CONTENTS PART TWO MODAL SOUNDS PART ONE BAG OF TRICKS ABOUT THE AUTHOR...4

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1 CONENS BOU E UOR INROUCION 5 R ONE B OF RICKS CER New echiques 6 Lesso : Buildig Speed ad gility 6 Lesso : Usig edal oes 9 edal to the Metal 9 Is t It Fie, Scadiavia ie he Rise ad Fall of the Ucoordiated Willia I ll edal, You Steer Lesso : Slappig ad appig stral Coectios 8 Lesso : Body ercussio 9 he Machie hat Makes the Machie CER New Chords Lesso : 7th Chords Lesso : Jazz Chords he ii V I rogressio Lesso : ugeted ad iiished Chords Lesso : ow to Be Your Ow Chord ictioary, art (riads) 7 Lesso 5: Mior 7b 5 (alf-iiished 7th) Chords 8 Lesso 6: iiished 7th Chords 9 Lesso 7: ow to Be Your Ow Chord ictioary, art (7th Chords) Lesso 8: Usig 7th Chords to lay a Jazz Lead Sheet Short ad Sweet Lesso 9: 9th Chords Lesso : oiat th ad th Chords ypertesio Fuk Blues Lesso : Quartal aroy 5 hrough the Quartal ortal 5 R WO MOL SOUNS CER Itroducig the Modes Lesso : eeratig the Modes fro a aret Scale he Relative View Lesso : he arallel View CER 5 he Mixolydia Mode Lesso : he wo Views Lesso : istiguishig Features of the Mixolydia Mode Foo's Rush I Foo's Rush I (Solo) 5 Lesso : Mixig Modes i Oe Sog 6 Over the Waterfall 6 Lesso : Iprovisig i the Mixolydia Mode (he Jerry arcia Effect) 7 Frakli s Mower 8 Frakli s Mower (Solo) 8 CER 6 he oria Mode 9 Lesso : he wo Views 9 Lesso : istiguishig Features of oria aroy 5 Coutry host Story (Chords) 5 Lesso : Iprovisig i the oria Mode 5 Lesso : Modal Flatpickig avid Rawligs Style 5 Coutry host Story (Solo) 5 Lesso 5: Irish Jig i the oria Mode 5 Scatter the Mud 5 CER dvaced Rhyth 6 Lesso : Odd ie Sigatures 6 etagroove i 6 Shortchaged at wo Bars 7 Lesso : Itroducig olyrhyths 9 Masterig coustic uitar

2 CER 7 eolia Mode 55 Lesso : he wo Views 55 Lesso : istiguishig Features of the eolia Mode 56 Lesso : Iprovisig i the eolia Mode 57 ow o My Kees 57 ow o My Kees (Solo) 57 Lesso : Iprovisig i a Relative Major/Mior Cotext 58 aradox Foud 58 aradox Foud (Solo) 58 Lesso 5: Variatios o the eolia Mode he aroic Mior Scale 59 Soup du Jour Stop 59 Soup du Jour Stop (Solo) 6 Lesso 6: Variatios o the eolia Mode he Melodic Mior 6 Mior Fuk B Melodic 6 Mior Fuk B Melodic (Solo) 6 Lesso 7: hrygia, Locria, ad Lydia Modes 6 My Evil la 6 It Was Oly eporary66 R REE LERNE UNINS CER 8 New uigs ad echiques 67 Lesso : Cross-Strig Scales i Ope 67 Siple ifts 68 Lesso : Mior uig 69 oig Back to berdee 7 Lesso : Ope C uig 7 Joh ery 7 CER 9 Sus uigs 75 Lesso : 75 Moutai Laurel Watlz 76 Boaparte s Retreat 77 Road Music for ie ravelers 79 Lesso : Sawill Bajo uig 8 retty olly 8 CER Radical lterate uigs 8 Lesso : ybrid uigs 8 Lesso : Uiso uigs 8 Ca I Make You a Sadwich? 8 he Rock Roll ree Elf 85 reat Big List of lterate uigs 86 R FOUR COMOSIION N RRNIN CER Buildig a iece 87 Lesso : ettig Your Materials ogether 87 Ohio Nights (Verse) 87 Ohio Nights (Chorus) 88 Lesso : Fleshig Out the For ddig Cotrastig Eleets 89 Ohio Nights (Bridge) 89 Ohio Nights (Istruetal ook) 9 Lesso : uttig It ll ogether 9 Ohio Nights 9 Cotets

3 VIEO E X M LESSON : SLIN N IN 7 VIEO E X M B & B I the id 98s, Michael edges tured the acoustic guitar world o its ear by developig a etirely ew approach to coposig for the istruet edges used alterate tuigs, traditioal techique, ad ew techiques such as slap haroics ad tappig to realize his usical visio Other artists, like hil Keaggy ad resto Reed, have added to these techiques OUBLE RO UNIN his lesso will use double drop tuig, i which the st ad 6th strigs are both tued dow to (page 9, Iterediate coustic uitar) ere are the ope otes of the tuig, as well as the atchig otes (show i gray) o adjacet strigs to use for tuig B w w w w w w art Oe Bag Of tricks VIEO E X M SL RMONICS Oe of the ost dazzlig effects i this style is the slap haroic slap haroic is achieved by strikig the strigs with the right had at a haroic ode (page 6, Iterediate coustic uitar) i such a way as to geerate a excitig, percussive haroic chord For exaple, use the i or (the idex or iddle figer of your right had) to slap the th fret, causig the strigs to soud a haroic chord ere are soe tips to help you lear the techique: Keep your figer (try first) exactly parallel to the fret, ad strike directly o the fret Keep your wrist ad figer very loose Use a tiy sap of the wrist to lightly bouce your figer o the fret o t slap too hard! You ca bruise your figer by repeatig this otio icorrectly for too log Reeber to lightly bouce off the fret If you have trouble with your, try it with the side of your i figer, usig your as support Slap with Slap with i Chapter New echiques

4 VIEO E X M E MCINE MKES E MCINE art Oe Bag Of tricks Square ote heads ( ): ap o top (ear soud hole) riagle ote heads ( ): ap o shoulder (side of upper bout of guitar body) iaod ote heads ( ad O ): Slap haroic ll left-had otes fret tapped fro above the body (iverted had positio) Left-had percussio played by tappig shoulder (side of the upper bout of guitar body) Stes up: R Stes dow: L # & # j Œ i Œ p Œ p w Slap Right-had B Oar i B Left-had B B a i 5 ( 5) j j j p j 7 5 a i j Œ i O i Slap ar # & # B B j 7 i p a a p i j j j # & # Œ B B a i i O 5 Slap ar i Œ p Œ p w ( 5) Œ p Œ p w ( 5) Œ Ó Masterig coustic uitar

5 Frakli s Mower is a progressio i Mixolydia ad is i the style of he rateful ead s Frakli s ower VIEO E X M FRNKLIN S MOWER & Û Û Û Û Û Û Û Û Frakli s Mower (Solo) uses the Mixolydia scale i the style of Jerry arcia It uses soe of the sae positios as the coected scale i Exaple 8 o page 7 arcia ade great use of a device called sequecig i his solos sequece is a elodic figure that is repeated at differet pitch levels his ca be see i the first bar of the solo, where a ascedig threeote patter ( B C ) is sequeced up the scale twice (B C ad C E) arcia also used acceted otes to ephasize certai pitches ad rhyths i the solo ry pickig this solo i a flowig, coected style, usig a stroger attack to ake the acceted otes pop out of the elody o t forget to ake up your ow Mixolydia iprovisatios usig the scales ad chord progressios i this lesso! Û Û art two Modal SoudS & # # B VIEO E X M FRNKLIN S MOWER (Solo) ( ) 5 5 & # # J (5th positio) B 5 ( 5) S 7 ( 7) 5 ( 5) ( 7) & # # B ½ ½ 7 ( 7 ) ( 7) S (7th positio) (9th positio) 9 ( 9) ( ) 8 Masterig coustic uitar

6 retty olly is a traditioal bajo tue that is well kow i old-tie ad bluegrass circles May of the figerigs ad riffs i this exaple are the sae as those used i clawhaer or frailig (a techique ivolvig struig dow with the backs of the figerails) bajo players he followig shuffle rhyth is built ito the rhyth of the clawhaer bajo style: 75 VIEO E X M & (Shuffle Rhyth) Û Û Û Û Û Û Û Û Û Û Û Û You ca throw i the shuffle to keep tie wheever the elody reaches a log ote ry retty olly slowly at first If you keep your wrist loose ad use lots of sap whe you stru, you should be able to build up the speed to a brisk pace VIEO E X M = Sixteeth-ote triplet hree equal otes i the tie of two sixteeths & b b VIEO E X M REY OLLY b C B 5 art three alterate tuigs C & B b j 5 b & b ww w w w C B 8 Masterig coustic uitar