the end, enading you to use E harmonic rminar (ist for the last two barsh It you are an advanced player: check this cut! The 187 chord t& an altered dominant. it contains a 49 (Game as a 43) which creates extra tension. This gives you a chance to use the altered scale (aka, Super Locrian. which fs actualy another mode of melodic minor. The altered scale is the same as a melodie minor moved up @ half-step. The C melodic miner and the B altered scale are actually one and the same ‘There's another popular rock style choice for that 187@9H Pay a ciminished 7th arpeggio, starting from the Tth degree of E harmonic minor a D4 diminished arpeagio (DE-TEAO. Since every note in a diminished chord can be considered the root, you could also think 'n terms of a half step above the root of the five chord (8749) and play a C diminished 7th. \ eee oo SSCoSCHSOSSS SO SEOHHSEHHSHOHHOOOSOHOE