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1 STRING THEORY
THEORYSTRING
Applying Jazz Harmony
to Rock Lead Guitar
BY JIMMY BROWN
STRING THEORY
Contents
CHAPTER 6The Winding Road, Part 2THE CONCLUSION OF OUR CHROMATICS-DRIVEN SINGLE-NOTE ETUDE
9
CHAPTER 7Melodic Minor Domination, Part 1DRAWING INSPIRATION FROM A SAX LEGEND AND MELODIC MINOR’S TWO COOLEST MODES
10
CHAPTER 8Melodic Minor Domination, Part 2THE CONCLUSION OF MY TRIBUTE TO MICHAEL BRECKER
11
CHAPTER 9Santana, Moore and Brecker, Part 1A HARMONICALLY INTRIGUING, SAXOPHONE-LIKE SOLO PLAYED OVER A FAMILIAR ROCK BALLAD CHORD PROGRESSION
12
CHAPTER 1“Autumn Leaves” Counterpoint, Part 1HOW TO COMPOSE AND IMPROVISE MELODIES OVER A CHORD PROGRESSION
3
CHAPTER 2“Autumn Leaves” Counterpoint, Part 2TAKING CHAPTER 1’S “CONNECT-THE-DOTS” METHOD TO A RHYTHMIC CLIMAX
5
CHAPTER 3Raking Leaves, Part 1APPLYING BREATHTAKING ARPEGGIO SWEEPS TO THE “AUTUMN LEAVES” CHORD PROGRESSION
6
CHAPTER 4Raking Leaves, Part 2USING UPPER-STRUCTURE VOICE LEADING TO CREATE A CLIMACTIC, JAZZY FINALE TO OUR ARPEGGIO ETUDE.
7
CHAPTER 5The Winding Road, Part 1HOW TO CREATE A ROLLING MELODY USING CHORD TONES AND PASSING TONES
8
CHAPTER 10Santana, Moore and Brecker, Part 2THE CLIMACTIC CONCLUSION TO CHAPTER 9’S TRIBUTE SOLO
13
3 STRING THEORY
“AUTUMN LEAVES” COUNTERPOINT, PART 1How to compose and improvise melodies over a chord progression
WELCOME TO STRING THEORY, a suite of lessons dedicated to imparting guitar-centric music theory concepts in a practical, useful way that you can readily apply to composing and improvising. Rather than show you a bunch of dry, abstract textbook examples of how chords are built from and live within various scales, I will try to keep things interesting and inspiring by presenting etudes, which are entertaining mini-compositions that serve to instruct and demonstrate musical devices and/or provide a technical exercise. (Those of you who have the patience for that kind of mathematical, from-the-ground-up learning approach can find hours of it in my Mastering Fretboard Harmony and Mastering Fretboard Harmony, Part 2 DVDs, both available at the Guitar-World.com online store.)
I’d like to start things off by showing you a traditional, surefire method of cre-ating pleasing, satisfying melodies, using a repeating eight-bar chord progression that moves through the cycle of fifths (also known as the cycle of fourths) in the key of G major and its relative minor key, E minor, with increasingly complex melodic variations. I call it “Autumn Leaves Coun-terpoint” because it’s based on the chord changes to the old jazz standard “Autumn Leaves” and demonstrates the use of coun-terpoint, which may be defined as two or more independent voices with different pitches and rhythms.
FIGURE 1 presents the basic theme, which, as you can see and hear, is very sparse and not unlike the beginning of the famous classical piece “Canon in D Major” by Johann Pachelbel. (Perhaps a good alternate title for my etude would be “Canon in G Major.”) What I’m doing here is targeting the third of each chord, which, together with the root note—in this case played an octave and a third, or what is known as a 10th interval, below the melody note—produces a sweet sound that positively describes a major or minor-type chord with just two notes: the bass line and melody. Having that octave separation added to each third creates a big, open, regal sound, like that of Paul McCartney’s “Blackbird.”
Moderately q = 120
FIGURE 1
0Am
classical whole notes (“Canon in G”)
12
13
0D
10
11 0G
10
12
0C
8
9 0F#m7¨5
9
10
0B
7
8 0Em
7
8 0E
7
9 0E/G#
11
12
FIGURE 2
0Am7
12
13
half notes, introducing sevenths
12 0D7
10
11 13
Gmaj7
010
12 11
Cmaj7
089 12
F#m7¨5
0910 9 0B7
7
8 10 0Em
7
8
B7/F#
0910 0E/G#
11
12
E7/B
0810
FIGURE 3Am
7
8
quarter notes with melodic motion and bass line inversions
9
Am/C
10
10 8
D7
77 10
D7/F#
710 8
G
87
10
G7/B
9
810
C
109
8
C/E
7
8 7
F#m7¨5
9
109
F#m7¨5/A
7
79
B
98
7
B/D#
6
77
Em
7
87
B7/D#
6
5 7
E
7
97
E7/G#
11
1012
Moderately q = 120
FIGURE 1
0Am
classical whole notes (“Canon in G”)
12
13
0D
10
11 0G
10
12
0C
8
9 0F#m7¨5
9
10
0B
7
8 0Em
7
8 0E
7
9 0E/G#
11
12
FIGURE 2
0Am7
12
13
half notes, introducing sevenths
12 0D7
10
11 13
Gmaj7
010
12 11
Cmaj7
089 12
F#m7¨5
0910 9 0B7
7
8 10 0Em
7
8
B7/F#
0910 0E/G#
11
12
E7/B
0810
FIGURE 3Am
7
8
quarter notes with melodic motion and bass line inversions
9
Am/C
10
10 8
D7
77 10
D7/F#
710 8
G
87
10
G7/B
9
810
C
109
8
C/E
7
8 7
F#m7¨5
9
109
F#m7¨5/A
7
79
B
98
7
B/D#
6
77
Em
7
87
B7/D#
6
5 7
E
7
97
E7/G#
11
1012
FIGURE 4
Am
7
8
quarter-note triplets, “Renaissance” style
710
3
Am/C
8
98
9
3
D7
10
1110
8
3
D9/F#
9
12 10 8
3
Gmaj7
10
1210
11
3
G9/B
7
10 810
3
Cmaj7
8
98
7
3
Cmaj7/E
7
8 78
3
F#m7¨5
9
108
8
3
F#m7¨5/A
7
78
9
3
B7
98
7 10
3
B7¨9/D#
6
8 7 5
3
Em
7
8 79
3
B7
7
7 10 7
3
E7¨9
7
97 10
97 10 8 7
FIGURE 5
Am7
classical, Bach-style eighth notes
8 710 8
D7
910 7
10 97
7 9
G
7 1010 8
G77
10 810
C
79
10 8 7 1010
7 98
8 7
F#m7¨5
10 8 79
B7
57
9 7 6 99
6
Em
87
7 5B7
8 79
8
Em
79 8
7
E7
9 7 109
7 10 8 7
FIGURE 6Am7
jazzy eighths with chromatic passing tones
8 10 12 8D7¨9
109
89
7 108 11
Gmaj710 9 8 10
G97 10
8 710
10 810
Cmaj7
9
107 9
F#m7¨5
710 9 8 7
910
5
B7
78
810
11
1113
14
1416
17 14
1.
2.Em B715 14
1715
Em14
17 1614
E7
1716
1716
*
*go back to FIGURES 1 or 2
Em
14
18 17 15 1716
1716
14
FIGURE 4
Am
7
8
quarter-note triplets, “Renaissance” style
710
3
Am/C
8
98
9
3
D7
10
1110
8
3
D9/F#
9
12 10 8
3
Gmaj7
10
1210
11
3
G9/B
7
10 810
3
Cmaj7
8
98
7
3
Cmaj7/E
7
8 78
3
F#m7¨5
9
108
8
3
F#m7¨5/A
7
78
9
3
B7
98
7 10
3
B7¨9/D#
6
8 7 5
3
Em
7
8 79
3
B7
7
7 10 7
3
E7¨9
7
97 10
97 10 8 7
FIGURE 5
Am7
classical, Bach-style eighth notes
8 710 8
D7
910 7
10 97
7 9
G
7 1010 8
G77
10 810
C
79
10 8 7 1010
7 98
8 7
F#m7¨5
10 8 79
B7
57
9 7 6 99
6
Em
87
7 5B7
8 79
8
Em
79 8
7
E7
9 7 109
7 10 8 7
FIGURE 6Am7
jazzy eighths with chromatic passing tones
8 10 12 8D7¨9
109
89
7 108 11
Gmaj710 9 8 10
G97 10
8 710
10 810
Cmaj7
9
107 9
F#m7¨5
710 9 8 7
910
5
B7
78
810
11
1113
14
1416
17 14
1.
2.Em B715 14
1715
Em14
17 1614
E7
1716
1716
*
*go back to FIGURES 1 or 2
Em
14
18 17 15 1716
1716
14
Moderately q = 120
FIGURE 1
0Am
classical whole notes (“Canon in G”)
12
13
0D
10
11 0G
10
12
0C
8
9 0F#m7¨5
9
10
0B
7
8 0Em
7
8 0E
7
9 0E/G#
11
12
FIGURE 2
0Am7
12
13
half notes, introducing sevenths
12 0D7
10
11 13
Gmaj7
010
12 11
Cmaj7
089 12
F#m7¨5
0910 9 0B7
7
8 10 0Em
7
8
B7/F#
0910 0E/G#
11
12
E7/B
0810
FIGURE 3Am
7
8
quarter notes with melodic motion and bass line inversions
9
Am/C
10
10 8
D7
77 10
D7/F#
710 8
G
87
10
G7/B
9
810
C
109
8
C/E
7
8 7
F#m7¨5
9
109
F#m7¨5/A
7
79
B
98
7
B/D#
6
77
Em
7
87
B7/D#
6
5 7
E
7
97
E7/G#
11
1012
Moderately q = 120
FIGURE 1
0Am
classical whole notes (“Canon in G”)
12
13
0D
10
11 0G
10
12
0C
8
9 0F#m7¨5
9
10
0B
7
8 0Em
7
8 0E
7
9 0E/G#
11
12
FIGURE 2
0Am7
12
13
half notes, introducing sevenths
12 0D7
10
11 13
Gmaj7
010
12 11
Cmaj7
089 12
F#m7¨5
0910 9 0B7
7
8 10 0Em
7
8
B7/F#
0910 0E/G#
11
12
E7/B
0810
FIGURE 3Am
7
8
quarter notes with melodic motion and bass line inversions
9
Am/C
10
10 8
D7
77 10
D7/F#
710 8
G
87
10
G7/B
9
810
C
109
8
C/E
7
8 7
F#m7¨5
9
109
F#m7¨5/A
7
79
B
98
7
B/D#
6
77
Em
7
87
B7/D#
6
5 7
E
7
97
E7/G#
11
1012
Moderately q = 120
FIGURE 1
0Am
classical whole notes (“Canon in G”)
12
13
0D
10
11 0G
10
12
0C
8
9 0F#m7¨5
9
10
0B
7
8 0Em
7
8 0E
7
9 0E/G#
11
12
FIGURE 2
0Am7
12
13
half notes, introducing sevenths
12 0D7
10
11 13
Gmaj7
010
12 11
Cmaj7
089 12
F#m7¨5
0910 9 0B7
7
8 10 0Em
7
8
B7/F#
0910 0E/G#
11
12
E7/B
0810
FIGURE 3Am
7
8
quarter notes with melodic motion and bass line inversions
9
Am/C
10
10 8
D7
77 10
D7/F#
710 8
G
87
10
G7/B
9
810
C
109
8
C/E
7
8 7
F#m7¨5
9
109
F#m7¨5/A
7
79
B
98
7
B/D#
6
77
Em
7
87
B7/D#
6
5 7
E
7
97
E7/G#
11
1012
FIG. 1
Chapter 1
FIG. 2
FIG. 3
FIG. 4
4 STRING THEORY
I’m using hybrid picking (pick-and-fingers technique) to sound the bass note with each melody note on nonadjacent strings and provide a satisfying self-accom-paniment. As an alternative, you could have someone play the bass notes while you pick only the melody notes, adding some soulful finger vibrato and perhaps grace-note slides or hammer-ons into each note from below, similar to the way a seasoned slide guitar-ist like Warren Haynes, Derek Trucks or Bonnie Raitt would decorate a melody line. While you’re at it, you may want to dial in a thick, overdriven tone to get some creamy sustain and compression, à la Carlos Santa-na on “Europa” or Gary Moore on “Still Got the Blues.” (Both of these songs, by the way, are based on this very same chord progres-sion, albeit played in different keys.)
Okay, here’s where things start to get really interesting. FIGURE 2 has you playing almost the very same theme but with half notes added, which introduce the seventh of the chord on beat three of each bar while providing more melodic motion and creating a true counterpoint, which, as I mentioned earlier, is defined as two or more independent lines with different pitches and rhythms. Notice also the B7 chord added in bar 7. This harmonic device, which momentarily “backpedals” through the cycle of fifths, serves to effectively add a feeling of tension and release to the otherwise static Em chord.
FIGURE 3 presents the next variation on the theme, moving to a melodic rhythm of quarter notes and introducing inversions in the bass line. The term inversion means putting a chord tone other than the root in the bass line or on the bottom of a chord voicing. In this case, the bass note moves from the root on beat one of each bar to the third on beat three, as the melody, in a very calculated way, moves to the root, in essence trading places with the bass line’s function—third/root versus root/third. For the quarter notes on beats two and four of each bar, I’m using a combination of chord tones, or arpeggios, and scale tones to fill out the rhythm. This is the “science” aspect of melody construction, distinct from the “art” aspect, for which other, more subjective considerations come into play.
FIGURE 4 shifts into a higher gear, switching to a quarter-note-triplet rhythm for the melody, which, with this progression, creates a kind of quaint, Renaissance feel, in reference to the music of late-medieval Europe, circa 1400–1600. This more complex counterpoint is technically more challenging to play than the previous figure, so you may want to either slow down the tempo and/or omit the bass notes on beats one and three. Notice that, in the previous figures, the melody still touches upon the very same notes—the third in each case—at the beginning of each bar, and that, with its added passing tones, describes, or outlines, the progression in
more detail, making it more of a stand-alone melody. Also notice the addition of the G9 chord in the second half of bar 3, which provides a more compelling harmonic “push” into the Cmaj7 chord that follows.
Bar 8 of FIGURE 4 has us shifting rhythmic gears once again, this time to steady eighth notes, transitioning to the “busier” Johann Sebastian Bach, baroque/classical-style melody presented in FIGURE 5. This line, with its flowing rhythm, clearly outlines the implied chord progression in an elegant manner and features a roller coaster–like melodic contour that incorporates scalar passing tones used as “fill” between chord tones. Once again, we’re still targeting the third of the chord on the downbeat of each bar, in some cases an octave lower than before, as led by the melody. I perform this line mostly with
alternate picking, occasionally using two consecutive downstrokes, depending on the tempo. Use whichever combination of pick strokes works best for you.
FIGURE 6 presents our “grand finale” variation, which is a somewhat jazzy-flavored line that incorporates chromatic passing tones (bars 2–4) and a climactic, jagged “climb” up the neck in bars 5 and 6, for which I employ an angular fretboard shape to create a syncopated melodic rhythm that accents every third note—“threes on fours,” as this kind of phrasing is sometimes called. The figure ends with a return to a more Bach-like resolution to Em, and the first ending gives you the option of a “turnaround” phrase that takes you back to the beginning of either FIGURE 1 or FIGURE 2.
Next chapter: eighth-note triplet and 16th-note shred variations, à la Steve Morse.
FIGURE 4
Am
7
8
quarter-note triplets, “Renaissance” style
710
3
Am/C
8
98
9
3
D7
10
1110
8
3
D9/F#
9
12 10 8
3
Gmaj7
10
1210
11
3
G9/B
7
10 810
3
Cmaj7
8
98
7
3
Cmaj7/E
7
8 78
3
F#m7¨5
9
108
8
3
F#m7¨5/A
7
78
9
3
B7
98
7 10
3
B7¨9/D#
6
8 7 5
3
Em
7
8 79
3
B7
7
7 10 7
3
E7¨9
7
97 10
97 10 8 7
FIGURE 5
Am7
classical, Bach-style eighth notes
8 710 8
D7
910 7
10 97
7 9
G
7 1010 8
G77
10 810
C
79
10 8 7 1010
7 98
8 7
F#m7¨5
10 8 79
B7
57
9 7 6 99
6
Em
87
7 5B7
8 79
8
Em
79 8
7
E7
9 7 109
7 10 8 7
FIGURE 6Am7
jazzy eighths with chromatic passing tones
8 10 12 8D7¨9
109
89
7 108 11
Gmaj710 9 8 10
G97 10
8 710
10 810
Cmaj7
9
107 9
F#m7¨5
710 9 8 7
910
5
B7
78
810
11
1113
14
1416
17 14
1.
2.Em B715 14
1715
Em14
17 1614
E7
1716
1716
*
*go back to FIGURES 1 or 2
Em
14
18 17 15 1716
1716
14
FIGURE 4
Am
7
8
quarter-note triplets, “Renaissance” style
710
3
Am/C
8
98
9
3
D7
10
1110
8
3
D9/F#
9
12 10 8
3
Gmaj7
10
1210
11
3
G9/B
7
10 810
3
Cmaj7
8
98
7
3
Cmaj7/E
7
8 78
3
F#m7¨5
9
108
8
3
F#m7¨5/A
7
78
9
3
B7
98
7 10
3
B7¨9/D#
6
8 7 5
3
Em
7
8 79
3
B7
7
7 10 7
3
E7¨9
7
97 10
97 10 8 7
FIGURE 5
Am7
classical, Bach-style eighth notes
8 710 8
D7
910 7
10 97
7 9
G
7 1010 8
G77
10 810
C
79
10 8 7 1010
7 98
8 7
F#m7¨5
10 8 79
B7
57
9 7 6 99
6
Em
87
7 5B7
8 79
8
Em
79 8
7
E7
9 7 109
7 10 8 7
FIGURE 6Am7
jazzy eighths with chromatic passing tones
8 10 12 8D7¨9
109
89
7 108 11
Gmaj710 9 8 10
G97 10
8 710
10 810
Cmaj7
9
107 9
F#m7¨5
710 9 8 7
910
5
B7
78
810
11
1113
14
1416
17 14
1.
2.Em B715 14
1715
Em14
17 1614
E7
1716
1716
*
*go back to FIGURES 1 or 2
Em
14
18 17 15 1716
1716
14
FIGURE 4
Am
7
8
quarter-note triplets, “Renaissance” style
710
3
Am/C
8
98
9
3
D7
10
1110
8
3
D9/F#
9
12 10 8
3
Gmaj7
10
1210
11
3
G9/B
7
10 810
3
Cmaj7
8
98
7
3
Cmaj7/E
7
8 78
3
F#m7¨5
9
108
8
3
F#m7¨5/A
7
78
9
3
B7
98
7 10
3
B7¨9/D#
6
8 7 5
3
Em
7
8 79
3
B7
7
7 10 7
3
E7¨9
7
97 10
97 10 8 7
FIGURE 5
Am7
classical, Bach-style eighth notes
8 710 8
D7
910 7
10 97
7 9
G
7 1010 8
G77
10 810
C
79
10 8 7 1010
7 98
8 7
F#m7¨5
10 8 79
B7
57
9 7 6 99
6
Em
87
7 5B7
8 79
8
Em
79 8
7
E7
9 7 109
7 10 8 7
FIGURE 6Am7
jazzy eighths with chromatic passing tones
8 10 12 8D7¨9
109
89
7 108 11
Gmaj710 9 8 10
G97 10
8 710
10 810
Cmaj7
9
107 9
F#m7¨5
710 9 8 7
910
5
B7
78
810
11
1113
14
1416
17 14
1.
2.Em B715 14
1715
Em14
17 1614
E7
1716
1716
*
*go back to FIGURES 1 or 2
Em
14
18 17 15 1716
1716
14
FIGURE 4
Am
7
8
quarter-note triplets, “Renaissance” style
710
3
Am/C
8
98
9
3
D7
10
1110
8
3
D9/F#
9
12 10 8
3
Gmaj7
10
1210
11
3
G9/B
7
10 810
3
Cmaj7
8
98
7
3
Cmaj7/E
7
8 78
3
F#m7¨5
9
108
8
3
F#m7¨5/A
7
78
9
3
B7
98
7 10
3
B7¨9/D#
6
8 7 5
3
Em
7
8 79
3
B7
7
7 10 7
3
E7¨9
7
97 10
97 10 8 7
FIGURE 5
Am7
classical, Bach-style eighth notes
8 710 8
D7
910 7
10 97
7 9
G
7 1010 8
G77
10 810
C
79
10 8 7 1010
7 98
8 7
F#m7¨5
10 8 79
B7
57
9 7 6 99
6
Em
87
7 5B7
8 79
8
Em
79 8
7
E7
9 7 109
7 10 8 7
FIGURE 6Am7
jazzy eighths with chromatic passing tones
8 10 12 8D7¨9
109
89
7 108 11
Gmaj710 9 8 10
G97 10
8 710
10 810
Cmaj7
9
107 9
F#m7¨5
710 9 8 7
910
5
B7
78
810
11
1113
14
1416
17 14
1.
2.Em B715 14
1715
Em14
17 1614
E7
1716
1716
*
*go back to FIGURES 1 or 2
Em
14
18 17 15 1716
1716
14
FIGURE 4
Am
7
8
quarter-note triplets, “Renaissance” style
710
3
Am/C
8
98
9
3
D7
10
1110
8
3
D9/F#
9
12 10 8
3
Gmaj7
10
1210
11
3
G9/B
7
10 810
3
Cmaj7
8
98
7
3
Cmaj7/E
7
8 78
3
F#m7¨5
9
108
8
3
F#m7¨5/A
7
78
9
3
B7
98
7 10
3
B7¨9/D#
6
8 7 5
3
Em
7
8 79
3
B7
7
7 10 7
3
E7¨9
7
97 10
97 10 8 7
FIGURE 5
Am7
classical, Bach-style eighth notes
8 710 8
D7
910 7
10 97
7 9
G
7 1010 8
G77
10 810
C
79
10 8 7 1010
7 98
8 7
F#m7¨5
10 8 79
B7
57
9 7 6 99
6
Em
87
7 5B7
8 79
8
Em
79 8
7
E7
9 7 109
7 10 8 7
FIGURE 6Am7
jazzy eighths with chromatic passing tones
8 10 12 8D7¨9
109
89
7 108 11
Gmaj710 9 8 10
G97 10
8 710
10 810
Cmaj7
9
107 9
F#m7¨5
710 9 8 7
910
5
B7
78
810
11
1113
14
1416
17 14
1.
2.Em B715 14
1715
Em14
17 1614
E7
1716
1716
*
*go back to FIGURES 1 or 2
Em
14
18 17 15 1716
1716
14
FIG. 5
FIG. 6
5 STRING THEORY
“AUTUMN LEAVES” COUNTERPOINT PART 2Taking Chapter 1’s “connect-the-dots” method to a rhythmic climax
PICKING UP WHERE I left off, I’d like to offer two final melodic variations on my “Au-tumn Leaves Counterpoint” theme. Here, I’ll shift gears to smaller and thus “quicker” rhyth-mic values, or subdivisions, in order to demon-strate smart ways to add even more “melodic fill” between targeted chord tones within a progression, using a sort of “connect-the-dots” approach. The objective is to create satisfy-ingly logical-sounding, breathtaking classical-style runs that convey a sense of meaningful harmonic direction.
FIGURE 1 shows the end of Chapter 1’s “grande finale” variation (FIGURE 6 from that lesson), followed by a transition to our next smaller and “denser” rhythmic subdivision, eighth-note triplets. Notice how, over the last two beats of bar 2 of FIGURE 1, I’m using the now-familiar shape and melodic device introduced in FIGURE 5 of Chapter 1, in this case following an Em arpeggio (E G B) with Gsdim7 (Gs B D F) to imply an E7f9 (E Gs B D F) sound, which begs to resolve to Am and the beginning of our progression.
This leads into FIGURE 2, which, beginning on C, the third of Am, is a torrent of alternate-picked triplets inspired by Steve Morse’s playing on “Tumeni Notes” (High Tension Wires). Notice how, as I did in Chapter 1, I’m targeting the third of the chord on the downbeat of each bar and using arpeggios and scale tones, specifically from G major (G A B C D E Fs) and E harmonic minor (E Fs G A B C Ds), to fill out the rhythm.
This figure is challenging to play, but I’ve used fret-hand finger slides and position shifts in certain spots to make life easier on the pick hand, specifically by optimizing the pick strokes so that the pick is always steered in the direction it needs to go when crossing to another string. The first and seventh notes in bar 7 are best fretted with the ring finger.
Bar 8 of FIGURE 2 ushers in our “grande finale” variation, FIGURE 3, which is an uninterrupted stream of 16th notes, John Petrucci–style, that ends with a climactic contour and accent pattern and a high, screaming bend and shake, for which you will want to use both your ring and middle fingers.
Chapter 2
q = 120 2.
FIGURE 1
Em
end of last month’s “grand finale,” with transition to next variation
B715 14
1715
Em14
17 1614
E7¨9
1716
1716 13 16
1513
17 15
3 3
1
FIGURE 2 Am7
eighth-note-triplets variation, à la Steve Morse
13 15 1715
17 1314
13 17
D715 17 15 14 12
15
D7¨9
1314 12
1614
13 16 15 13
3 3 3 3 3 3 3 3
3 Gmaj7
12 13 15
G712 14 12
15 1214
Cmaj7
12 1513 12 10
13 1214 12 11 12 14
12 13 12
3 3 3 3 3 3 3 3
5 F#m7¨510 12 13
1213 10
1110 13
B712 14 12 11 12 14 15 14 12 14
12
16 13 12 10
3 3 3 3 3 3 3 3
7Em
12
11 9
B7
11 12 9 11
9 8
Em
9 11 8 9 118 10
E7
128 10 12
9 10 128 10 13 12 10
3 3 3 3
1
FIGURE 3 Am7
16th-notes “grand finale,” à la John Petrucci
131213101210
131210121310
D912151213 1412
1513
D7¨9
141214
12 1112141213
111513
3 Gmaj7
12 13 1512
G714 15 14 12
15 13 1213
Cmaj7
151213 10 12 10
13 12
1310 12 14 15
12
1312 131215 12
5F#m7¨517
1417 13
17
1417 13
17
1417 13
F#m7¨5/B
17
1417 13
20
1719 17
B7
20
1719 17
19
1719 16
19
1719 16
7Em
19
1720 17
19
1720 17
19
1720 17 22
19
22 2022 1 22
FIG. 2
FIG. 3
FIG. 1
6 STRING THEORY
RAKING LEAVES, PART 1Applying breathtaking arpeggio sweeps to the “Autumn Leaves” chord progression I’D NOW LIKE to present a sweep arpeggio etude I wrote called “Raking Leaves” (see FIG-URE 1). It employs the instructively useful and musically timeless set of chord changes from “Autumn Leaves,” which we’ve explored in the previous two chapters.
Guitarists use the term raking synony-mously with sweeping and economy picking when refering to the technique of picking two or more consecutive single notes on adjacent strings with one uninterrupted upstroke or downstroke. In this case, I’m using a recurring pattern of a downstroke on the high E string followed by an upstroke sweep across the top three strings to economically perform an exciting, lightning-fast eighth-note/16th-note triplet motif (short phrasing idea) reminiscent of what a skilled jazz saxophonist might play.
Some of the arpeggios require wide fret-hand stretches and specific fingerings, which I’ve indicated. The key is to let go of each 16th note immediately after picking it, so that it does not ring into the following note. Doing this keeps the notes sounding distinct, like an arpeggio instead of a strummed chord. It also helps narrow the stretches, as you can allow your fret hand some wiggle room to shift back and forth as needed to reach the highest and lowest frets. For the Gmaj7 and Fsm7f5 arpeggios in bars 3 and 5, the ring finger (3) and pinkie (4) switch roles, with a 3-1-2-4 fingering used instead of 4-1-2-3. Don’t be overly concerned about fudging some of the G-string notes; they go by so quickly that your brain barely has time to discern them while it takes in the overall sound of the arpeggio.
Notice that the D9 arpeggios are rootless and identical to Fsm7f5 (Fs A C E). This is a harmonically effective composition/improvi-sation device, as are the substitution of Em7 (E G B D) over C in bar 4 to create a Cmaj9 sound and the use of a diminished-seven arpeggio rooted a half step above each 7f9 chord.
FIGURE 2 shows the underlying chord progression, with drop-two voicings used to facilitate practical guitar fingerings. “Drop two” means that the second highest note of the chord or arpeggio is dropped down an octave. As an additionally entertaining and insightful theory-/ear-training exercise, try plucking only two-note combinations from each “soprano-alto-tenor-bass” voicing, such as those on the outer strings, and listen to the way the voices elegantly descend.
Chapter 3
1
4
FIGURE 1 1st chorus
Am7
1
“Raking Leaves” sweep arpeggio etude, part 1
2 3
sim.*
*repeat prev. beat
12
810
12
4
D9
1 2 3
12 8
1011
4
D7¨9
1 2 3
11 8
1011
3
Gmaj7
1 2 4
10 7
811
4
G7
1 2 3
10 7
810
3 3 3 3 3
4
4
Cmaj9
1 2 3
10 7
89
2
Cmaj7
1 2 3
8 7
89
3
F#m7¨5
1 2 4
8 5
79
4
B7¨9
1 2 3
8 5
78
2
B7
1 2 3
7 5
78
4
Em7
1 2 3
7 3
57
4
B7¨9
1 2 3
5 2
45
3 3 3 3 3 3 3
8
2
Em7
2 3
3 0
34
4
E7¨9
1 2 3 4
7 46
7
1 2 3 4
2nd chorusAm7
10 79
10
1 2 3
15 12
1314
4
D9
1 2 3
14 12
1314
4
D7¨9
1 2 3
14 11
1314
3 3 3 3 3 3
11
4
Gmaj7
1 2 2
14 10
1212
4
G7
1 2 2
13 10
1212
4
Cmaj7
1 4 4
12 8
1212
4
F#m7¨5
1 2 3
12 8
1011
3 3 3 3
14
4
B7¨9
1 2 3
11 8
1011
4
Em7
1 2 3
10 7
89
4
B7¨9
1 2 3
14 11
1314
1
x
Em
11
1/2 11
3 3 3
1
FIGURE 21st chorus
0Am7
10121012
underlying chord progression, with “drop-two” voicings
0D9
10111012 0
D7¨9
10111011 0
Gmaj7
9118
10 0G7
9108
10 0Cmaj9
998
10 0Cmaj7
9988 0
F#m7¨5
7978
6 0B7¨9
7878 0
B7
7877 0
Em7
5757 0
B7¨9
4545 0
Em7
2433
E7¨9
6767
9109
10
2nd chorus
0Am7
14141315 0
D9
14141314 0
D7¨9
13141314
11 let ring N.H.
0Gmaj7
12121214 0
G7
12121213 0
Cmaj7
10121212 0
F#m7¨5
10111012 0
B7¨9
10111011 0
Em7
998
10 0B7¨9
13141314
Em
121212
12
FIG. 2
FIG. 1
7 STRING THEORY
1
“Raking Leaves” grand finale
4
FIGURE 1Am9
1 2 2
*repeat prev. beat
*sim.
19
1517
17 4
D13
1 2 2
19 14
1717
4
D7
1
¨9#5
2 3
18 14
1617
4
Gmaj9
1 2 3
17 14
1516
4
G9
1 2 3 4
G7¨9
171315
16
1 2 3
16 1315
16
3 3 3 3 3 3
4
3
Cmaj7
1 2 4
15 12
1316
4
F#m7¨5
1 2 3
14 12
1314
4
B7¨9
1 2 3
14 11
1314
4
B7
1
¨9#5
2 3
15 11
1314
3 3 3 3
7
4
Em9
1 2 2
14 10
1212
4
B7
1
¨9#5
2 3
15 11
1314
4
Em11
1 2 3 4 1
17
1415
1617
4 3 2 1 3 (3)
14 1716
1514 17 17
3(+2+1)
(Em13)
19
1
3 3 5
underlying chord progression, with “drop-two” voicings
let ring
FIGURE 2
0Am9
17171719 0
D13
16171719 0
D7
16171618
¨9#5 Gmaj9
016161517
G9
15161517
G7¨9
15161516
Cmaj7
014161315
F#m7¨5
014141314 0
B7¨9
13141314 0
B7
13141315
¨9#5
0Em9
12121214 0
B7
13141315
¨9#5
0Em11
14161517
Em13
17191921
0
same voicings, one octave lower
let ring
FIGURE 3
0Am9
5557 0
D13
4557 0
D7
4546
¨9#5 Gmaj9
04435G9
3435
G7¨9
3434 0
Cmaj7
2413
F#m7¨5
02212 0B7¨9
1212 0
B7
1213
¨9#5
0Em9
0002 0
B7
1213
¨9#5 Em11
02435Em13
5779
0
RAKING LEAVES, PART 2Using upper-structure voice leading to create a climactic, jazzy finale to our arpeggio etude.I NOW OFFER a final, climactic eight-bar variation on the “Raking Leaves” arpeggio etude I presented in the previous chapter. The techniques used are the same—sweep picking and fret-hand muting—and you’ll be happy to discover that the fretboard shapes are a little more compact and finger friendly than before, due to the higher positions em-ployed. In terms of theory and harmony, the arpeggios used herein feature some sophis-ticatedly cool, jazz-style voice-leading.
FIGURE 1 depicts the eight-bar phrase. As you progress from arpeggio to arpeggio, notice how, like last time, certain individual voices descend while others remain stationary. This kind of smooth, efficient voice leading is characteristic of both jazz and traditional (classical and folk) harmony, for which this type of diatonic root motion through the cycle of fifths/fourths—down in fifths, or up in fourths—is commonplace. (Diatonic means based on a particular scale.)
Regarding fret-hand technique, you’ll notice the brief use of a middle-finger barre (4-1-2-2) across the B and G strings in mea-sures 1, 2 and 7, and that the Cmaj7 arpeggio in measure 4 is fingered 3-1-2-4 as opposed to 4-1-2-3. This is done for the sake of keeping the fingers from becoming tied up in a knot.
In Chapters 1, 2 and 3, we deliberately targeted a non-root chord tone—either the third, fifth or seventh—on each chord change and used these pivotal guide tones to construct a harmonically strong melody that clearly outlines, or describes, the underlying progression. We’re doing a similar thing in FIGURE 1, this time employing upper-structure voice leading, which incorporates ninths, 11ths and 13ths, chord tones theoretically derived by continuing to count up through a scale beyond the octave, or eighth. Additionally, we’re including a few sharp fives, what are known as tension tones. Some jazz theoreticians prefer to reckon a sharp five when it is used in the way shown in bar 2—following a 13th chord built from the same root (D13 to D7f9s5)—as a “flat 13” (in this case, D7f9f13). By contrast, the B7f9s5 arpeggio in bar 6 is an expanding outgrowth of B7f9, for which the sharp five (the G note) is approached from below, not above.
Our little etude concludes in bar 8 with a giant, John Coltrane–style, roller-coaster
sweep through an Em11 arpeggio (E G B D Fs A), which, by the way, is essentially the E Dorian mode (E Fs G A B Cs D) played in stacked thirds, followed by a soulful, Hendrix-inspired high bend up to Cs, the 13th of E.
As in Chapter 1, FIGURE 2 shows the underlying progression to FIGURE 1, with drop-two voicings used to facilitate practical chord fingerings, and FIGURE 3 illustrates the same grips played an octave
lower. Again, to really appreciate the elegant way the individual voices in turn descend, play through the progression repeatedly, each time selectively plucking only two of the four strings from within the SATB (“soprano-alto-tenor-bass”) voicing. You’ll find that some of the note pairings sound a little odd by themselves but make more musical sense when heard over a low bass-line root-note accompaniment.
Chapter 4FIG. 1
FIG. 2
FIG. 3
8 STRING THEORY
1
“The Winding Road,” first half
1
FIGURE 1Bm7¨5
2
C6
2
4
E7¨9
2 4 1
3
5
3
5
4
D7¨9
3 2 1
2
5
4
3
2
C7¨9
3
7fr
2 143
C66fr
1 243
6fr
2 341
6fr
2131
5fr
2 333
Am75fr
3 241
E7/B10fr
1 243
D74fr
2131
10fr
2 333
Dm7
2 333
Gm79fr
2131
5fr
4311
Fmaj7
2131
4 1
2
3
4
5
2
B¨7
3 4 1
Bm7¨5
2
3
4
5
3 4 3 1
3
5
6
5
3 1
G7¨9
4
3
5
4
7
4
3
E7¨9
4 1 2 4
6
7
4
5
2 1 3 1
Am7
7
6
5
7
3 1 4 3
5
7
5
8
4 1 3 1
D7¨9
7
8
4
7
4 1 2 3
5
8
5
6
4 1 2 3
Gm7
7
8
5
6
1 3 4 1
7
5
7
8
4 3 2
5
8
7
6
8
1
C7¨9
4 2 3 1
5
8
6
7
4 2 1 1
Fmaj7
5
8
6
8
3 1 4 3
5
7
5
8
4 1 3 1
B¨7
7
8
5
7
2 1 3 1
5
6
5
7
2 1 3
5
6
5
7
11
4
C6
1 1 4 1
E7/B
8
5
5
8
2 1 3 1
Am7
4
6
5
7
3 1 2 1
5
7
5
6
4 3 2 1
D7
4
7
6
5
2 3 4 1
4
5
6
7
2 3 4
4
5
6
7
14
1 3 2 3 1
5
7
6
7
2 3 4 1
Dm7
5
7
8
9
2 1 3 2
5
6
5
7
3 1 2 4
G7¨9
67
5
7
1 4 1 2
9
7
10
8
4 2 1
9
11
9
3 1
C6
810
9
1
“The Winding Road,” first half
1
FIGURE 1Bm7¨5
2
C6
2
4
E7¨9
2 4 1
3
5
3
5
4
D7¨9
3 2 1
2
5
4
3
2
C7¨9
3
7fr
2 143
C66fr
1 243
6fr
2 341
6fr
2131
5fr
2 333
Am75fr
3 241
E7/B10fr
1 243
D74fr
2131
10fr
2 333
Dm7
2 333
Gm79fr
2131
5fr
4311
Fmaj7
2131
4 1
2
3
4
5
2
B¨7
3 4 1
Bm7¨5
2
3
4
5
3 4 3 1
3
5
6
5
3 1
G7¨9
4
3
5
4
7
4
3
E7¨9
4 1 2 4
6
7
4
5
2 1 3 1
Am7
7
6
5
7
3 1 4 3
5
7
5
8
4 1 3 1
D7¨9
7
8
4
7
4 1 2 3
5
8
5
6
4 1 2 3
Gm7
7
8
5
6
1 3 4 1
7
5
7
8
4 3 2
5
8
7
6
8
1
C7¨9
4 2 3 1
5
8
6
7
4 2 1 1
Fmaj7
5
8
6
8
3 1 4 3
5
7
5
8
4 1 3 1
B¨7
7
8
5
7
2 1 3 1
5
6
5
7
2 1 3
5
6
5
7
11
4
C6
1 1 4 1
E7/B
8
5
5
8
2 1 3 1
Am7
4
6
5
7
3 1 2 1
5
7
5
6
4 3 2 1
D7
4
7
6
5
2 3 4 1
4
5
6
7
2 3 4
4
5
6
7
14
1 3 2 3 1
5
7
6
7
2 3 4 1
Dm7
5
7
8
9
2 1 3 2
5
6
5
7
3 1 2 4
G7¨9
67
5
7
1 4 1 2
9
7
10
8
4 2 1
9
11
9
3 1
C6
810
9
1
“The Winding Road,” first half
1
FIGURE 1Bm7¨5
2
C6
2
4
E7¨9
2 4 1
3
5
3
5
4
D7¨9
3 2 1
2
5
4
3
2
C7¨9
3
7fr
2 143
C66fr
1 243
6fr
2 341
6fr
2131
5fr
2 333
Am75fr
3 241
E7/B10fr
1 243
D74fr
2131
10fr
2 333
Dm7
2 333
Gm79fr
2131
5fr
4311
Fmaj7
2131
4 1
2
3
4
5
2
B¨7
3 4 1
Bm7¨5
2
3
4
5
3 4 3 1
3
5
6
5
3 1
G7¨9
4
3
5
4
7
4
3
E7¨9
4 1 2 4
6
7
4
5
2 1 3 1
Am7
7
6
5
7
3 1 4 3
5
7
5
8
4 1 3 1
D7¨9
7
8
4
7
4 1 2 3
5
8
5
6
4 1 2 3
Gm7
7
8
5
6
1 3 4 1
7
5
7
8
4 3 2
5
8
7
6
8
1
C7¨9
4 2 3 1
5
8
6
7
4 2 1 1
Fmaj7
5
8
6
8
3 1 4 3
5
7
5
8
4 1 3 1
B¨7
7
8
5
7
2 1 3 1
5
6
5
7
2 1 3
5
6
5
7
11
4
C6
1 1 4 1
E7/B
8
5
5
8
2 1 3 1
Am7
4
6
5
7
3 1 2 1
5
7
5
6
4 3 2 1
D7
4
7
6
5
2 3 4 1
4
5
6
7
2 3 4
4
5
6
7
14
1 3 2 3 1
5
7
6
7
2 3 4 1
Dm7
5
7
8
9
2 1 3 2
5
6
5
7
3 1 2 4
G7¨9
67
5
7
1 4 1 2
9
7
10
8
4 2 1
9
11
9
3 1
C6
810
9
1
“The Winding Road,” first half
1
FIGURE 1Bm7¨5
2
C6
2
4
E7¨9
2 4 1
3
5
3
5
4
D7¨9
3 2 1
2
5
4
3
2
C7¨9
3
7fr
2 143
C66fr
1 243
6fr
2 341
6fr
2131
5fr
2 333
Am75fr
3 241
E7/B10fr
1 243
D74fr
2131
10fr
2 333
Dm7
2 333
Gm79fr
2131
5fr
4311
Fmaj7
2131
4 1
2
3
4
5
2
B¨7
3 4 1
Bm7¨5
2
3
4
5
3 4 3 1
3
5
6
5
3 1
G7¨9
4
3
5
4
7
4
3
E7¨9
4 1 2 4
6
7
4
5
2 1 3 1
Am7
7
6
5
7
3 1 4 3
5
7
5
8
4 1 3 1
D7¨9
7
8
4
7
4 1 2 3
5
8
5
6
4 1 2 3
Gm7
7
8
5
6
1 3 4 1
7
5
7
8
4 3 2
5
8
7
6
8
1
C7¨9
4 2 3 1
5
8
6
7
4 2 1 1
Fmaj7
5
8
6
8
3 1 4 3
5
7
5
8
4 1 3 1
B¨7
7
8
5
7
2 1 3 1
5
6
5
7
2 1 3
5
6
5
7
11
4
C6
1 1 4 1
E7/B
8
5
5
8
2 1 3 1
Am7
4
6
5
7
3 1 2 1
5
7
5
6
4 3 2 1
D7
4
7
6
5
2 3 4 1
4
5
6
7
2 3 4
4
5
6
7
14
1 3 2 3 1
5
7
6
7
2 3 4 1
Dm7
5
7
8
9
2 1 3 2
5
6
5
7
3 1 2 4
G7¨9
67
5
7
1 4 1 2
9
7
10
8
4 2 1
9
11
9
3 1
C6
810
9
1
“The Winding Road,” first half
1
FIGURE 1Bm7¨5
2
C6
2
4
E7¨9
2 4 1
3
5
3
5
4
D7¨9
3 2 1
2
5
4
3
2
C7¨9
3
7fr
2 143
C66fr
1 243
6fr
2 341
6fr
2131
5fr
2 333
Am75fr
3 241
E7/B10fr
1 243
D74fr
2131
10fr
2 333
Dm7
2 333
Gm79fr
2131
5fr
4311
Fmaj7
2131
4 1
2
3
4
5
2
B¨7
3 4 1
Bm7¨5
2
3
4
5
3 4 3 1
3
5
6
5
3 1
G7¨9
4
3
5
4
7
4
3
E7¨9
4 1 2 4
6
7
4
5
2 1 3 1
Am7
7
6
5
7
3 1 4 3
5
7
5
8
4 1 3 1
D7¨9
7
8
4
7
4 1 2 3
5
8
5
6
4 1 2 3
Gm7
7
8
5
6
1 3 4 1
7
5
7
8
4 3 2
5
8
7
6
8
1
C7¨9
4 2 3 1
5
8
6
7
4 2 1 1
Fmaj7
5
8
6
8
3 1 4 3
5
7
5
8
4 1 3 1
B¨7
7
8
5
7
2 1 3 1
5
6
5
7
2 1 3
5
6
5
7
11
4
C6
1 1 4 1
E7/B
8
5
5
8
2 1 3 1
Am7
4
6
5
7
3 1 2 1
5
7
5
6
4 3 2 1
D7
4
7
6
5
2 3 4 1
4
5
6
7
2 3 4
4
5
6
7
14
1 3 2 3 1
5
7
6
7
2 3 4 1
Dm7
5
7
8
9
2 1 3 2
5
6
5
7
3 1 2 4
G7¨9
67
5
7
1 4 1 2
9
7
10
8
4 2 1
9
11
9
3 1
C6
810
9
1
“The Winding Road,” first half
1
FIGURE 1Bm7¨5
2
C6
2
4
E7¨9
2 4 1
3
5
3
5
4
D7¨9
3 2 1
2
5
4
3
2
C7¨9
3
7fr
2 143
C66fr
1 243
6fr
2 341
6fr
2131
5fr
2 333
Am75fr
3 241
E7/B10fr
1 243
D74fr
2131
10fr
2 333
Dm7
2 333
Gm79fr
2131
5fr
4311
Fmaj7
2131
4 1
2
3
4
5
2
B¨7
3 4 1
Bm7¨5
2
3
4
5
3 4 3 1
3
5
6
5
3 1
G7¨9
4
3
5
4
7
4
3
E7¨9
4 1 2 4
6
7
4
5
2 1 3 1
Am7
7
6
5
7
3 1 4 3
5
7
5
8
4 1 3 1
D7¨9
7
8
4
7
4 1 2 3
5
8
5
6
4 1 2 3
Gm7
7
8
5
6
1 3 4 1
7
5
7
8
4 3 2
5
8
7
6
8
1
C7¨9
4 2 3 1
5
8
6
7
4 2 1 1
Fmaj7
5
8
6
8
3 1 4 3
5
7
5
8
4 1 3 1
B¨7
7
8
5
7
2 1 3 1
5
6
5
7
2 1 3
5
6
5
7
11
4
C6
1 1 4 1
E7/B
8
5
5
8
2 1 3 1
Am7
4
6
5
7
3 1 2 1
5
7
5
6
4 3 2 1
D7
4
7
6
5
2 3 4 1
4
5
6
7
2 3 4
4
5
6
7
14
1 3 2 3 1
5
7
6
7
2 3 4 1
Dm7
5
7
8
9
2 1 3 2
5
6
5
7
3 1 2 4
G7¨9
67
5
7
1 4 1 2
9
7
10
8
4 2 1
9
11
9
3 1
C6
810
9
THE WINDING ROAD, PART 1How to create a rolling melody using chord tones and passing tones
HERE IS THE first half of a two-part etude I composed that demonstrates some neat examples of how useful scalar and chromatic passing tones can be, both musically and tech-nically, in the art of crafting a flowing single-note line to play over a chord progression. As a contextual framework, I’m borrowing a set of chord changes from the standard tune “There Will Never Be Another You,” a com-position that ranks among many jazz musi-cians as a favorite improvisational vehicle over which to solo. The line I composed for this lesson, however, has more of a classical feel to it, with even eighth notes used instead of swing eighths. Also, it is played in the more guitar-friendly key of key of C (the standard key is Ef) and is designed to appeal to aspiring students of not only jazz but also rock, metal and fusion guitar soloing.
FIGURE 1 presents the line, which is 16 bars long and is played over the first half of the song’s 32-bar form. I purposely made it a virtually unbroken stream, or thread, of eighth notes for the sake of taking advantage of every available opportunity to demonstrate various ways to smoothly and satisfyingly connect the targeted chord tones. The line combines arpeggios with scale tones and some chromatic notes, and on each chord change I’m deliberately landing on a non-root chord tone for the sake of forming a pleasing counterpoint with that chord’s root note, which could either be provided by another instrument or implied within the context of the melody. With one exception, I’m targeting either the third or fifth of the underlying chord, the exception being the Bf7 chord in bar 10, for which I’m hitting the ninth of that chord, C. As we learned in Chapter 4 (“Raking Leaves,” Part 2), the ninth can also be a strong note choice in certain situations.
As you can see, the line is almost entirely alternate picked, with a few pull-offs used toward the end to create a legato feel and provide some welcomed contrast to all the staccato articulations. You’ll also notice that I do the opposite of what most guitarists do when they alternate pick and use upstrokes on the downbeats and downstrokes on the upbeats. That’s just how my soloing and technique developed in this style.
The chromatic notes in the line serve as musical fill, sandwiched between or around the chord tones, and may be thought of as
the mortar that holds together the bricks in an ideal spacing pattern. They also fulfill the function of providing additional notes to alternate pick on a given string, for the sake of optimizing the string crosses so that the pick is conveniently propelled in the direction it needs to go next. This is called “outside-the-strings” picking and is much easier to do than “inside-the-strings” pick-ing, wherein the pick needs to change direc-tion in midair, of which there is only one instance here, on beat three of bar 4.
Regarding the fret hand, there are a few important position shifts, which are self-evi-dent if you follow the fingerings supplied be-low the tablature. There’s nothing too tricky or impractial though. Just start out slowly, gradually working the line up to speed. You may find it helpful to loop one or two bars at a time at first before stringing them all togerther. Listen thoughtfully to the logic of the notes and the way they describe the un-derlying chord changes, and also take notice of the line’s melodic contour, or shape.
Chapter 5FIG. 1
9 STRING THEORY
17
“The Winding Road,” part 2
6fr
2 3 4 1
1
FIGURE 1
B¨7
C6
7fr
2 1 4 3
C6
2
F#m7¨5
3
9fr
1 3 2 4
4
Bm7¨5
1
B7¨9#5
6fr
2 3 4 1
9
10
11
12
3
7fr
1 2 4 4 4
2
E7¨9
3
6fr
2 1 3 1
1
7fr
2 1 3 4
F7
10
12
11
12
2
5fr
2 3 3 3
Am7
3 4
7fr
1 2 4 3
Em7
1
D7¨9
or T 1 2 4 3
4fr
2 1 3 1
10
11
12
13
4
A13¨9
1
5fr
1 1 2 4 3
3
2 3 3 3
Gm7
4
Bm7¨5
10
13
10
12
3
5fr
1 2 4 3
Dm7
1
C7¨9
or T 1 2 4 3
2 1 3 1
4
G13¨9
3
3fr
1 1 2 4 3
13
12
10
13
2
5fr
4 3 1 1
Fmaj7
1 3
69
2 1 1 3 4
C
12
11
10
12
20
4
E7¨9
1 1
2 1
13
10
9
12
2 1 4 2
Am7
10
11
10
13
4 1 4 2
12
14
11
14
4 1 3 4
D7¨9
12
14
10
12
2 1 4 3
13
11
10
13
2 1 3
12
11
10
12
23
4
Gm7
1 4 3 2
13
12
15
14
3 4 1 2
C9
13
14
15
13
3 1 2 1
C7¨9
14
15
13
14
4 3 1
1
Fmaj7
13
16
15
13
2 3 4 1
12
13
14
15
2 3 4
12
13
14
15
26
1
B¨7
3 4 1 2
12
14
15
12
4 1 2 4
Cmaj7
13
15
12
13
1 2 4 1
15
12
13
15
2 3 4 4
F#m7¨5
12
13
14
15
2 1 4 3
B7¨9
17
15
14
17
1 1
3
16
13
12
14
29
1
C6
3 1 2 3
F9
12
14
12
13
2 1 4 1
Em7
14
13
12
15
4 3 1 1
A7¨9
12
15
14
12
2 3 4 1
Dm7
11
12
13
14
3 2 1 1
G7¨9
10
12
11
10
4 3 1
1
C
9
13
12
10
3
69
9
13
13
17
“The Winding Road,” part 2
6fr
2 3 4 1
1
FIGURE 1
B¨7
C6
7fr
2 1 4 3
C6
2
F#m7¨5
3
9fr
1 3 2 4
4
Bm7¨5
1
B7¨9#5
6fr
2 3 4 1
9
10
11
12
3
7fr
1 2 4 4 4
2
E7¨9
3
6fr
2 1 3 1
1
7fr
2 1 3 4
F7
10
12
11
12
2
5fr
2 3 3 3
Am7
3 4
7fr
1 2 4 3
Em7
1
D7¨9
or T 1 2 4 3
4fr
2 1 3 1
10
11
12
13
4
A13¨9
1
5fr
1 1 2 4 3
3
2 3 3 3
Gm7
4
Bm7¨5
10
13
10
12
3
5fr
1 2 4 3
Dm7
1
C7¨9
or T 1 2 4 3
2 1 3 1
4
G13¨9
3
3fr
1 1 2 4 3
13
12
10
13
2
5fr
4 3 1 1
Fmaj7
1 3
69
2 1 1 3 4
C
12
11
10
12
20
4
E7¨9
1 1
2 1
13
10
9
12
2 1 4 2
Am7
10
11
10
13
4 1 4 2
12
14
11
14
4 1 3 4
D7¨9
12
14
10
12
2 1 4 3
13
11
10
13
2 1 3
12
11
10
12
23
4
Gm7
1 4 3 2
13
12
15
14
3 4 1 2
C9
13
14
15
13
3 1 2 1
C7¨9
14
15
13
14
4 3 1
1
Fmaj7
13
16
15
13
2 3 4 1
12
13
14
15
2 3 4
12
13
14
15
26
1
B¨7
3 4 1 2
12
14
15
12
4 1 2 4
Cmaj7
13
15
12
13
1 2 4 1
15
12
13
15
2 3 4 4
F#m7¨5
12
13
14
15
2 1 4 3
B7¨9
17
15
14
17
1 1
3
16
13
12
14
29
1
C6
3 1 2 3
F9
12
14
12
13
2 1 4 1
Em7
14
13
12
15
4 3 1 1
A7¨9
12
15
14
12
2 3 4 1
Dm7
11
12
13
14
3 2 1 1
G7¨9
10
12
11
10
4 3 1
1
C
9
13
12
10
3
69
9
13
13
17
“The Winding Road,” part 2
6fr
2 3 4 1
1
FIGURE 1
B¨7
C6
7fr
2 1 4 3
C6
2
F#m7¨5
3
9fr
1 3 2 4
4
Bm7¨5
1
B7¨9#5
6fr
2 3 4 1
9
10
11
12
3
7fr
1 2 4 4 4
2
E7¨9
3
6fr
2 1 3 1
1
7fr
2 1 3 4
F7
10
12
11
12
2
5fr
2 3 3 3
Am7
3 4
7fr
1 2 4 3
Em7
1
D7¨9
or T 1 2 4 3
4fr
2 1 3 1
10
11
12
13
4
A13¨9
1
5fr
1 1 2 4 3
3
2 3 3 3
Gm7
4
Bm7¨5
10
13
10
12
3
5fr
1 2 4 3
Dm7
1
C7¨9
or T 1 2 4 3
2 1 3 1
4
G13¨9
3
3fr
1 1 2 4 3
13
12
10
13
2
5fr
4 3 1 1
Fmaj7
1 3
69
2 1 1 3 4
C
12
11
10
12
20
4
E7¨9
1 1
2 1
13
10
9
12
2 1 4 2
Am7
10
11
10
13
4 1 4 2
12
14
11
14
4 1 3 4
D7¨9
12
14
10
12
2 1 4 3
13
11
10
13
2 1 3
12
11
10
12
23
4
Gm7
1 4 3 2
13
12
15
14
3 4 1 2
C9
13
14
15
13
3 1 2 1
C7¨9
14
15
13
14
4 3 1
1
Fmaj7
13
16
15
13
2 3 4 1
12
13
14
15
2 3 4
12
13
14
15
26
1
B¨7
3 4 1 2
12
14
15
12
4 1 2 4
Cmaj7
13
15
12
13
1 2 4 1
15
12
13
15
2 3 4 4
F#m7¨5
12
13
14
15
2 1 4 3
B7¨9
17
15
14
17
1 1
3
16
13
12
14
29
1
C6
3 1 2 3
F9
12
14
12
13
2 1 4 1
Em7
14
13
12
15
4 3 1 1
A7¨9
12
15
14
12
2 3 4 1
Dm7
11
12
13
14
3 2 1 1
G7¨9
10
12
11
10
4 3 1
1
C
9
13
12
10
3
69
9
13
13
17
“The Winding Road,” part 2
6fr
2 3 4 1
1
FIGURE 1
B¨7
C6
7fr
2 1 4 3
C6
2
F#m7¨5
3
9fr
1 3 2 4
4
Bm7¨5
1
B7¨9#5
6fr
2 3 4 1
9
10
11
12
3
7fr
1 2 4 4 4
2
E7¨9
3
6fr
2 1 3 1
1
7fr
2 1 3 4
F7
10
12
11
12
2
5fr
2 3 3 3
Am7
3 4
7fr
1 2 4 3
Em7
1
D7¨9
or T 1 2 4 3
4fr
2 1 3 1
10
11
12
13
4
A13¨9
1
5fr
1 1 2 4 3
3
2 3 3 3
Gm7
4
Bm7¨5
10
13
10
12
3
5fr
1 2 4 3
Dm7
1
C7¨9
or T 1 2 4 3
2 1 3 1
4
G13¨9
3
3fr
1 1 2 4 3
13
12
10
13
2
5fr
4 3 1 1
Fmaj7
1 3
69
2 1 1 3 4
C
12
11
10
12
20
4
E7¨9
1 1
2 1
13
10
9
12
2 1 4 2
Am7
10
11
10
13
4 1 4 2
12
14
11
14
4 1 3 4
D7¨9
12
14
10
12
2 1 4 3
13
11
10
13
2 1 3
12
11
10
12
23
4
Gm7
1 4 3 2
13
12
15
14
3 4 1 2
C9
13
14
15
13
3 1 2 1
C7¨9
14
15
13
14
4 3 1
1
Fmaj7
13
16
15
13
2 3 4 1
12
13
14
15
2 3 4
12
13
14
15
26
1
B¨7
3 4 1 2
12
14
15
12
4 1 2 4
Cmaj7
13
15
12
13
1 2 4 1
15
12
13
15
2 3 4 4
F#m7¨5
12
13
14
15
2 1 4 3
B7¨9
17
15
14
17
1 1
3
16
13
12
14
29
1
C6
3 1 2 3
F9
12
14
12
13
2 1 4 1
Em7
14
13
12
15
4 3 1 1
A7¨9
12
15
14
12
2 3 4 1
Dm7
11
12
13
14
3 2 1 1
G7¨9
10
12
11
10
4 3 1
1
C
9
13
12
10
3
69
9
13
13
THE WINDING ROAD, PART 2The conclusion of our chromatics-driven single-note etude
HERE IS PART two, the second half, of the etude I introduced in Chapter 5, an origi-nal single-note solo played over the chord changes to the final 16 bars (bars 17–32) of the old jazz standard “There Will Never Be Another You.” The first 10 bars of this second section (bars 17–26) follow the same chord progression as bars 1–10 from part one. The progression then veers off into new territory and what’s commonly referred to as the second ending of the tune’s “A-A” form, which in this case is the last six bars (27–32), and resolves satisfyingly to the I (one) chord, C6-9.
FIGURE 1 begins where we left off last time, at the E note on the G string’s ninth fret, which is the third of the underlying C6 chord. The melody continues and moves up the neck, hitting higher “pitch peaks” than last time. Climbing into the upper register like this as a line develops is an effective composition/improvisation strategy that helps build a melody to a dramatic climax: “start low, end high.”
In terms of technique, as before, we’re employing what I call “inverted,” or “back-ward,” alternate picking, using upstrokes on the downbeats and downtrokes on the eighth-note upbeats, with a couple of pull-offs employed briefly, in bar 20, to add a legato feel in choice spots. I set out to avoid the dreaded “outside-the-strings” picking as much as possible while still targeting the melody notes I wanted to hit, but a little bit is required at the beginning of bar 22 and across the first half of bar 23. It isn’t too arduous to perform in either case, because you’re moving to a higher-pitched string and thus have the assistance of gravity, which helps the pick hand overcome mo-mentum and change direction more easily. As always, try to play with a light touch, and keep your pick hand relaxed and its movements as small as possible while using a light palm mute on the lower strings to suppress string vibration and noise.
Some theoretical points of interest: Notice how, over the Gm7 chord in bar 23, I play an ascending Gm11 arpeggio (G Bf D F A C, minus the G root), the top note of which, C, leads upward on the downbeat of bar 24 to Df, the flat-nine of the C7f9 chord that follows. This is a neat example of how to apply voice leading to a melody. Another example occurs in bar 30, where the note
D, the minor, or “flat,” seven of Em7, resolves down a half step, to Cs, the third of A7f9. I also target the flat nine of D7, Ef, in bar 22 and, in bar 26, the sixth of Bf7, G. And notice throughout the example the
extensive use of chromatic passing tones, which I employ to smoothly connect the targeted non-root chord tones and create a nicely rolling melodic contour and sweet counterpoint to the underlying root motion.
Chapter 6FIG. 1
10 STRING THEORY
1
FIGURE 1
“Melodic Minor Domination,” part 1
3
0
1 3 3
Em7
7fr
1 2 4 3
Em7
5
3
5
7 7
3 1
8fr
1 2 3 4
C13
3
5
3
3
5 7
7fr
1 2 3 4
B7alt
0
3 1 3
C13
5
3
4
5fr
2 1 3 4
Em9
3 1 3
5
6 5 3
1 1
5
3
2
4 1
5
3
3
4 3
2 1
B7alt
3
4 1 2 3
2
5
2
3
1 4 3 1
4
2
5
4
2 1 3 1
3
4
3
5
4 1 2 1
Em9
47
5
6
3 4 1 2
4
6
7
4
4 1 4
5
7
4
7
8
1
B7alt
2 3 3 1
5
7
8
8
2 4 2 1
Em7
6
8
10
8
4
7
12
4
12
4
12
4 2
12
10
11
1
C13
2 4 2 1
8 10
12
10
3 2 4 3
8
11
10
12
1 1 2 1
11
9
7
8
4 3 1 1
B7alt
7
10
9
7
4 1 3 2
6
10
7
9
2 4 1
8
8
10
7
14
4 4
8 10
4 3 2 1
10
9 8 7
4 2 1
Em9
10
8 7
4 2
10
8
8
B7alt
2 1 2 4
(Em7)
8
7
8
10
10
3
MELODIC MINOR DOMINATION, PART 1Drawing inspiration from a sax legend and melodic minor’s two coolest modes
IN THIS AND the following chapter, I’d like to pay tribute to one of my biggest musi-cal heroes, the late, great tenor saxophonist Michael Brecker. His huge tone, jaw-drop-ping chops and ferociously funky and always brilliantly compelling solos inspired me early on to learn the language of jazz and taught me a great deal about the art of phrasing and playing intriguing, “outside”-sounding lines that have a method to their musical mad-ness—meaning a theoretical basis that one can learn from and apply. And so, I’ve com-posed a 32-bar solo, presented in two parts and played over a repeating eight-bar chord progression, that was inspired by Brecker’s improvisation on the track “Quartet No. 2 (Part 2: Dedicated to John Coltrane)” from pianist Chick Corea’s 1981 album Three Quartets. That performance features Brecker, backed by an elite acoustic jazz rhythm section, soloing over essentially the same chord progression, albeit in a different key, C minor. My tribute solo is in the more guitarist-familiar key of E minor and follows the progression Em7-C13-B7alt-Em9-B7alt.
FIGURE 1 presents the first half of my solo, which I’ve entitled “Melodic Minor Domination” because it draws heavily upon what many regard as the two most useful and coolest-sounding modes of melodic minor: Lydian-dominant (theoretically spelled 1 2 3 s4 5 6 f7) and super-Locrian (spelled 1 f2 s2 3 f5 s5 f7), also known as the diminished whole-tone, or altered-dominant, scale.
Over the Em7 and Em9 chords (bars 1, 2, 7, 9, 10 and 15), I strove to keep the melody relatively straightforward and “inside” sounding, using mostly notes from E minor pentatonic (E G A B D) and briefly adding the major, or “sharp,” seventh, Ds (bar 7), and the second, or ninth, Fs (bars 7 and 15). The melody notes over C13 (bars 3, 11 and 12) are from C Lydian-dominant (C D E Fs G A Bf), the fourth mode of the G melodic minor scale (G A Bf C D E Fs). This intriguing mode includes both the raised, or “sharp,” four of C Lydian (Fs) and the dominant, or “flat” seven, of C Mixolydian (Bf), encompass-ing the signature qualities of both of these modes and offering an ideal scale to play over a C dominant-seven, -nine or -13 chord, with or without the s11 included in the voic-
ing, as the mode’s s4 tone is that same note.The chord symbol B7alt signifies B7 al-
tered-dominant, meaning a dominant-seven chord that has either a “sharped” (raised) or “flatted” (lowered) fifth and ninth, for example, B7f5f9, B7f5s9, B7s5f9 or B7s5s9. Over this chord, I strove to craft “outside”-sounding, Brecker-style lines, with lots of jagged melodic peaks and valleys, mostly using notes from the B super-Locrian mode/diminished whole-tone scale, B C D Ds F G A, which is the seventh mode of C melodic minor (C D Ef F G A B). This mode
gives you, over a B root, all four of the afore-mentioned altered chord tones, creating a compellingly dramatic sound and feeling of musical tension, which satisfyingly resolves to the more stable sound of Em7 or Em9.
The solo is played with a swing feel and includes long phrases and a few slip-pery, saxophone-like legato articulations. Notice also how I employ rests, or “holes of silence,” to help the solo sound more conversational than a steady stream of eighth notes would and build the intensity level as it develops.
Chapter 7FIG. 1
11 STRING THEORY
17
2
FIGURE 1
(B7alt)
1
“Melodic Minor Domination,” part 2 (conclusion)
2 4
Em7
8
7
8
10
10
1 1 3 4
77
9
10
1 1 3 4
77
9
10
1 1 3 4
77
9
10
1 1 3 4
C13
77
9
10
1 1 2 1
77
8
3 4 1
79
10
7
3 3 3 3 3
20
2 4 1 3 1
8
10
7
9
2 1 2 3
B7alt
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8
5
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2 1 3 1
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6
5
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2 1 3 1
3
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3
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2 1
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3 1 4
4
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2 1 4 2
Em9
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2 3 1 2
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4 4 1
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24
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B7alt
1 4 1 2
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7
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4 4 4
Em7
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11
14 14
1 4 1 3
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1 4 1 4
8
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4 1
17 14
14
3 3
27
C13
1 2
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2 1 4
1515
14
4 3 1 1
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18
17
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4 2 2 1
1417
15
15
4 3 1
1
B7alt
1417
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2 4 3 1
13
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3 4 1
14
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17
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3
30
1 2 4 1 2
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4 1 2 1
Em9
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19
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3 2
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16
2
B7alt
4 1 2 1
15
17
12
13
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3 2
Em7
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14
14
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2
FIGURE 1
(B7alt)
1
“Melodic Minor Domination,” part 2 (conclusion)
2 4
Em7
8
7
8
10
10
1 1 3 4
77
9
10
1 1 3 4
77
9
10
1 1 3 4
77
9
10
1 1 3 4
C13
77
9
10
1 1 2 1
77
8
3 4 1
79
10
7
3 3 3 3 3
20
2 4 1 3 1
8
10
7
9
2 1 2 3
B7alt
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8
5
6
2 1 3 1
7
6
5
7
2 1 3 1
3
4
3
5
2 1
4
5
3 1 4
4
8
7
2 1 4 2
Em9
10
8
7
10
2 3 1 2
8
8
9
7
4 4 1
8
10
7
10
3
24
2
B7alt
1 4 1 2
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7
10
7
4 4 4
Em7
8
10
11
14 14
1 4 1 3
10
12
8
11
1 4 1 4
8
12
10
14
4 1
17 14
14
3 3
27
C13
1 2
14
2 1 4
1515
14
4 3 1 1
17
18
17
15
4 2 2 1
1417
15
15
4 3 1
1
B7alt
1417
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14
2 4 3 1
13
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3 4 1
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3
30
1 2 4 1 2
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15
4 1 2 1
Em9
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19
15
16
14
3 2
17
16
2
B7alt
4 1 2 1
15
17
12
13
12
3 2
Em7
15
14
14
17
2
FIGURE 1
(B7alt)
1
“Melodic Minor Domination,” part 2 (conclusion)
2 4
Em7
8
7
8
10
10
1 1 3 4
77
9
10
1 1 3 4
77
9
10
1 1 3 4
77
9
10
1 1 3 4
C13
77
9
10
1 1 2 1
77
8
3 4 1
79
10
7
3 3 3 3 3
20
2 4 1 3 1
8
10
7
9
2 1 2 3
B7alt
7
8
5
6
2 1 3 1
7
6
5
7
2 1 3 1
3
4
3
5
2 1
4
5
3 1 4
4
8
7
2 1 4 2
Em9
10
8
7
10
2 3 1 2
8
8
9
7
4 4 1
8
10
7
10
3
24
2
B7alt
1 4 1 2
8
7
10
7
4 4 4
Em7
8
10
11
14 14
1 4 1 3
10
12
8
11
1 4 1 4
8
12
10
14
4 1
17 14
14
3 3
27
C13
1 2
14
2 1 4
1515
14
4 3 1 1
17
18
17
15
4 2 2 1
1417
15
15
4 3 1
1
B7alt
1417
16
14
2 4 3 1
13
15
17
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3 4 1
14
16
17
16
3
30
1 2 4 1 2
15
16
18
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4 1 2 1
Em9
17
19
15
16
14
3 2
17
16
2
B7alt
4 1 2 1
15
17
12
13
12
3 2
Em7
15
14
14
17
2
FIGURE 1
(B7alt)
1
“Melodic Minor Domination,” part 2 (conclusion)
2 4
Em7
8
7
8
10
10
1 1 3 4
77
9
10
1 1 3 4
77
9
10
1 1 3 4
77
9
10
1 1 3 4
C13
77
9
10
1 1 2 1
77
8
3 4 1
79
10
7
3 3 3 3 3
20
2 4 1 3 1
8
10
7
9
2 1 2 3
B7alt
7
8
5
6
2 1 3 1
7
6
5
7
2 1 3 1
3
4
3
5
2 1
4
5
3 1 4
4
8
7
2 1 4 2
Em9
10
8
7
10
2 3 1 2
8
8
9
7
4 4 1
8
10
7
10
3
24
2
B7alt
1 4 1 2
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7
10
7
4 4 4
Em7
8
10
11
14 14
1 4 1 3
10
12
8
11
1 4 1 4
8
12
10
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4 1
17 14
14
3 3
27
C13
1 2
14
2 1 4
1515
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4 3 1 1
17
18
17
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4 2 2 1
1417
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15
4 3 1
1
B7alt
1417
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2 4 3 1
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3 4 1
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30
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4 1 2 1
Em9
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3 2
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16
2
B7alt
4 1 2 1
15
17
12
13
12
3 2
Em7
15
14
14
17
2
FIGURE 1
(B7alt)
1
“Melodic Minor Domination,” part 2 (conclusion)
2 4
Em7
8
7
8
10
10
1 1 3 4
77
9
10
1 1 3 4
77
9
10
1 1 3 4
77
9
10
1 1 3 4
C13
77
9
10
1 1 2 1
77
8
3 4 1
79
10
7
3 3 3 3 3
20
2 4 1 3 1
8
10
7
9
2 1 2 3
B7alt
7
8
5
6
2 1 3 1
7
6
5
7
2 1 3 1
3
4
3
5
2 1
4
5
3 1 4
4
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7
2 1 4 2
Em9
10
8
7
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2 3 1 2
8
8
9
7
4 4 1
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10
7
10
3
24
2
B7alt
1 4 1 2
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7
10
7
4 4 4
Em7
8
10
11
14 14
1 4 1 3
10
12
8
11
1 4 1 4
8
12
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4 1
17 14
14
3 3
27
C13
1 2
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2 1 4
1515
14
4 3 1 1
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18
17
15
4 2 2 1
1417
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15
4 3 1
1
B7alt
1417
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2 4 3 1
13
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3 4 1
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16
3
30
1 2 4 1 2
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4 1 2 1
Em9
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19
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3 2
17
16
2
B7alt
4 1 2 1
15
17
12
13
12
3 2
Em7
15
14
14
MELODIC MINOR DOMINATION, PART 2The conclusion of my tribute to Michael Brecker
PICKING UP WHERE we left off in Chap-ter 7, I’d like to present the second half of my tribute to the late, great tenor saxophon-ist Michael Brecker. Though he’s widely remembered as a jazz saxophonist, Brecker also forayed into jazz-funk and -fusion styles throughout his illustrious career with groups such as the Brecker Brothers (which he co-founded in the mid Seventies with his brother, trumpeter Randy Brecker) and Steps Ahead, with whom he worked in the Eighties. He also pursued these explorations on various solo projects and collaborations with Mike Stern, Pat Metheny and others. Building upon the in-novative genius and body of work of John Col-trane and other legendary musicians, Brecker was a musical pioneer in his own right, re-garded by many as the greatest saxophonist of his generation. He masterfully combined jazz, funk/R&B and rock elements and sensibilities into an exciting signature style that countless others have eagerly sought to emulate.
FIGURE 1 begins with the final phrase from part 1—the end of bar 16 from Chapter 7, included here as a pickup bar—which leads into a repeating arpeggio sweep in bars 17 and 18 comprising the top four notes of an Em11 arpeggio (E G B D Fs A), sounded in reverse order (A Fs D B) with an upstroke pick sweep and played in an eighth-note triplet rhythm, which helps to build rhythmic intensity going into this second half of the solo. This four-note arpeggio may also be thought of as Bm7 superimposed over an E root note.
This arpeggio then morphs slightly, in bar 19, into C13s11 (C E G Bf D Fs A), again with only the top four notes of the arpeggio played in reverse order using an upstroke sweep. This shape serves as a springboard to launch into an ascending, alternate-picked scalar run through C Lydian-dominant (C D E Fs G A Bf), which, as we learned last time, is the fourth mode of G melodic minor (G A Bf C D E Fs).
I employ a bit of chromaticism approach-ing the B7 altered-dominant (B7alt) chord at the end of bar 20 (last note) and at the beginning of bar 21 (second note). Over this chord, in bars 21 and 22, I play notes from the B super-Locrian mode, or B diminished whole-tone scale (B C D Ds F G A), which, as you recall, is the seventh mode of C melodic minor (C D Ef F G A B). My note choices here combine both scale- and arpeggio-based thinking, the arpeggios being B7s5f9 (B Ds G
A C) and B7s5s9 (B Ds G A D), both of which “live” within B super-Locrian.
I then take this same scale/arpeggio ap-proach over Em7 and C13 as well, the par-ent scale of Em7 in this case being E minor hexatonic (E Fs G A B D). For example, I begin bar 25 with a long pinkie slide up to Fs, the ninth of E, followed by a rootless Em9 arpeggio ([E] G B D Fs), which may also be reckoned as Gmaj7, played as a quick descending-ascending eighth-note triplet motif, Brecker-style. This is followed in
bars 26 and 27 by a couple more ascending Brecker-like slurs (the legato finger slides). Notice in bar 27 the use of another triplet arpeggio sweep, this one over C13.
This leads up to the solo’s climactic phrase over B7alt in bars 29 and 30, an angular, “outside”-sounding climb through B super-Locrian. The final arpeggio, in bar 32, may be thought of as Cm(add2) (C D Ef G) superim-posed over a B root and sounds poignantly dramatic as it begs to resolve to Em7, which it does satisfylingly in bar 33.
Chapter 8FIG. 1
12 STRING THEORY
Slowly q = 66 w/swing 16ths feel
“Americana,” part 1
1
1st Chorus
FIGURE 1
1 1 4
G7¨9
4 4
Dm7
10fr
2 3 3
Dm79fr
2 1 3
G79fr
2 1 3 1
8fr
1 3 4 2
Cmaj78fr
1 2 4 3
C75fr
4 3 1 1
Fmaj76fr
2 3 4 1
6fr
2 1 3 4
5fr
1 3 4 1 1
Am5fr
1 2 4
A710fr
2 3 1
Dm(maj7)
97
7
9
10
= 3 3
4
3 1
Bm7¨5
1 4
E7¨9
2
10 10
9 7 6 9
7
1
4 1
77
10
7
3
slight P.H.
2
3
G7
9
1
4 1 2
G7¨9
97
10
8
4 2 4 1 1
79
11
9
11
3
1 1 2
Cmaj7
88
10
8
9
1 4 3 2
C7
9 7
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9
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1
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4 2 4
6
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3 3
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1 1
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6 7
4 2 1 4 2 1
710
8 7
10
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4 2
7 10
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Bm7¨5
3 1 3
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1 1 2 1
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4 1 4
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1 2 1 3 1
107
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2 4 1 1
48
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2 1
5
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3 2 1 1
46
5
3
2 3 1 4
Am
2
3
4
1
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4 G0
7
4
3 2 1
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7
6 5 4
4
1
4 7
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3 3
(2nd Chorus)
8
2 4 1 2 4
5
7
3
5
4 1 3 4
A7
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1
#9#5
2 4 2
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4 1 2 4 4
Dm7
66
8
5
6
8
(to becontinued)
SANTANA, MOORE AND BRECKER, PART 1A harmonically intriguing, saxophone-like solo played over a familiar rock ballad chord progressionIN CHAPTER 1, I mentioned that the chord progression to the jazz standard “Autumn Leaves” is structurally identical to that used in “Still Got the Blues (For You)” and the instrumental “Europa (Earth’s Cry Heaven’s Smile),” two classic rock guitar ballads penned by the great Gary Moore and Carlos Santana, respectively. Following on the heels of the previous two chapters’ tribute to jazz sax legend Michael Brecker, I wondered, What if Brecker took a sax solo on this same chord progression, played over Santana’s slow 4/4 “Europa” groove and in Moore’s guitar-friendly key of A minor? I ended up composing a tasty original solo that I titled “Americana.”
FIGURE 1 presents the first eight bars and encompasses one complete cycle of the repeating progression. (I’ll show you the climactic second part of the solo in Chapter 10.) Some theoretical points of interest: • On just about every chord change, I de-liberately target a strong, non-root chord tone, such as the third (bars 1–4), seventh (bar 3, beat three and bar 9) or ninth (bars 6 and 7). In the case of the E7 altered-dominant chord in bar 6, I play the sharp nine and flat nine (G and F, respectively) to emphasize that chord’s restless, unre-solved quality. (I previously do a similar move over the altered G7 chord on beat three of bar 2.) • In bar 1, I “tonicize” the ii chord, Dm7, by briefly touching upon its major seventh, or leading tone, Cs, clearly establishing Dm as a “temporary tonic” before proceeding to outline the minor-seven chord quality, via the C natural note, which I use as a voice-leading element going into bar 2.• Employing a similar tactic with the Am chord in bar 7, I go for a jazz sax–like approach, dancing around, and initially avoiding, its A root, instead emphasizing the low fifth, E, followed by the ninth, B, and major, or natural, seventh, Gs, before touching upon the A root on the downbeat of bar 8. Part of the inspiration for this particular phrase came from Dick Parry’s smokey, tenor and baritone sax lines on the Pink Floyd tracks “Us and Them” and “Shine On You Crazy Diamond (Part V).”• Over the altered-dominant chords in bars
2, 6 and 8, I employ, over varying tonal cen-ters, the super-Locrian mode we recently learned about, in each case using it to cre-ate harmonic tension that satisfyingly re-solves on the following chord change.• In bar 5, instead of just targeting the third of Bm7f5, D, and playing the arpeg-gio (B D F A), I lean on the fourth/11th, E,
which adds a dramatic melodic flair to this chord’s quality. • In terms of technique, the included finger-ings and pick strokes should eliminate most of the guesswork. Use a pull-down vibrato in bar 7 to avoid “falling off” the fretboard. As always, proceed slowly at first, play in time and strive to make your guitar sing.
FIG. 1
Chapter 9
13 STRING THEORY
9
“Americana,” part 2
Slowly q = 66 w/swing 16ths feel
4 4
FIGURE 1Dm7
6 8 G
1 2 3 2
Cm(maj7)
8
56
7 6
3
1 3 1
G7
67
5
7
2 1 4 3
4
5
4
7
1 1
4 3
6
4
3
6
1
= 3 3
1
3 2
5
3
2
4
1 2
3
1
0
3
3
11
1
Cmaj7
3 1 2 2
2
5
2
3
1 4
5
3
1 1
2 4
5
3
2 3
2 1 2 4
Fmaj7
5
3
2 3
2 1 2 4
10
8
7 8
2 1 2 3
10
8
7 8
2 1 2 4
8
7
6 8
2 1 2
12
10
9 10
P.M.
13
1
Bm7¨5
2 4 1 2 4 1
7
8
10
7
8
10
2 4 1 3 4 1
7
8
10
7
9
10
2 4 1 2 4 1
9
10
12
9
10
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2 4 1 3 4
9
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10
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3 3 3 3 3 3 3 3
P.M.
14
1
E7#9
2 4 1 3 4 1
11
13
15
12
14
15
3 4 1 2 4 1
12
14
15
12
13
15
2 4 1 3 4 1
13
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17
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3 4 1 2 3(+2)
15
17
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15
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3 3 3 3 3 3 3 3
15 1/2Am
18x
3(+2)
x
1
2
20 20
1 3 1 3(+2)
19 1720
1720
1
SANTANA, MOORE AND BRECKER, PART 2The climactic conclusion to Chapter 9’s tribute solo
HERE’S THE SECOND half of my original 16-bar solo, entitled “Americana,” which was inspired by Carlos Santana’s rock in-strumental classic “Europa (Earth’s Cry Heaven’s Smile),” Gary Moore’s “Still Got the Blues (For You)” and jazz saxophonist Michael Brecker’s harmonically sophisti-cated soloing style. As I stated in Chapter 9, the chord progression over which this solo is played is structurally similar to that of the jazz standard “Autumn Leaves,” which is a circular eight-chord sequence that moves diatonically (meaning the root motion is scale based) through the cycle of fifths/fourths (ei-ther descending fifths or ascending fourths). It’s written in the guitar-friendly key of C major/A minor, with the melody superimpos-ing harmonic extensions and tensions atop the basic underlying chords.
One advantage to soloing over a slow tempo like this is that you have more time, or musical space, to subdivide each beat into smaller, faster rhythms, which gives you more phrasing options with which to express yourself. Whatever the tempo, the more technical facility, or chops, you have, the more you’re able to subdivide, so slower tempos offer non-virtuosos (such as yours truly) a welcome opportunity to dig deeper into the rhythmic dimension with less tech-nical limitation. (“Hey, I can actually handle playing 16th-note triplets at this tempo, and maybe even some 32nd notes!”)
When crafting this melody, my goal was to have the second eight-bar section (bars 9–16) build upon the first and sound more dramatic and climactic. One way in which I achieved this was by employing denser, “busier” rhythms, namely long, mostly unbroken streams of 16th notes (bars 10–12), followed by 16th-note triplets (bars 13 and 14), which build rhythmic tension. If you look at bars 1–8 (from Chapter 9), you’ll see that I liberally employed rests and “sparser” rhythms, such as quarter notes and eighth notes.
Another musical device I used to help bring this “story” to a climax is that of climbing into the upper register (pitch range) in the final two bars, as this builds melodic intensity. (“Start low, end high” is a good, tried-and-true concept to keep in
mind when building a melody.) This ap-proach, when combined with some wailing, David Gilmour–esque string bends (à la his second solo in Pink Floyd’s “Comfortably Numb”) seems to be particularly effective on the electric guitar, especially with the aid of overdrive/distortion, which increases sustain. Notice how, in bar 15, I resolve the preceeding bar’s long 16th-note triplet run with a cool and unusual half-step bend, from Bf, the diminished fifth of E, up to B, the ninth or A minor. As I’ve said before, voice-leading knowledge is an invaluable thing for an improviser to have!
Other noteworthy sections include the enigmatic effect created in bar 9 by the use,
over Dm7, of the minor seven, C (beat one), followed by the major seven, Cs (beat three) and the chromatically descending voice-leading thread on the G string—D moving to Cs, then C, resolving finally to B in bar 10; bar 10’s use, over G7, of the eight-tone G half-whole diminished scale (G Gs Bf B Cs D E F), within which lives the spooky-sounding E major triad (E Gs B) played across beat one; the application of upper and lower neighbor tones, both diatonic and chromatic, to C ma-jor (C E G) and F major (F A C) arpeggios in bars 11 and 12; and the use of the B Locrian mode (B C D E F G A) in the triplet run over Bm7f5 in bar 13, followed in bar 14 by E super-Locrian (E F G Gs Bf C D) over E7s9.
FIG. 1
Chapter 10
![[Guitar - Music Theory] - Guide to Composing and Improvising](https://img.pdfslide.net/doc/110x75/577cd33c1a28ab9e7896f72f/guitar-music-theory-guide-to-composing-and-improvising.jpg)
