Jimmy Wyble Lesson

1A Lesson From Jimmy Wyble written by David OakesCopyright Jimmy Wyble 2008 - All Rights Reserved

A Lesson From Jimmy Wyble

This material is part of a lecture Jimmy Wyble gave at Musicians Institute on January 31, 2008.

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CMa11 Dmi11 Emi11(b9) FMa9(#11)

G11 Ami11 Bmi11(b9) CMa11

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C major chord scale voiced: 1 - 7 - 9 - 11

Chord Scales:Chord scales are one of the best ways to develop harmonic awareness on the instrument. We will be working with and manipulating two different chord scales today - the 1 - 7 - 9 - 11 voicing and the 1 - 7 - 3 - 5 voicing. Playeachchordslowlyandaccurately.Beawareoffingerings.Usefourfingersinyourlefthandandthethumb,index,middleandringfingersintherighthand. Bccome aware of not only the names of the notes that you are playing but also the chord voic-ing. Break the chord up into two - two note voices. Play the root and the 9th together and then the 7thandthe11thtogether.Useyourthumbandmiddlefingerstoplaytherootand9th.Useyourindexandrightfingerstoplaythe7thandthe11th.Tryliftingthetwonotesasyouplaythemsothembackandforthsothefournotesdonotringtogether.Thisisgoodforyourtechnique.


A Lesson From Jimmy Wyble written by David OakesCopyright Jimmy Wyble 2008 - All Rights Reserved

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Here are some variations on the chord scale from the previous page. Remember to lift each set offingersandthenplacethenextsetsothatthechordwillhaveadetachedsound.Thisisgoodfordevelopingfingerindependenceinthelefthand.Also,makesurethatyoualternateyourfingersintherighthand.(PandMthenIandA)

OnechallengethatIgivemyselfistoeverydayputmyfingersontheguitardifferentlythanIdidthe day before, even if that means just simply altering an exercise slightly. Below is an example ofhowImightaccomplishthis.IfIpracticedtheaboveexerciseyesterday,thenIwouldtryandfindsomethingdifferenttodowithittoday.Forexampleinvertingthetoptwonotesandchang-ingmyrighthandfingeringto(PandAthenIandM).

January 31, 2008


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Cmaj7

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Hereisanotherchordscalevoiced1735.Asyouplaythroughthechordscalebecomeawareof several things: Trynottojustplaychordshapesupanddowntheneckoftheguitar.Wherethisisimpor-tant,itisnotthegoalofthislesson.Iwouldratheryoutrackeachvoiceupanddowntheindi-vidual string so that you start to become aware of voices moving rather than chord shapes. Youmightbemorecomfortableplayingsomeoftheseshapeswitha1stfingerbar.Whereas that is a very legitimate way to play those chords, avoid using the bar and use the concept of fourfingersforfournotes.Thiswillultimatelyhelpyoutodevelopfingerindependence,strenghas well as a better stretch. Break these chords up into two note voicings as we did with the chord scale on the previous page.



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Cmi maj7

D7 Ebma7#5 F#dim7

Cmi maj7Gmaj7

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Bmi7

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C major chord scale voiced: 1 - 7 - 3 - 5 w/b3 and #4

AnotherwaythatIvarythewayIpracticechordscalesistoaddalterationstothescalethatIamhamonizing.BelowisthesamechordscalefromthepreviouspagebutnowIhaveaddedtheb3and#4tothescale.IliketoplaythesekindsofchordscalesinwayIplayeditonpage3andthenplayitbelowwiththealterations.Thismakesiteasiertocomparethesounds. When you are playing these chord voicings up and down the neck of the guitar, track each voice up and down the individual string and become aware of where you are altering each chord voice. Listen to the new sounds that you have now created and if you like any of them try and ma-nipulatethemintoideas.Moreonthislater...(seepage5and6) Break these chords up into two note voicings as we did with the chord scale on the previous pages.Avoidusinganybars.

January 31, 2008


AnotherwaythatIliketoexperimentwithharmonyanddevelopharmonicawarenessistomovevoicesofchordshapesandthentryandmanipulatethemintolines.Forexample,ifwetakethefirstchordfromthepreviouspageandmovenotesaroundwecancomeupwithmanydifferentsounds.

1.Letsstartbymovingthe7thdownahalfstep.(WenowhaveaCmi7voicing)2.Nextletsmovethatnoteagaindowntothe6thdegree.(WenowhaveCmi6)3.Letsmovetherootdowntothe7thdegree.(WenowhaveaCmichordthatharmonizeswellwiththemelodicminorscale.Thesesamenotesareplayedinaverycommonjazzguitarvoicingatthe7thfret.Idonthearmanypeopleplayingthisvoicingthatwejustcameupwith.

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1. 2. 3.Firstshapefrom the previous page.

Common jazz guitar voicing same notes as #3.

Letslookatthatfirstchordfromadifferentangle.IseeaGaugmentedtriadwithaCinthebass.1.LetschangethebassnotetoanF.(WenowhaveaG7(#5)2.LetschangeitagaintoaDb.(WenowhaveaDb9(#11)3.LetschangeitagaintoaG.(WeonceagainhaveaG7(#5)butadifferentvoicing.4.Finally,letsbreakitupintotwonotevoicesandputitintocontextofaprogression.(Shownonpage6)

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Firstshapefrom thepreviouspage.Gaugtriad(top3notes)

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4.Thenotesfromthepreviouspagebrokenupinto2linesandputinsideaii-v-ichordpro-gressioninCminor:(Playwithaswingfeel)

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Severalpointsofinterestwiththeaboveexample: TheDm7chordisthe1-7-3voicingfrompage3.The5thissimplyleftoffofthechordsothatthe3rdorFcouldbethemelody.TheAbonbeat3isjustmovingthebassnotearoundlikewedidontheGaugtriadonthepreviouspage. TheG7isalsothesamevoicing1-7-3butanoctavelowerandonadifferentstringset.Ipracticeallpossiblefingeringsofthischordscale. 2nd measure beats 3 and 4 are our chords from the previous page broken up into two voices. TheCminorchordisjustmovingnotesaroundthesamewaywepracticedthetopofpage5.

A note from David Oakes:ThislessonshedslightonhowJimmypratices,organizeshisthoughts,createssoundsandhowhemanipulateshislines.Itisbothverysimplebutatthesametimebrilliant.ThestudentsenrolledinthisclassatMIhavenoideahowluckytheyaretobeinthepresenceofthis87yearoldmanashedepartssuchdepthofthoughtandwisdom.Thisparticularlessoncontinuedonforanotherhour.Jimmysharedsomeotherideaswiththestudentsbutwantedtocontinuethoseconceptsfornextweek.Thatsoundslikeanotherlessonlikethisonecomingup.Healsopassedoutanexcerptfromoneofhisetudes(Etude24fromtheArtofTwoLineImprovisation)andwentthroughthefirstfewbarsexplaininganddemonstratinghowhecomposedthiswork.

JimmyhasmadeMIhishomeawayfromhomeandIforoneamsohappytobeabletosharethoughts and concepts with him and at the same time grasp his ideas and share them with you.

IhopethatyouenjoythislessonasmuchasIdidputtingittogetherforyou.

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Jimmy Wyble Lesson