1 CONTENTS Aout the Author... 4 ntroduction... 5 The A Lessons Chords and Harmony Chapter 1 Lesson 1A: The Progression...6 The Lessons mprovisation Lesson 1: mprovising Over Diatonic Progressions... 8 Lesson 2A/2: Diatonic Arpeggios...12 Chapter 2 Lesson 1A: Altered Chords...18 Dominant 7th 5 Chords...18 The Closer You Are...19 Lesson 2A: More Altered Chords...21 Dominant 7 # 5 Chords...21 Funny...21 Lesson A: Altered Chords, Continued...24 Dominant 7 9 Chords...24 Friendly...25 Lesson 4A: More Altered Chords...0 Dominant 7 # 9 Chords...0 y the Light of the Moon...0 Lesson 5A: Chords with Comined Alterations...4 Lesson 6A: More Chords with Comined Alterations...9 Lesson 7A: Other mportant Chords and Fingerings...42 Slash Chords...42 Fingerings...4 Lesson 1: Practicing Arpeggios...20 Lesson 2: Progressions for Practicing Arpeggios...22 Lesson : Creating Lines No Spelling Out the Changes...26 Swing Feel...26 Lesson 4: Creating Lines No Neighor Tones Approaching the Root...1 Lesson 5: Creating Lines No....6 Neighor Tones Approaching the rd...6 Lesson 6: Creating Lines No Neighor Tones Approaching the 5th...40 Lesson 7: Creating Lines No Neighor Tones Approaching the 7th...45 Chapter Lesson 1A: Comping Swing Feels...47 Lesson 2A: Comping Latin Feels...50 Lesson A: Comping Funk Feels...52 Lesson 4A: Comping allads...54 Lesson 1: Major 7th Extensions...49 Lesson 2: Diminished Extensions...51 Lesson : Ascending Lines from Chord Tones...5 Lesson 4: Descending Lines from Chord Tones Contents
2 Chapter 4 The A Lessons Chords and Harmony Lesson 1A: Chord Connections...56 Lesson 2A: Chord Connections No String Set String Set String Set Lesson A: Chord Connections No Moving Across the String Sets...66 Lesson 4A: Chord Connections No String Set String Set String Set The Lessons mprovisation Lesson 1: Learning Licks No Major Chord Licks Lesson 2: Learning Licks No Minor Licks Lesson : Learning Licks No Dominant Licks...68 Lesson 4: Learning Licks No mi7 5 Licks...72 Chapter 5 Lesson 1A: The lues Progression...74 Lesson 1: Soloing Over lues Progressions...78 C Minor Pentatonic Fingerings...78 C lues Scale Fingerings...79 C Mixolydian Fingerings...79 Sample lues Solos...80 lues Solo No lues Solo No lues Solo No Chapter 6 Lesson 1A: Rhythm Changes...82 Rhythm Lesson 1: Soloing Over Rhythm Changes...84 Rhythm Solo Chapter 7 Lesson 1A: Turnarounds...86 Lesson 1: Soloing Over Turnarounds...87 Chapter 8 Lesson 1A: Chord Solo...88 Foggy Lesson 1: Single-Note Solo...90 Single Notes in the Mist CODA A Medley of Suggestions and Musical Concepts Playing With ood Tone...92 More Aout Practicing...92 The Value of Practicing Along a Single String...94 Singing Along With mprovised Lines...95 Listening to the reats...95 Jazz Artists...96 Contents
3 Lesson 1: mprovising Over Diatonic Progressions The rule for improvising over diatonic progressions is quite simple, at least at this stage of the game: use the major scale of the chord. f the progression is mi7 C7 FMa7, improvise using the F Major scale; for Cmi7 F7 Ma7, use the major scale, etc. e sure the chords in the are not altered. n other words, all chords with a raised or lowered 5th ( 5, 5), 9th ( 9, 9) or 11th ( 11, 11) would make this rule inapplicale, ecause these altered tones are not diatonic (not in the major scale). After we get a handle on using the major scale, we will learn how to handle non-diatonic situations. Example will help you get used to the sound, and train you to get around from key to key. Use the CD that accompanies this ook, or record the chord progressions, and play along. Simply practice improvising over the entire progression without stopping. Each progression is repeated twice and then moves on to the next key. Use all the major scale fi ngerings that you know in all areas of the fi ngeroard. For some general tips on how to get started improvising, check out the CODA section of eginning Jazz uitar (page 85). &4 &4 4 È A ÿ &.. 8 ntermediate Jazz uitar &. E È D ÿ. È Fÿ &.. C7 CÈ ÿ &.. &. FÈ F 7 A 7 7 &.. E 7 E ÿ.
4 Lesson 6: Creating Lines No. 4 NEhOR TONES APPROAChN ThE 5Th The following are examples of neighor tones approaching the 5th. Memorize some or all of them, transpose them to all the other keys and use them in your improvisations One Half Step elow the 5th &4 4 # J n = Neighor tones Œ One Half Step Aove the 5th 4 &4 4 J n j. n w Multiple Neighor Tones: Half Step Aove the 5th, Half Step elow the 5th &4 4 # # n n n # Multiple Neighor Tones: Whole Step Aove the 5th, Half Step elow the 5th &4 4 # # # 40 ntermediate Jazz uitar
5 SAMPLE LUES SOLOS There is a ig difference etween learning improvisational tools, such as scales, and actually putting them to use. At fi rst, we tend to organize them into patterns in different areas of the fi ngeroard. n actual practice, we usually comine the various tools and utilize the entire fi ngeroard. This is ecause the ideas we hear in our heads don t always conform to organized fi ngering patterns. n the sample lues solos that follow, you will fi nd that the scales eing used jump around to various parts of the fi ngeroard. Study these solos and memorize the parts that you enjoy so you can use them in your own solos. 4 &4 Minor pentatonic throughout C9 4 & C9. J LUES SOLO NO. 1 n ( ) Eñ & J. Œ Œ C9 Dñ = Target chord tones 44 LUES SOLO NO. 2 4 A A n EÈ ( ) A &4 A lues Scale A lues Scale # # #. A È C # È & J. J # n n j n. D # (A lues Scale) mi7 arp. C#mi7 arp. F # ï & A n E9 E Ma arp. A lues Scale n E7 w 80 ntermediate Jazz uitar