BEBOP GUITAR IMPROV SERIES. Scale & Arpeggio Book FOR VOLUME 1 & 2 RICHIE ZELLON. 2nd Edition. Cover Design by Robert Stralka

Transcription

1

2 BEBOP GUITAR IMPROV SERIES Scale & Arpeggio Book FOR VOLUME & RICHIE ZELLON nd Edition Cover Design by Robert Stralka 0 Richie Zellon. All Rights Reserved. Band in a Box is the registered trademark of PG Music Inc. No parts of this publication, except where explicitly noted, may be reproduced or transmitted, in any form or by any means, digital, mechanical, photocopying, recording, or otherwise, without prior written permission of the author. Unauthorized uses are an infringement of the U.S. Copyright Act and are punishable by law.

3 ABOUT THE GUITAR IMPROV SERIES Developed over a 0 year period by its author and used as an instructional method in various music schools, The Bebop Guitar Improv Series consists of two volumes with multi-media materials. It is intended as a guide to lead both the player with little or no formal improvisation skills, as well as the player who does so exclusively by ear, on the journey to becoming a seasoned jazz improviser. Each volume is comprised of books: the Lesson Book, Workbook, and Scale & Arpeggio Book. Volume is devoted to using the blues tonality as the primary vehicle to teach the rudimentary principles of jazz improvisation in theory and practice. It initially focuses on learning how to systematically develop a vocabulary to improvise over chord changes from a guitar-oriented technical perspective. Four varieties of bar blues are covered in order of difficulty:. Traditional Blues (I-IV-V),. Jazz Blues (with II-V cadences),. Minor Blues. Bird Blues (Charlie Parker style). Each new progression is taught throughout a series of etudes, and gradually introduces one or more of the chord/scales required to improvise over most jazz standards. Various melodic concepts and syncopated rhythms commonly used in the swing/bebop idioms, are taught as well. Volume builds on the principles explored in Volume and explores various applications over «Rhythm Changes», as well as major, minor and extended tonalities. The technical focus is on multi-positional playing using the entire fretboard. Be sure to check out the Bebop Guitar Improv Series Online! Featuring 0+ instructional videos, it is the perfect compliment to the book series. For more info please visit NOTE: This series focuses solely on the development of linear improvisation. A working knowledge of basic 7th chords is presumed throughout, as guitar oriented instruction on their construction is beyond its scope.

4 ABOUT THE AUTHOR Richie Zellon, guitarist, composer, and music educator, has held teaching positions as professor of jazz guitar at Florida International University (Miami) the University of South Florida (Tampa) The Music Workshop (Orlando) and his own venue, Miami Jazz Guitar. With several critically acclaimed recordings under his name, Zellon has recorded and performed with some of the most influential musicians both in the mainstream and Latin jazz genres. Among them, Paquito D Rivera, David Leibman, Jerry Bergonzi, Sam Rivers, George Garzone, Danilo Perez, Edward Simon, Jeff Berlin, Abraham Laboriel, Oscar Stagnaro, Alex Acuna and Ignacio Berroa to name a few. Due to his innovations in the field of jazz and latin music he has been profiled in several important books such as «The Great Jazz Guitarists» by Scott Yanow, «The Jazz Guitar: Its Evolution, Players and Personalities Since 900» by Maurice J. Summerfield, «El Diccionario de Latin Jazz» by Nat Chediak, «Caliente: A History of Latin Jazz» by Luc Delanoy and «Jazz Jews»by Michael Gerber. For almost a decade, he wrote an instructional column for Jazz Improv magazine. In addition to his dedication to mainstream jazz, his ongoing research on the music of various Latin American cultures and their fusion with contemporary music has been a sought after topic by musicians at international clinics and workshops as well. For more information please visit

5 CONTENTS part : the heptatonic system of scale fingerings Understanding The Heptatonic System of Scale Fingerings...p The 7 Fingering Models: Understanding Vertical Scale Relationships... p 0 Vertical Cycle of Heptatonic Scale Fingerings... p Horizontal Cycle of Heptatonic Scale Fingerings... p Overlapping Pattern Shifts... p part : scale and arpeggios How to Use This Book... p About «Positions» & «Finger Extensions»... p Procedure to Learn & Practice The Heptatonic Fingering Patterns with the «Bebop Improv Series-Lesson Book»... p 7 Procedure to Learn & Practice The Heptatonic Fingering Patterns for «Self Study»... p 9 Ionian Fingering Patterns... p Ionian- Cycle of Fifths Exercises... p 8 Mixolydian Fingering Patterns... p 9 Mixolydian- Cycle of Fifths Exercises... p Dorian Fingering Patterns... p 7 Dorian- Cycle of Fifths Exercises... p Aeolian Fingering Patterns... p Aeolian- Cycle of Fifths Exercises... p Locrian Fingering Patterns... p Locrian- Cycle of Fifths Exercises... p 0 Super Locrian Fingering Patterns... p Super Locrian- Cycle of Fifths Exercises... p 8 Melodic Minor Fingering Patterns... p 9 Melodic Minor- Cycle of Fifths Exercises... p 7 part : composite fingerings Horizontal Line Development Using Composite Fingerings... p 78

6 PART THE HEPTATONIC SYSTEM OF SCALE FINGERINGS

7 BEBOP GUITAR IMPROV SERIES. Scale & Arpeggio book understanding the heptatonic system of scale fingerings The system we are about to learn is based on the premise that any heptatonic (seven note) scale can be played in 7 different positions covering the entire range of the guitar s fretboard, thus encompassing every form of execution possible in any register! NOTE: This is not to be confused with the 7 greek modes or inversions generated by each scale. I am here referring to the fact that throughout the fretboard there are 7 individual positions on which we can develop any heptatonic scale always starting on the same root. For those not familiar with the term «position», it is determined by the fret your index finger is on while performing a given scale. Therefore if your index is fixed on the th fret (regardless of the string), we say you are in th position. The range of a position is determined by how far you can extend the remaining fingers without moving your index forward. The practical application of this system entails working out a set of unique fingerings for each of the 7 positions. These fingerings will be referred to here as «patterns» due to the fact that they will preserve their unique characteristics regardless of what key or mode they are played in. Each pattern is defined by the finger that plays the root of the scale on a given string. The pattern numbering is crucial for pinpointing precise locations on the fretboard without having to mention the fret position, string and specific fingering. This will be evident once you are familiarized with the characteristics represented by each pattern number. I assume that some guitarists exploring this system have already been exposed to different scale fingerings through various methods. Therefore before proceeding, I would like to address a common concept that usually raises some questions when first starting out with this system. Some methods teach you to shift positions in the midst of playing a scale and thus synthesize or more positions into one fingering. This is the case with the note per string fingerings that are popular nowadays due to the fact that they allow for economy picking. However in keeping with the tradition of the master players who pioneered the bebop language on the guitar, I believe it is crucial that we first study their idiomatic approach to executing scales before attempting to play what I like to refer to as «composite» fingerings. The approach employed by the majority of bebop guitar masters is based on the C-A-G-E-D method of relating scales to chords. It is a known fact that such greats as Joe Pass, Tal Farlow, and Barney Kessel endorsed this method. For those not familiar with the concept, it uses the basic major open chords - C, A, G, E and D (hence its name), as the primary shapes from which all scale fingerings are derived. This method enables the player to mentally envision a unique scale fingering within each and every chord shape. Of course, the opposite holds true as well. Consequently, each different scale fingering will yield several specific chord voicings. The system of chord-scale relationships you are about to explore, is merely an extension of the C-A-G-E-D method. The benefits of attaining this harmonic perspective on the fretboard will be invaluable when improvising through busy chord changes as well as provide a technical foundation to develop sophisticated chord melodies. While playing a scale that covers more than one position is useful for playing over an extended range horizontally, I believe that it is first essential to learn and understand all the proper fingerings necessary to

8 PART the heptatonic system of fingerings master «stationary» playing in a vertical fashion (eg. staying in the same position), a task that many guitar methods fail to teach. This will enable us later on to incorporate note per string fingerings as well as explore alternative varieties that encompass multiple positions. May I add that this system is a step in the right direction for those guitarists whose improvisational lines are solely dictated by a select few fingerings that lay comfortably under their hands; this in contrast to what they truly intend to play, but don t due to a lack of fingering resources. Before proceeding, may it remain clear that it is by no means my intention to do away with «positions» nor the wisdom imparted by the early masters of the instrument. This is a system developed to organize chord scale fingerings and help us visualize their relationship to each other anywhere on the fretboard, in order to better understand and facilitate their execution. So with this said, we can proceed and define the seven heptatonic fingering patterns. As I explained initially, each pattern number represents a string and specific finger which will always play the root of a given scale on said string. Remember this applies to any scale or mode regardless of key or harmonic function (major, minor, etc.). The logic behind the numbering and its specific order will be revealed when introducing the horizontal cycle of fingerings on p. of this section. The chart below summarizes the 7 fingerings which comprise the heptatonic system. Please take the time to memorize the defining characteristics of each pattern as we will refer to them throughout the remainder of this study. CHART OF HEPTATONIC FINGERING SYSTEM Pattern Starting Finger (on root) String 7 index middle (*ring) pinky index middle (*ring) pinky index * Patterns & only employ the ring finger to start scales that have a half step between the root and nd degree (eg. Locrian, Super Locrian, Phrygian, etc.) 7

9 BEBOP GUITAR IMPROV SERIES. Scale & Arpeggio book Below is a diagram of a fretboard with the starting points for the 7 fingerings in the key of F. I have chosen to display the key of F here only because Pattern starts on the lowest string and fret of the guitar, thus making it easier to visualize the remaining starting points throughout the fretboard. You will find that this system enables you to organize and classify both melodic and harmonic fretboard applications in many convenient ways. For instance, we can map out the fingerings for an intricate chord progression, a task which will help us follow a logical path on the fingerboard when improvising. Eventually we will discover that each chord voicing we know is derived and therefore directly linked to one of the 7 fingering patterns. This is a tremendous aid in helping us visualize and understand the relationship between the scale and the harmonic structure we are currently playing; an advantage otherwise only enjoyed by keyboard players. To further reinforce the concept, next we will review the defining characteristics of each fingering pattern followed by a series of examples. You are not expected to understand how to play each mode or scale for now. You will be introduced to the modes in detail for each pattern further on. However, before undertaking that task it is crucial that you be familiar with the concept discussed here (Note: it is taken for granted that you are already familiar with the names of the notes throughout the entire fretboard): *Pattern always starts with the index finger playing the root on the th string, regardless of what mode or key. Therefore, if I ask you to play G mixolydian, you would start the scale with your index finger on the rd fret of the th string. If I ask you to play C dorian, you would start the scale with your index on the 8th fret of the th string. Finally, if I ask you to play E ionian, you would start the scale once again with your index finger this time on the th fret of the th string. 8

10 PART the heptatonic system of fingerings *Pattern always starts with the middle finger playing the root on the th string, unless playing a scale which has a half step between its root and nd degree, in which case it would employ the ring finger. Therefore, if I ask you to play A locrian, you would start the scale with your ring finger on the th fret of the th string. On the other hand, if I ask you to play C dorian, you would start the scale with your middle finger on the 8th fret of the th string. Finally, if I ask you to play E ionian, you would start the scale once again with your middle finger this time on the th fret of the th string. *Pattern always starts with the pinky finger playing the root on the th string, regardless of what mode or key. Therefore, if I ask you to play A mixolydian, you would start the scale with your pinky finger on the th fret of the th string. If I ask you to play C dorian, you would start the scale with your pinky finger on the 8th fret of the th string. Finally, if I ask you to play E ionian, you would start the scale again this time with your pinky finger but on the th fret of the th string. *Pattern always starts with the index finger playing the root on the th string, regardless of what mode or key. Therefore, if I ask you to play D mixolydian, you would start the scale with your index finger on the th fret of the th string. If I ask you to play F dorian, you would start the scale with your index finger on the 8th fret of the th string. Finally, if I ask you to play A ionian, you would start the scale again this time with your index finger but on the th fret of the th string. *Pattern always starts with the middle finger playing the root on the th string, unless playing a scale which has a half step between its root and nd degree, in which case it would employ the ring finger. Therefore, if I ask you to play D locrian, you would start the scale with your ring finger on the th fret of the th string. On the other hand, if I ask you to play F dorian, you would start the scale with your middle finger on the 8th fret of the th string. Finally, if I ask you to play A ionian, you would start the scale again this time with your middle finger but on the th fret of the th string. *Pattern always starts with the pinky finger playing the root on the th string, regardless of what mode or key. Therefore, if I ask you to play D mixolydian, you would start the scale with your pinky finger on the th fret of the th string. If I ask you to play F dorian, you would start the scale with your pinky finger on the 8th fret of the th string. Finally, if I ask you to play A ionian, you would start the scale again this time with your pinky finger but on the th fret of the th string. *Pattern 7 always starts with the index finger playing the root on the th string, regardless of what mode or key. Therefore, if I ask you to play E mixolydian, you would start the scale with your index finger on the nd fret of the th string. If I ask you to play A dorian, you would start the scale with your index finger on the 7th fret of the th string. Finally, if I ask you to play C ionian, you would start the scale again this time with your index finger but on the 0th fret of the th string. 9

11 BEBOP GUITAR IMPROV SERIES. Scale & Arpeggio book the 7 fingering models: understanding vertical scale relationships When we solo over a chord progression we have the option to understand the fretboard from a horizontal or vertical perspective. For instance, when playing over just one chord or a modal cadence, it is easier to move horizontally. On the other hand when playing over a chord progression that is constantly changing, it is advisable to make the transition from one chord to the next in a vertical fashion. This enables us to connect our lines without leaving the position we are currently in, thus making it technically more practical to transition smoothly over the changes. However, playing vertically doesn t mean that we stay confined to one position or a limited pitch range throughout the entire piece. We can shift into other positions whenever we feel fit to do so, either after a rest or by pivoting into a neighboring position. In the course of this study we will learn that there are 7 quadrants throughout the fretboard that we can move in and out of when improvising over any chord progression. Each one of these quadrants is centered around one of the 7 heptatonic fingering patterns. We can liken each quadrant to a solar system with the central pattern acting as its sun while the remaining patterns act as planets that revolve around it. From here on we will refer to each of these seven «solar systems» as fingering models. To illustrate this concept, if we are soloing over a I7-IV7-V7 bar blues progression we might choose to start with a mixolydian scale using pattern as our fingering over the I7 chord. Whatever pattern is assigned to the I chord becomes the center of the fingering model or in the context of our previous analogy, its «sun». Conversely, if pattern is assigned to the I chord we are in «fingering model». This will be the case as long as we remain in the current position. If doing so, pattern mixolydian would be our closest choice when transitioning to the IV7 chord. Likewise, as long as we remain in «fingering model» when playing over the V7 chord, a pattern mixolydian scale would be our logical choice. To apply this concept further, at some point during our solo we could shift positions and assign pattern 7 to our I chord fingering. This move will take us up the fretboard allowing us to cover a higher register. As a result we would now be in «fingering model 7». Therefore, when playing over the IV chord we will now employ pattern and when playing over the V chord, pattern. So if you can grasp this, you ll understand that each one of the 7 fingering patterns has its own unique set of vertical relationships to the other fingerings.the following charts map out the vertical fingering relationships in some essential chord progressions and cadences. Let s examine the 7 fingering models for a simple chord blues progression first... CHART : THE 7 FINGERING MODELS for a I-IV-V Bar Blues Progession Fingering Model I7 chord IV7 chord V7 chord # pat. pat. pat. # pat. pat. pat. # pat. pat. pat.7 # pat. pat.7 pat. # pat. pat. pat. # pat. pat. pat. #7 pat. 7 pat. pat. 0

12 PART the heptatonic system of fingerings Below is a visual fretboard representation of the vertical scale relationships for a I-IV-V blues progression based on the previous chart. The following example maps out the 7 fingering models in the key of E where the I chord is E7 (E mixolydian), the IV chord is A7 (A mixolydian) and the V chord is B7 (B mixolydian). fretboard map of fingering models for a blues in e Fingering Model: I Chord pat. 7 / root on th str. w/ index I Chord pat. / root on th str. w/ pinky I Chord pat. / root on th str. w/ middle I Chord pat. / root on th str. w/ index I Chord pat. / root on th str. w/ pinky I Chord pat. / root on th str. w/ middle I Chord pat. / root on th str. w/ index IV Chord pat. / root on th str. w/ pinky IV Chord pat. / root on th str. w/ middle IV Chord pat. / root on th str. w/ index IV Chord pat. 7 / root on th str. w/ index IV Chord pat. / root on th str. w/ pinky IV Chord pat. / root on th str. w/ middle IV Chord pat. / root on th str. w/ index V Chord pat. / root on th str. w/ index V Chord pat. / root on th str. w/ pinky V Chord pat. / root on th str. w/ middle V Chord pat. / root on th str. w/ index V Chord pat. 7/ root on th str. w/ index V Chord pat. / root on th str. w/pinky V Chord pat. / root on th str. w/ middle Chart maps out the fingering models of important major and minor cadences. CHART : FINGERING MODELS IImin7-V7-Imaj7-VImin7 IImin7b-V7b9-Imin7-VImin7b Fingering Model II V I VI # pat. pat. pat. pat. # pat. pat. pat. pat.7 # pat. pat.7 pat. pat. # pat. pat. pat. pat. # pat. pat. pat. pat. # pat. 7 pat. pat. pat. #7 pat. pat. pat.7 pat. In conclusion we can derive the following principle from the heptatonic vertical pattern relationships: You should be able to access 7 scales with different roots without physically moving out of position! Because there are a total of notes in our musical system, this leaves us with inaccessible scales in any given fingering model. They become available to us by moving a half step, either down or up, into a neighboring position or new fingering model.

13 BEBOP GUITAR IMPROV SERIES. Scale & Arpeggio book vertical cycle of heptatonic fingerings You are probably aware that tonal harmony in the western hemisphere is largely based on the descending cycle of ths. For instance, the common II-V-I cadence (eg. Dm7 - G7 - Cmaj7) which is so frequently found in jazz standards is a perfect example. Of course there are many variations and substitutions of this progression but most are likely permutations of this cycle. When improvising over such a progression, it is usually advisable to play vertically (staying in position) at the point of transition between chords. As previously mentioned, this will minimize any physical movement and will aid you in achieving the smoothest voice leading possible. If you are familiar with the 7 heptatonic fingerings as well as the notes within each region of the fretboard, this should soon become an effortless task. The following diagram illustrates a formula that will ensure that we always make the transition from one scale to the next in said cycle, in the most efficient manner. The numbers represent the fingering patterns we have learned. CYCLE OF DESCENDING THs : : C F Bb Eb Ab Db Gb B E A D G : If we assign C to pattern the next note in the cycle, which is F, would be played using pattern, Bb would then be played using pattern 7, Eb would be played with pat., Ab with pat., Db with pat., Gb with pat., B with pat., E with pat., A with pat. 7, D with pat., and G with pat.. No matter what note in the cycle of descending ths you start with, the sequence of fingering patterns will always be the same. Let s try a different example: If we assign A to pattern the next note in the cycle, which is D, would be played using pattern, G would then be played using pattern 7, C would be played with pat., F with pat., Bb with pat., Eb with pat., Ab with pat., Db with pat., Gb with pat. 7, B with pat., and E with pat..

14 PART the heptatonic system of fingerings horizontal cycle of heptatonic fingerings After learning the fundamental technique of how to improvise vertically over chord changes, the next step is to horizontally link together the 7 patterns of any given scale. When you accomplish this task, you will view the fretboard as one large scale! This will open up new technical possibilities that will enable you to expand your melodic range as well as offer new ways of playing various lines or ideas that might not best lend themselves to be executed vertically. If you glance back at the fretboard map of vertical scale relationships for the blues progression, you will notice that the I chord as it moves from pattern 7 on the nd fret, descends in sequential numerical order concluding with pattern on the th fret. This illustrates the mathematical principle on which the specific assignment of pattern numbers is based on. As a result, a horizontal cycle of the 7 patterns is set into motion. Depending on whether you are ascending or descending, the numerical attribute of the patterns will move sequentially in the opposite direction. That is, if you are linking the same scale going up the fretboard, the numbers for each finger pattern will descend accordingly and vice versa. The Laws that govern the Heptatonic Horizontal Cycle of Fingerings are: - When going up the fretboard within the same key, the fingering patterns descend counterclockwise in numerical order. ASCENDING index plays root on th str. index plays root on th str. middle plays root on th str. pinky plays root on th str. pinky plays root on th str. middle plays root on th str. index plays root on th str.

15 BEBOP GUITAR IMPROV SERIES. Scale & Arpeggio book - When going down the fretboard within the same key, the fingering patterns ascend clockwise in numerical order. DESCENDING index plays root on th str. index plays root on th str. middle plays root on th str. pinky plays root on th str. pinky plays root on th str. middle plays root on th str. index plays root on th str. overlapping pattern shifts Once you understand and put into practice the horizontal cycle of heptatonic fingerings, you ll most likely notice that there are one or more notes that overlap between every adjacent patterns. These overlapping notes can act as a «door» between the adjacent patterns, thus enabling us to shift from one fingering to another and as a result expand our reach into a new register. Therein lies the key to multi-positional playing and what I like to refer to as «composite fingerings». These fingerings which consist predominantly of notes per string, adjoin any overlapping patterns. They can be summarized as follows: -Pattern overlaps with Pattern 7 when moving up and vice-versa when moving down. -Pattern 7 overlaps with Pattern when moving up and vice-versa when moving down. -Pattern overlaps with Pattern when moving up and vice-versa when moving down. -Pattern overlaps with Pattern when moving up and vice-versa when moving down. -Pattern overlaps with Pattern when moving up and vice-versa when moving down. -Pattern overlaps with Pattern when moving up and vice-versa when moving down. 7-Pattern overlaps with Pattern when moving up and vice-versa when moving down. For examples of composite fingerings, please refer to Part of this book.

16 PART SCALES & ARPEGGIOS

17 BEBOP GUITAR IMPROV SERIES. Scale & Arpeggio book how to use this book This book was designed to be used: ) In conjunction with the Bebop Guitar Improv Series- Lesson Book or, ) As a «stand alone» reference book for self-study. In the upcoming pages you will find different sets of instructions on how to best learn and practice the featured scales and arpeggios. Please refer to the set of instructions that corresponds to your individual needs. about positions & finger extensions Before you begin, I would like to briefly clarify the term «position» as used in the pages that follow. A position derives its name from the fret that your index finger plays. For example, if your index is on the th fret, we say you are in th position. Depending on the configuration of the scale, each of the remaining fingers are assigned to a fixed fret within not more than a fret span. What occasionally creates confusion for the new student regarding the definition of positions, is that there are scales that require that the index temporarily shift back a fret from its current position to reach one or two notes in the scale. We call this a temporary finger «extension», however the original position number remains in effect. The following example illustrates this concept within an F Mixolydian pattern. Notice how, in spite of it being in 7th position, it temporarily shifts into th position for note on the th string and note on the st string. F Mixolydian Pattern

18 PART SCALES & ARPEGGIOS - procedure to learn and practice the heptatonic fingering patterns with the «bebop improv series- lesson book». Memorize the fingering pattern for each mode in the order prescribed in the Lesson book. As you play each pattern pay special attention to make sure you are using the proper fingers. The proper fingering when playing or less notes within a fret range is finger per fret: When notes are spread over a fret range on string, we have fingering options: index, middle and pinky a) FRET: FINGER: i m p FRET: FINGER: i m r p index, ring and pinky b) FRET: FINGER: i r p. Be aware of what scale degree you are on as you play it (ie., 7, etc). Create a mental picture of where it lies in relationship to the closest root of that given pattern. This will aid you in recognizing interval shapes. With practice, in due time your brain will aurally recall each interval as a unique tonal color thus enabling you to internally hear what you are about to play. This is crucial if you want to improvise!. After learning the scale for the given mode & pattern, go back and learn the 7th chord arpeggio that is derived from it. When playing the arpeggio, use the same fingering prescribed for the scale. Once again, be sure you are fully aware of what chord tone you are playing and map out a mental picture of each pattern s unique fingering layout.. Practice the pattern (scale and arpeggio) starting on the highest available degree on the st string and descending to the lowest available degree on the th string. When first learning a scale, you do so starting on it s lowest root situated on the th, th or th string. However, in a real scenario you will rarely begin a solo on the root or a low string. In addition you don t want to always have to start on the root in order to find your way around the scale. This exercise will help remedy that problem as well as reinforce your knowledge of what scale degrees make up the high register of each pattern. NOTE: All fingerings will be taught in the key of F simply because it is the lowest fretted note we can play and start on the th string of the guitar. 7

19 BEBOP GUITAR IMPROV SERIES. Scale & Arpeggio book order for learning the scales with the «bebop improv series- lesson book» If you glance forward at the scales that we will be learning, you will notice that there are only 7 scales or modes being taught in the entire book. Why only 7? To cover every scale/mode in existence would consume lots of space, not to mention the fact that a great deal of the information that is relevant to the goal at hand would not only be redundant but in various cases impractical. Consequently we are going to learn only 7 very important scales that will serve as the foundation to learn any other scale by simply altering or notes. Although the scales featured in the upcoming pages are headed by the Ionian mode, we will begin our study with the Mixolydian mode and adjust the procedure according to the order assigned in the Lesson book. Even though this is not necessarily the easiest order to learn them in, it is required in order to play over the jazz blues progressions introduced in the Lesson book. Once the initial scale formulas are mastered (mixolydian & dorian), they in turn will serve as our point of reference to learn the remaining scales. Here is a breakdown of the procedure we will employ to assimilate the 7 scales in the upcoming pages: SCALE FORMULA - MIXOLYDIAN: DORIAN: ( flat the to turn mixolydian to dorian) - SUPER LOCRIAN: - b - # - - b - b - ( flat the,,, & to turn mixolydian to super-locrian. Note: the will now become the ) - LOCRIAN: - b b - b - ( flat the, & to turn dorian to locrian) - IONIAN: ( raise the 7 to turn mixolydian to ionian) - AEOLIAN: b - ( flat the to turn dorian to aeolian.) 7- MELODIC MINOR: (raise the to turn dorian to melodic minor) NOTE: If your level of technical proficiency is intermediate to advanced, please feel free to explore the Stand Alone instructions on the following page. 8

20 PART SCALES & ARPEGGIOS - procedure to learn and practice the heptatonic fingering patterns for «self-study». Memorize the 7 fingerings for one mode at a time in the order introduced in this section. As you play each pattern pay special attention to make sure you are using the proper fingers. The proper fingering when playing or less notes within a fret range is finger per fret: FRET: FINGER: i m r p When notes are spread over a fret range on string, we have fingering options: index, middle and pinky a) FRET: FINGER: i m p index, ring and pinky b) FRET: FINGER: i r p. Be aware of what scale degree you are on as you play it (ie., 7, etc). Create a mental picture of where it lies in relationship to the closest root of that given pattern. This will aid you in recognizing interval shapes. With practice, in due time your brain will aurally recall each interval as a unique tonal color thus enabling you to internally hear what you are about to play. This is crucial if you want to improvise!. After learning the scales for that given mode, go back and learn the 7th chord arpeggios that are derived from it. When playing the arpeggio, use the same fingering prescribed for the scales. Once again, be sure you are fully aware of what chord tone you are playing and map out a mental picture of each pattern s unique fingering layout.. Practice each pattern (scale and arpeggio) starting on the highest available degree on the st string and descending to the lowest available degree on the th string. When first learning a scale, you do so starting on it s lowest root situated on the th, th or th string. However, in a real scenario you will rarely begin a solo on the root or a low string. In addition you don t want to always have to start on the root in order to find your way around a scale. This exercise will help remedy that problem as well as reinforce your knowledge of what scale degrees make up the high register of each pattern.. Practice all 7 patterns (scales and arpeggios) for each mode horizontally (across the fretboard) thru the cycle of descending ths. This is explained in full detail in the section after covering all the fingerings for each mode.. Practice all 7 patterns (scales and arpeggios) for each mode vertically (staying in position) thru the cycle of descending ths within each of the four-fret zones (zone : frets - / zone : frets -8 / zone : frets 9-). This is also explained in full detail in the section after covering all the fingerings for each mode. All fingerings will be taught in the key of F simply because it is the lowest fretted note we can play on the th string of the guitar. This will enable us to start with pattern and play all 7 fingerings horizontally across the entire fretboard in sequential order (,7,,,,,). After mastering the horizontal application of each mode throughout the fretboard, we will practice its vertical application in all keys by moving through the cycle of descending ths in a stationary position. 9

21 BEBOP GUITAR IMPROV SERIES. Scale & Arpeggio book order for learning the scales for «self study» If you glance forward at the scales that we will be learning, you will notice that there are only 7 scales or modes being taught in the entire module. Why only 7? To cover every scale/mode in existence would consume lots of space, not to mention the fact that a great deal of the information that is relevant to the goal at hand would not only be redundant but in various cases impractical. Consequently we are going to learn only 7 very important scales that will serve as the foundation to learn any other scale by simply altering or notes. We will begin with the Ionian mode commonly known as the major scale and utilize it as our initial frame of reference to learn the next subsequent scale. This will be achieved by just altering one note within the scale. Once this nd scale is mastered, it in turn will serve as our point of reference to learn a completely new scale again by just altering one note. Here is a breakdown of the cumulative procedure we will employ to easily assimilate the 7 scales in the upcoming pages: SCALE FORMULA - IONIAN: MIXOLYDIAN: ( flat the 7 to turn ionian to mixolydian) - DORIAN: ( flat the rd to turn mixolydian to dorian) - AEOLIAN: b - ( flat the to turn dorian to aeolian) - LOCRIAN: - b b - b - ( flat the & to turn aeolian to locrian.) - SUPER LOCRIAN: - b - # - - b - b - ( flat the to turn locrian to super locrian. Note: The will now become the.) 7- MELODIC MINOR: (raise the to turn dorian to melodic minor) 0

22 ionian fingerings heptatonic scale fingerings Ionian Mode (natural major scale) formula: - (ext. 9) - - (passing note) - - (ext. ) - 7 Learn the following 7 fingerings going up the neck in the given order: i = index m = middle r = ring p = pinky Ionian Fingering Pattern # in F (st position) Pattern Ionian white circles = major 7 chord arpeggio fret: I 7 7

23 BEBOP GUITAR IMPROV SERIES. Scale & Arpeggio book ionian fingering pattern #7 in f (rd position) Pattern 7 Ionian white circles = major 7chord arpeggio fret: III 7 7

24 ionian fingerings ionian fingering pattern # in f (th position) Pattern Ionian white circles = major 7 chord arpeggio fret: V 7 7

25 BEBOP GUITAR IMPROV SERIES. Scale & Arpeggio book ionian fingering pattern # in f (7th position) Pattern Ionian white circles = major 7 chord arpeggio fret: VI 7 7

26 ionian fingerings ionian fingering pattern # in f (8th position) Pattern Ionian white circles = major 7 chord arpeggio fret: VIII 7 7 7

27 BEBOP GUITAR IMPROV SERIES. Scale & Arpeggio book ionian fingering pattern # in f (0th position) Pattern Ionian white circles = major 7 chord arpeggio fret: X 7 7

28 ionian fingerings ionian fingering pattern # in f (th position) Pattern Ionian white circles = major 7 chord arpeggio fret: XII 7 7 7

29 BEBOP GUITAR IMPROV SERIES. Scale & Arpeggio book EXERCISE : Play the 7 fingerings (scales & arpeggios) in all keys, horizontally (across the fretboard) through the cycle of descending ths! Play the 7 ionian fingerings in the key of Bb: The lowest available fingering on the fretboard is pattern which starts on the th string with the index finger. This would be followed by pat., pat., pat., pat.7, pat., pat. and finally coming full cycle with pat. an 8ve higher. Play the 7 ionian fingerings in the key of Eb: The lowest available fingering on the fretboard is pattern 7 which starts on the th string with the index finger. This would be followed by pat., pat., pat., pat., pat., pat. and finally coming full cycle with pat.7 an 8ve higher. Play the 7 ionian fingerings in the key of Ab: The lowest available fingering on the fretboard is pattern which starts on the th string with the pinky finger. This would be followed by pat., pat., pat.7, pat., pat., pat. and finally coming full cycle with pat. an 8ve higher. Play the 7 fingerings for the remaining ionian scales: Db (starting with pat.) Gb or F# (starting with pat.) B (starting with pat.) E (starting with pat 7) A (starting with pat ) D (starting with pat ) G (starting with pat ) C (starting with pat ) EXERCISE : Play the 7 ionian fingerings (scales & arpeggios) in all keys, vertically through the cycle of descending ths within each of the three -fret zones. Zone (frets -): Play C (pat ) / F (pat ) / Bb (pat ) / Eb (pat 7) / Ab (pat ) / Db (pat ) / Gb (pat ) / B (pat ) / E (pat 7) / A (pat ) / D (pat ) / G (pat ). Zone (frets -8): Play C (pat ) / F (pat ) / Bb (pat ) / Eb (pat ) / Ab (pat 7) / Db (pat ) / Gb (pat ) / B (pat ) / E (pat ) / A (pat ) / D (pat ) / G (pat 7). Zone (frets 9-): Play C (pat 7) / F (pat ) / Bb (pat ) / Eb (pat ) / Ab (pat ) / Db (pat ) / Gb (pat ) / B (pat 7) / E (pat ) / A (pat ) / D (pat ) / G (pat ). 8

30 mixolydian fingerings heptatonic scale fingerings Mixolydian Mode formula: - (ext. 9) - - (passing note) - - (ext. ) - Learn the following 7 fingerings going up the neck in the given order: i = index m = middle r = ring p = pinky Mixolydian Fingering Pattern # in F (st position) Pattern Mixolydian white circles = dominant 7 chord arpeggio fret: I 9

31 BEBOP GUITAR IMPROV SERIES. Scale & Arpeggio book mixolydian fingering pattern #7 in f (rd position) Pattern 7 Mixolydian white circles = dominant 7 chord arpeggio fret: III 0

32 mixolydian fingerings mixolydian fingering pattern # in f (rd position) Pattern Mixolydian white circles = dominant 7 chord arpeggio fret: V

33 BEBOP GUITAR IMPROV SERIES. Scale & Arpeggio book mixolydian fingering pattern # in f (7th position) Pattern Mixolydian white circles = dominant 7 chord arpeggio fret: VI

34 mixolydian fingerings mixolydian fingering pattern # in f (8th position) Pattern Mixolydian white circles = dominant 7 chord arpeggio fret: VIII

35 BEBOP GUITAR IMPROV SERIES. Scale & Arpeggio book mixolydian fingering pattern # in f (0th position) Pattern Mixolydian white circles = dominant 7 chord arpeggio fret: X

36 mixolydian fingerings mixolydian fingering pattern # in f (th position) Pattern Mixolydian white circles = dominant 7 chord arpeggio fret: XI

37 BEBOP GUITAR IMPROV SERIES. Scale & Arpeggio book EXERCISE : Play the 7 fingerings (scales & arpeggios) in all keys, horizontally (across the fretboard) through the cycle of descending ths! Play the 7 mixolydian fingerings in the key of Bb: The lowest available fingering on the fretboard is pattern which starts on the th string with the index finger. This would be followed by pat., pat., pat., pat.7, pat., pat. and finally coming full cycle with pat. an 8ve higher. Play the 7 mixolydian fingerings in the key of Eb: The lowest available fingering on the fretboard is pattern 7 which starts on the th string with the index finger. This would be followed by pat., pat., pat., pat., pat., pat. and finally coming full cycle with pat.7 an 8ve higher. Play the 7 mixolydian fingerings in the key of Ab: The lowest available fingering on the fretboard is pattern which starts on the th string with the pinky finger. This would be followed by pat., pat., pat.7, pat., pat., pat. and finally coming full cycle with pat. an 8ve higher. Play the 7 fingerings for the remaining mixolydian scales: Db (starting with pat.) Gb or F# (starting with pat.) B (starting with pat.) E (starting with pat 7) A (starting with pat ) D (starting with pat ) G (starting with pat ) C (starting with pat ) EXERCISE : Play the 7 mixolydian fingerings (scales & arpeggios) in all keys, vertically through the cycle of descending ths within each of the three -fret zones. Zone (frets -): Play C (pat ) / F (pat ) / Bb (pat ) / Eb (pat 7) / Ab (pat ) / Db (pat ) / Gb (pat ) / B (pat ) / E (pat 7) / A (pat ) / D (pat ) / G (pat ). Zone (frets -8): Play C (pat ) / F (pat ) / Bb (pat ) / Eb (pat ) / Ab (pat 7) / Db (pat ) / Gb (pat ) / B (pat ) / E (pat ) / A (pat ) / D (pat ) / G (pat 7). Zone (frets 9-): Play C (pat 7) / F (pat ) / Bb (pat ) / Eb (pat ) / Ab (pat ) / Db (pat ) / Gb (pat ) / B (pat 7) / E (pat ) / A (pat ) / D (pat ) / G (pat ).

38 Dorian fingerings heptatonic scale fingerings Dorian Mode formula: - (ext. 9) - - (ext. ) - - (passing note) - Learn the following 7 fingerings going up the neck in the given order: i = index m = middle r = ring p = pinky Dorian Fingering Pattern # in F (st position) Pattern Dorian white circles = min7 chord arpeggio fret: I 7

39 BEBOP GUITAR IMPROV SERIES. Scale & Arpeggio book dorian fingering pattern #7 in f (rd position) Pattern 7 Dorian white circles = min7 chord arpeggio fret: III 8

40 Dorian fingerings dorian fingering pattern # in f (th position) Pattern Dorian white circles = min7 chord arpeggio fret: V 9

41 BEBOP GUITAR IMPROV SERIES. Scale & Arpeggio book dorian fingering pattern # in f (7th position) Pattern Dorian white circles = min7 chord arpeggio fret: VI 0

42 Dorian fingerings dorian fingering pattern # in f (8th position) Pattern Dorian white circles = min7 chord arpeggio fret: VIII

43 BEBOP GUITAR IMPROV SERIES. Scale & Arpeggio book dorian fingering pattern # in f (0th position) Pattern Dorian white circles = min7 chord arpeggio fret: X

44 Dorian fingerings dorian fingering pattern # in f (th position) Pattern Dorian white circles = min7 chord arpeggio fret: XI

45 BEBOP GUITAR IMPROV SERIES. Scale & Arpeggio book EXERCISE : Play the 7 fingerings (scales & arpeggios) in all keys, horizontally (across the fretboard) through the cycle of descending ths! Play the 7 dorian fingerings in the key of Bb: The lowest available fingering on the fretboard is pattern which starts on the th string with the index finger. This would be followed by pat., pat., pat., pat.7, pat., pat. and finally coming full cycle with pat. an 8ve higher. Play the 7 dorian fingerings in the key of Eb: The lowest available fingering on the fretboard is pattern 7 which starts on the th string with the index finger. This would be followed by pat., pat., pat., pat., pat., pat. and finally coming full cycle with pat.7 an 8ve higher. Play the 7 dorian fingerings in the key of Ab: The lowest available fingering on the fretboard is pattern which starts on the th string with the pinky finger. This would be followed by pat., pat., pat.7, pat., pat., pat. and finally coming full cycle with pat. an 8ve higher. Play the 7 fingerings for the remaining dorian scales: Db (starting with pat.) Gb or F# (starting with pat.) B (starting with pat.) E (starting with pat 7) A (starting with pat ) D (starting with pat ) G (starting with pat ) C (starting with pat ) EXERCISE : Play the 7 dorian fingerings (scales & arpeggios) in all keys, vertically through the cycle of descending ths within each of the three -fret zones. Zone (frets -): Play C (pat ) / F (pat ) / Bb (pat ) / Eb (pat 7) / Ab (pat ) / Db (pat ) / Gb (pat ) / B (pat ) / E (pat 7) / A (pat ) / D (pat ) / G (pat ). Zone (frets -8): Play C (pat ) / F (pat ) / Bb (pat ) / Eb (pat ) / Ab (pat 7) / Db (pat ) / Gb (pat ) / B (pat ) / E (pat ) / A (pat ) / D (pat ) / G (pat 7). Zone (frets 9-): Play C (pat 7) / F (pat ) / Bb (pat ) / Eb (pat ) / Ab (pat ) / Db (pat ) / Gb (pat ) / B (pat 7) / E (pat ) / A (pat ) / D (pat ) / G (pat ).

46 aeolian fingerings i = index m = middle r = ring p = pinky heptatonic scale fingerings Aeolian Mode (Natural Minor) formula: - (ext. 9) - - (ext. ) - - b (passing note) - Learn the following 7 fingerings going up the neck in the given order: Aeolian Fingering Pattern # in F (st position) Pattern Aeolian white circles = min7 chord arpeggio fret: I b b NOTE: The aeolian mode generates the same minor 7th chord as the dorian mode.

47 BEBOP GUITAR IMPROV SERIES. Scale & Arpeggio book aeolian fingering pattern #7 in f (rd position) Pattern 7 Aeolian white circles = min7 chord arpeggio fret: III b b

48 aeolian fingerings aeolian fingering pattern # in f (th position) Pattern Aeolian white circles = min7 chord arpeggio fret: V b b 7

49 BEBOP GUITAR IMPROV SERIES. Scale & Arpeggio book aeolian fingering pattern # in f (th position) Pattern Aeolian white circles = min7 chord arpeggio fret: VI b b 8

50 aeolian fingerings aeolian fingering pattern # in f (8th position) Pattern Aeolian white circles = min7 chord arpeggio fret: VIII b b b 9

51 BEBOP GUITAR IMPROV SERIES. Scale & Arpeggio book aeolian fingering pattern # in f (0th position) Pattern Aeolian white circles = min7 chord arpeggio fret: IX b b 0

52 Dorian fingerings aeolian fingering pattern # in f (th position) Pattern Aeolian white circles = min7 chord arpeggio fret: XI b b

53 BEBOP GUITAR IMPROV SERIES. Scale & Arpeggio book EXERCISE : Play the 7 fingerings (scales & arpeggios) in all keys, horizontally (across the fretboard) through the cycle of descending ths! Play the 7 aeolian fingerings in the key of Bb: The lowest available fingering on the fretboard is pattern which starts on the th string with the index finger. This would be followed by pat., pat., pat., pat.7, pat., pat. and finally coming full cycle with pat. an 8ve higher. Play the 7 aeolian fingerings in the key of Eb: The lowest available fingering on the fretboard is pattern 7 which starts on the th string with the index finger. This would be followed by pat., pat., pat., pat., pat., pat. and finally coming full cycle with pat.7 an 8ve higher. Play the 7 aeolian fingerings in the key of Ab: The lowest available fingering on the fretboard is pattern which starts on the th string with the pinky finger. This would be followed by pat., pat., pat.7, pat., pat., pat. and finally coming full cycle with pat. an 8ve higher. Play the 7 fingerings for the remaining aeolian scales: Db (starting with pat.) Gb or F# (starting with pat.) B (starting with pat.) E (starting with pat 7) A (starting with pat ) D (starting with pat ) G (starting with pat ) C (starting with pat ) EXERCISE : Play the 7 aeolian fingerings (scales & arpeggios) in all keys, vertically through the cycle of descending ths within each of the three -fret zones. Zone (frets -): Play C (pat ) / F (pat ) / Bb (pat ) / Eb (pat 7) / Ab (pat ) / Db (pat ) / Gb (pat ) / B (pat ) / E (pat 7) / A (pat ) / D (pat ) / G (pat ). Zone (frets -8): Play C (pat ) / F (pat ) / Bb (pat ) / Eb (pat ) / Ab (pat 7) / Db (pat ) / Gb (pat ) / B (pat ) / E (pat ) / A (pat ) / D (pat ) / G (pat 7). Zone (frets 9-): Play C (pat 7) / F (pat ) / Bb (pat ) / Eb (pat ) / Ab (pat ) / Db (pat ) / Gb (pat ) / B (pat 7) / E (pat ) / A (pat ) / D (pat ) / G (pat ).

54 locrian fingerings heptatonic scale fingerings Locrian Mode formula: - b (passing note) - - (ext. ) - b - b (ext. ) - Learn the following 7 fingerings going up the neck in the given order: i = index m = middle r = ring p = pinky Locrian Fingering Pattern # in F (st position) Pattern Locrian white circles = min7b chord arpeggio fret: I b b b b b b b

55 BEBOP GUITAR IMPROV SERIES. Scale & Arpeggio book locrian fingering pattern #7 in f (rd position) Pattern 7 Locrian white circles = min7b chord arpeggio fret: II b b b b b b

56 locrian fingerings locrian fingering pattern # in f (th position) Pattern Locrian white circles = min7b chord arpeggio fret: IV b b b b b b b

57 BEBOP GUITAR IMPROV SERIES. Scale & Arpeggio book locrian fingering pattern # in f (th position) Pattern Locrian white circles = min7b chord arpeggio fret: VI b b b b b b b

58 locrian fingerings locrian fingering pattern # in f (8th position) Pattern Locrian white circles = min7b chord arpeggio fret: VII b b b b b b b b 7

59 BEBOP GUITAR IMPROV SERIES. Scale & Arpeggio book locrian fingering pattern # in f (9th position) Pattern Locrian white circles = min7b chord arpeggio fret: IX b b b b b b 8

60 locrian fingerings locrian fingering pattern # in f (0th position) Pattern Locrian white circles = min7b chord arpeggio fret: XI b b b b b b 9

61 BEBOP GUITAR IMPROV SERIES. Scale & Arpeggio book EXERCISE : Play the 7 fingerings (scales & arpeggios) in all keys, horizontally (across the fretboard) through the cycle of descending ths! Play the 7 locrian fingerings in the key of Bb: The lowest available fingering on the fretboard is pattern which starts on the th string with the index finger. This would be followed by pat., pat., pat., pat.7, pat., pat. and finally coming full cycle with pat. an 8ve higher. Play the 7 locrian fingerings in the key of Eb: The lowest available fingering on the fretboard is pattern 7 which starts on the th string with the index finger. This would be followed by pat., pat., pat., pat., pat., pat. and finally coming full cycle with pat.7 an 8ve higher. Play the 7 locrian fingerings in the key of Ab: The lowest available fingering on the fretboard is pattern which starts on the th string with the pinky finger (Note: the b will have to be played with an open string). This would be followed by pat., pat., pat.7, pat., pat., pat. and finally coming full cycle with pat. an 8ve higher. Play the 7 fingerings for the remaining locrian scales: Db (starting with pat.) Gb or F# (starting with pat.) B (starting with pat.) E (starting with pat 7) A (starting with pat ) D (starting with pat ) G (starting with pat ) C (starting with pat ) EXERCISE : Play the 7 locrian fingerings (scales & arpeggios) in all keys, vertically through the cycle of descending ths within each of the three -fret zones. Zone (frets -): Play C (pat ) / F (pat ) / Bb (pat ) / Eb (pat 7) / Ab (pat ) / Db (pat ) / Gb (pat ) / B (pat ) / E (pat 7) / A (pat ) / D (pat ) / G (pat ). Zone (frets -8): Play C (pat ) / F (pat ) / Bb (pat ) / Eb (pat ) / Ab (pat 7) / Db (pat ) / Gb (pat ) / B (pat ) / E (pat ) / A (pat ) / D (pat ) / G (pat 7). Zone (frets 9-): Play C (pat 7) / F (pat ) / Bb (pat ) / Eb (pat ) / Ab (pat ) / Db (pat ) / Gb (pat ) / B (pat 7) / E (pat ) / A (pat ) / D (pat ) / G (pat ). 0

62 super locrian fingerings heptatonic scale fingerings Super Locrian Mode (Altered Dominant) formula: - b (ext. b9) - # (ext. #9) - - # (ext. #)- # or b (ext. ) - Learn the following 7 fingerings going up the neck in the given order: i = index m = middle r = ring p = pinky Super Locrian Fingering Pattern # in A (th position) NOTE: The following scale is taught in the key of A in order to avoid the use of open strings that would result if it were written in F. Pattern Super Locrian white circles = dom 7# chord arpeggio fret:iv b # # # # b * Use middle finger when playing arpeggio * # b # # For dom 7 alt. arpeggio, substitute for b9 (b).

63 BEBOP GUITAR IMPROV SERIES. Scale & Arpeggio book super locrian fingering pattern #7 in a (7th position) Pattern 7 Super Locrian white circles = dom 7# chord arpeggio fret: VI b # # * # # b # # # Use middle finger when playing * arpeggio

64 super locrian fingerings super locrian fingering pattern # in a (8th position) Pattern Super Locrian white circles = dom 7# chord arpeggio fret:viii # # # b # # # b # #

65 BEBOP GUITAR IMPROV SERIES. Scale & Arpeggio book super locrian fingering pattern # in a (0th position) Pattern Super Locrian white circles = dom 7# chord arpeggio fret: X b # b # # # # # # b #

66 super locrian fingerings super locrian fingering pattern # in a (th position) Pattern Super Locrian white circles = dom 7# chord arpeggio fret: XI # # # b * * # b # Use middle finger when playing arpeggio # #

67 BEBOP GUITAR IMPROV SERIES. Scale & Arpeggio book super locrian fingering pattern # in a (nd position) Pattern Super Locrian white circles = dom 7# chord arpeggio fret: I b # # # # # b #

68 super locrian fingerings super locrian fingering pattern # in a (rd position) Pattern Super Locrian white circles = dom 7# chord arpeggio fret: III b # # b # # # # b 7

69 BEBOP GUITAR IMPROV SERIES. Scale & Arpeggio book EXERCISE : Play the 7 fingerings (scales & arpeggios) in all keys, horizontally (across the fretboard) through the cycle of descending ths! NOTE: The following order has been adjusted to avoid the use of open strings. Play the 7 super locrian fingerings in the key of D: The lowest available fingering on the fretboard is pattern which starts on the th string with the pinky finger. This would be followed by pat., pat., pat., pat., pat., pat.7 and finally coming full cycle with pat. an 8ve higher. Play the 7 super locrian fingerings in the key of G: The lowest available fingering on the fretboard is pattern which starts on the th string with the ring finger. This would be followed by pat.7, pat., pat., pat., pat., pat. and finally coming full cycle with pat. an 8ve higher. Play the 7 super locrian fingerings in the key of C: The lowest available fingering on the fretboard is pattern which starts on the th string with the ring finger. This would be followed by pat., pat., pat., pat.7, pat., pat. and finally coming full cycle with pat. an 8ve higher. Play the 7 fingerings for the remaining super locrian scales: F (starting with pat.7) Bb (starting with pat.) Eb (starting with pat.) Ab (starting with pat ) Db (starting with pat ) Gb (starting with pat ) B (starting with pat ) E (starting with pat 7) EXERCISE : Play the 7 super locrian fingerings (scales & arpeggios) in all keys, vertically through the cycle of descending ths within each of the three -fret zones. Zone (frets -): (NOTE: This zone requires the use of open strings with the super locrian)play C (pat ) / F (pat ) / Bb (pat ) / Eb (pat 7) / Ab (pat ) / Db (pat ) / Gb (pat ) / B (pat ) / E (pat 7) / A (pat ) / D (pat ) / G (pat ). Zone (frets -8): Play C (pat ) / F (pat ) / Bb (pat ) / Eb (pat ) / Ab (pat 7) / Db (pat ) / Gb (pat ) / B (pat ) / E (pat ) / A (pat ) / D (pat ) / G (pat 7). Zone (frets 9-): Play C (pat 7) / F (pat ) / Bb (pat ) / Eb (pat ) / Ab (pat ) / Db (pat ) / Gb (pat ) / B (pat 7) / E (pat ) / A (pat ) / D (pat ) / G (pat ). 8

70 melodic minor fingerings heptatonic scale fingerings Melodic Minor Mode formula: - (ext. 9) - - (ext. ) - - (ext. ) - 7 Learn the following 7 fingerings going up the neck in the given order: i = index m = middle r = ring p = pinky Melodic Minor Fingering Pattern # in F (st position) Pattern Melodic Minor white circles = min-maj7 chord arpeggio fret: I 7 7 9

71 BEBOP GUITAR IMPROV SERIES. Scale & Arpeggio book melodic minor fingering pattern #7 in f (rd position) Pattern 7 Melodic Minor white circles = min-maj7 chord arpeggio fret: III

72 melodic minor fingerings melodic minor fingering pattern # in f (th position) Pattern Melodic Minor white circles = min-maj7 chord arpeggio fret: V 7 7 7

73 BEBOP GUITAR IMPROV SERIES. Scale & Arpeggio book melodic minor fingering pattern # in f (th position) Pattern Melodic Minor white circles = min-maj7 chord arpeggio fret: VI 7 7 7

74 melodic minor fingerings melodic minor fingering pattern # in f (8th position) Pattern Melodic Minor white circles = min-maj7 chord arpeggio fret: VIII

75 BEBOP GUITAR IMPROV SERIES. Scale & Arpeggio book melodic minor fingering pattern # in f (0th position) Pattern Melodic Minor white circles = min-maj7 chord arpeggio fret: X 7 7 7

76 melodic minor fingerings melodic minor fingering pattern # in f (th position) Pattern Melodic Minor white circles = min-maj7 chord arpeggio fret: XI 7 7 7

77 BEBOP GUITAR IMPROV SERIES. Scale & Arpeggio book EXERCISE : Play the 7 fingerings (scales & arpeggios) in all keys, horizontally (across the fretboard) through the cycle of descending ths! Play the 7 melodic minor fingerings in the key of Bb: The lowest available fingering on the fretboard is pattern which starts on the th string with the index finger. This would be followed by pat., pat., pat., pat.7, pat., pat. and finally coming full cycle with pat. an 8ve higher. Play the 7 melodic minor fingerings in the key of Eb: The lowest available fingering on the fretboard is pattern 7 which starts on the th string with the index finger. This would be followed by pat., pat., pat., pat., pat., pat. and finally coming full cycle with pat.7 an 8ve higher. Play the 7 melodic minor fingerings in the key of Ab: The lowest available fingering on the fretboard is pattern which starts on the th string with the pinky finger. This would be followed by pat., pat., pat.7, pat., pat., pat. and finally coming full cycle with pat. an 8ve higher. Play the 7 fingerings for the remaining melodic minor scales: Db (starting with pat.) Gb or F# (starting with pat.) B (starting with pat.) E (starting with pat 7) A (starting with pat ) D (starting with pat ) G (starting with pat ) C (starting with pat ) EXERCISE : Play the 7 melodic minor fingerings (scales & arpeggios) in all keys, vertically through the cycle of descending ths within each of the three -fret zones. Zone (frets -): Play C (pat ) / F (pat ) / Bb (pat ) / Eb (pat 7) / Ab (pat ) / Db (pat ) / Gb (pat ) / B (pat ) / E (pat 7) / A (pat ) / D (pat ) / G (pat ). Zone (frets -8): Play C (pat ) / F (pat ) / Bb (pat ) / Eb (pat ) / Ab (pat 7) / Db (pat ) / Gb (pat ) / B (pat ) / E (pat ) / A (pat ) / D (pat ) / G (pat 7). Zone (frets 9-): Play C (pat 7) / F (pat ) / Bb (pat ) / Eb (pat ) / Ab (pat ) / Db (pat ) / Gb (pat ) / B (pat 7) / E (pat ) / A (pat ) / D (pat ) / G (pat ). 7

78 PART COMPOSITE FINGERINGS 77

79 BEBOP GUITAR IMPROV SERIES. Scale & Arpeggio book horizontal line development using composite fingerings After you are comfortable playing each fingering pattern vertically or staying in position, you are ready to link various patterns while moving across the fretboard horizontally. As previously stated, there are one or more notes that overlap between every adjacent patterns (see «Overlapping Pattern Shifts» on p.). When playing a line with no rests, a pattern shift is best accomplished by approaching the desired note in the new pattern with what we will call a pivot finger. This finger serves as a springboard to enter the new position and will most likely be our pinky when ascending and our index when descending. Initially this may require some careful planning and you may have to slightly alter the conventional fingering at the point of transition. However, in time as you learn more phrases that incorporate overlapping pattern shifts, the process will become spontaneous. The example below demonstrates a series of intricate overlapping pattern shifts, while developing a line over static harmony (chord/mode) ascending across the fretboard. Pay special attention to the fingering in the tab and be sure to notice the pivot finger used right before each pattern shift. p iv p iv p iv o t o t o t This next example demonstrates the process of linking various fingerings ascending across the fretboard while playing through moving harmony (several chords/modes). Once again, be sure to pay special attention to the fingering in the tab. p iv p iv p iv p iv o t o t o t o t 78

80 PART composite fingerings Before concluding this topic, I want to reiterate that there are countless fingerings that can be worked out to execute a pattern shift. This will depend on whether the line is ascending or descending, its overall range, its intervallic content and other variables such as the tempo you are dealing with. There is no specific method to gain expertise for this, except by experimenting with alternate fingerings over lots of musical phrases. I recommend first starting by working out the fingerings for various scales to be played continuously throughout the entire fretboard, employing all 7 patterns. This should be done ascending and descending horizontally. The following example demonstrates one of many possible ways to gradually ascend horizontally using all 7 mixolydian patterns in F. 79

81 BEBOP GUITAR IMPROV SERIES. Scale & Arpeggio book (continued from p. 79) 80

82 The Bebop Guitar Improv Series VOL. by Richie Zellon The Lesson Book A step by step explanation of the most essential melodic, harmonic, & rhythmic elements that make up the bebop idiom, coupled with 7 jazz etudes demonstrating their application in order of gradual difficulty. The Workbook All the necessary exercises to develop the improvisational concepts introduced in the Lesson Book, in various harmonic contexts. The Scale & Arpeggio Book A detailed introduction to the Heptatonic System of Fingering Patterns. Features a thorough explanation of the use of vertical and horizontal fingerings when improvising over chord changes. Regular notation, tab and diagrams included. Be sure to check out the Bebop Guitar Improv Series Online! Featuring 00+ instructional videos, it is the perfect compliment to the book series. For more info please visit