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GUITARIST GUIDE TO SCALES OVER CHORDS PDF

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^^full book Guitarist's Guide to Scales Over Chords: The Foundation of Melodic Soloing. 1. PDF Guitarist's Guide to Scales Over Chords: The. yazik.info Download PDF Guitarist's Guide to Scales Over Chords: The Foundation of Melodic Soloing. Scales Over Chords - Ebook download as PDF File .pdf) or read book Jazz+ Guitar+Chord+Bible Exercises (Guitar Reference Guides) - Joe Charupakorn.


Guitarist Guide To Scales Over Chords Pdf

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This, we feel, is up to the individual's own taste. We recommend using a heavy gauge pick, but experimenting with all gauges thin, medium, and heavy would certainly be a good idea. Holding the pick is the next important thing we would like to cover. This is simple because there is only one proper way to hold the pick, and that is between the forefinger and the thumb. Any other way is incorrect. There are three basic picking techniques: picking from the elbow, picking from the wrist, and picking using the forefinger and thumb.

It is very important to choose one or a combination of these techniques before attempting to practice the scale fingerings or arpeggio fingerings. Make sure to try each technique, and then choose the one which feels the most comfortable to you.

The first technique we would like to discuss is picking from the elbow. First, hold the pick between your forefinger and your thumb. Keep your wrist straight so your arm and wrist look like one straight line from your elbow to your fingers.

We suggest that your arm and hand should not touch the guitar. Now, keeping the pick stiff, move your arm up and down pivoting from the elbow.

Piano scales and chords pdf

The second technique is picking from the wrist. Holding the pick firmly between your forefinger and thumb, move your hand up and down pivoting from the wrist.

You may rest your elbow on the guitar. The third technique is picking from the forefinger and thumb. Hold the pick firmly between your fore-finger and thumb. You may rest your hand or just a couple of fingers on the pickguard as a guide or support. Now, rotate the pick in almost a circular motion, just using your forefinger and thumb, keeping your arm and hand straight.

Remember, all the picking motion will come from your forefinger and thumb. Turn to the Chord Section and note. These are the basic chord Forms that you will be learning over the course of this entire system. We will start by learning one Form at a time. Step 1 Start by memorizing all the Form 1 chords on page Strum each chord four times using a simple down strum and be able to switch from G to Gmaj7, to G7, Gmaj6. The square note on the sixth string, third fret, is the chord root or chord name note.

This is your guide note. It will help you move to other frets along the sixth string while keeping this Form 1 chord position in place. You create the same four chords except in different positions with a new root name. An example of this would be to move the four chords in Form 1 up to the V position.

The root note on the sixth string, fifth fret, is A. These four chords would now be A, Amaj7, A7, Amaj6. Practice the four Form 1 chords by starting from the first fret, sixth string, which is F, memorizing the chord name in that position. The move up one fret to F or Gb and practice switching the chords strum each one four times while memorizing their names in that position. Repeat this same procedure moving one fret higher each time.

Remember, before moving to the next higher position, you must be able to switch the chords smoothly and know them by their chord names and frets. Remember to follow the sixth string root.

Guitar Modes Chart

Start at the first fret and work you way up the fret board on position at a time, learning to play these chords while memorizing the chord names and fret positions. Make sure to practice these chords by following the same procedures as in the previous steps. Step 5 Turn to page 24 and find the diminished chords. Unlike previous chords in Form 1, there is only one chord switch to make here, G7 to Gdim.

Important Note: Any note in a diminished chord may be considered the root. In this system we are keeping the root as the lowest note in this chord. The diminished chords repeat themselves the notes of the chord being inverted every four frets. Make sure to continue following the previous procedure when practicing these chords. Remember to learn the chord names and fret positions. Follow the same procedure as in all previous steps.

Once this has been memorized, practice this exercise in other positions, just as we learned the different chords Forms in different positions. Step 11 We now take you to the page 77 for the 12 Bar Blues chord patterns. Please read the introduction to this section on page 76 before you start.

Practice playing exercise 1, 2, and 3, memorizing each pattern. Once you have done this, try these 12 Bar Blues patterns in other positions and memorize them as well.

Step 12 Turn to page 34 and read the introduction to the Scale Section. After reading the introduction, turn to page 35 and you will find the Form 1, A Major Scale written out with five different fingerings all starting on the 5th fret, sixth string root. Make sure to use the right fingerings and to read the notes on the staff. Always know what note you are playing and where it is on the fingerboard as you go along the scale.

Practice these two scales as shown in the Major Scales exercises, which you will find on page These exercises will help you to learn how to read and play in the most commonly used rhythm patterns.

These exercises are written out for you in fingering A.

Guitar Modes – A Practical Guide To Modal Shapes

Practice these exercises with fingering pattern B as well. Once you have done this, learn to play these scale fingerings A and B in other positions, as you did with the chords in Form 1, using the sixth string as your root. Step 13 Now turn to page 54 and read the introduction to the Arpeggio Section. Remeber, these Form 1 fingerings once again have a sixth string root, so once you have memorized these, you can practice them in other positions working from the sixth string root.

Make sure to practice playing each arpeggio ascending and descending all in smooth and fluid eighth notes. Remember, the Form II chords have a fifth string root. Once you have memorized the Form II chord fingerings and their names, start from the first fret, fifth string, which is Bb, and work these four chords in each position, moving up the fingerboard one fret higher each time.

Strumming Tip: With any of the exercises or tunes in this book, for practice purposes, remember to use a simple down strum for each beat of the measure.

What is important right now is to be able to switch chord changes smoothly, while memorizing their names and their positions. Important Note: Once you have completed memorizing the Form II chords on all the pages in the Chord Section, we suggest testing yourself by playing any chord in two different positions.

EXAMPLE: FMaj7 would be played at the first fret sixth string root, FMaj7 would be played at the eighth fret fifth string root, Gm7 would be played at the third fret sixth string root, and Gm7 would be played at the tenth fret fifth string root. As you move on to the other chord Forms, you will be learning how to play each chord ten different ways.

We have found that most guitar players generally have three or four "pet" chord Forms for every chord. As you go through this System, you will have the opportunity to choose your favorite chord Forms, but of course if you can use all ten chord Forms, that is even better.

Remember, when playing rhythm chords in an actual band situation, you will want to keep your chords close together and avoid large leaps. If you jump all over the fingerboard, the chances of a mistake will be greater. Also, generally speaking, the best chordal sounding range of the guitar falls between the first fret and the eighth fret.

Again we are talking strictly about rhythm chord accompaniment. You will also' notice that most of the chords in this system are not six string chords. That means that you should learn to strum only the notes that are marked in each chord Form and nothing more.

As we move along, you will learn that it is not necessary to play more than a three or four tone chord. There are certain notes in a chord that are more important to play than others.

Usually, the least important tones are the root and perfect 5th. The 3rd and the 7th are the most important. We strongly suggest picking up a good book on music theory to help you understand some of the terms mentioned in this system. We want to state clearly that this system is not a text on theory.

Once you have mastered these exercises, memorize these 12 Bar Blues in other positions. Practice these two scale fingerings along with the A and B fingerings, ascending going up and descending going down in eighth notes, eighth note triplets, broken thirds, and sixteenth notes. Examples of these rhythmic patterns are on page These arpeggio fingerings should be mastered in every position, ascending and descending in eighth notes.

Start on page 16 working through to page Again, memorize these patterns in every position. If you have been keeping up with your Lesson Plans, you should be able to play both the basic chords and chord substitutions without much trouble. If you have any problems, we suggest going back to Lesson Plans One and Two and reviewing them. Remember, the strumming technique is a simple down strum for every beat of the measure.

As you play through the chord changes, pay special attention to chord substitutions and their application.

The chord substitutions really begin to set up the chord substitutions for the rest of the tunes in this section. On page you will find a handy Master Guide For Basic Chord Substitutions, which might also help you understand and memorize these substitutions. Again, these fingerings must be memorized in every position. Exercises A, B, and C on this page must be practiced and memorized in all positions ascending and descending as written. Do not memorize these exercises or you will be defeating the purpose of sight-reading.

Sight-Reading Tip: First choose the right position for each exercise, and without playing, try to count out the rhythmic pattern for each measure. Then go back and play the exercise.

Begin practicing slowly, gradually trying to increase the tempo. We suggest going through each eight bar exercise three to four times per night. Again, memorize this pattern in every position. Next, turn to page 84 and learn the chord changes to the tune "Ritmo De La Noche. Once the chord changes in this tune have been mastered, begin to read the melody.

We suggest learning to read all the tunes in this System and in any of the Suggested Supplementary Materials in several positions. If you are weak with your reading, we suggest that you pick up any of the various beginners' books and review all of your notes.

Remember to practice and memorize these fingerings ascending and descending in every position. Memorize these in every position, ascending and descending. Practice both the chords and melodies in different positions. Step 12 Practice the exercise on the next six pages of the Bug Bower books.

We suggest going slowly and mastering each piece, one at a time. There will be no time limit for completing each piece in this book. Pure Scale. All these fingerings will be practiced and memorized in every position, ascending and descending, in eighth notes, eighth note triplets, broken thirds, and sixteenth notes.

Again, all three exercises on each sheet must be completed and practiced in every position. Practice in every position. Step 12 Practice the next six pages in Bugs Bower's book. From this point on, we suggest taking six to eight pages in this book every two weeks.

Step 13 Pick up the book Melodic Rhythms by William Leavitt and begin practicing the chords and melodies to the first three exercises.

Once you have mastered these exercises, we suggest averaging four exercises per two week practice period. This book will help improve your knowledge of the use of chords, chord progressions, chord turn-arounds, and it will help improve your ability to sight-read.

Step 14 Turn to pages 46 and Now go to page 61 and memorize exercises 6 and 7 in the Form I Arpeggio Studies. Step 12 Turn to pages 48 and Step 13 Turn to page Step 12 Turn to page 42 and memorize all the fingerings of the Modes. Be sure to read the important footnote on page 43 explaining how the Modes are built.

Step 13 Now turn to pages 62 and Memorize and practice the fingerings to D7, Dm7, D7 b5 , and Dm7 b5 arpeggios. Form II, in every position. Learn in other positions. The chords and melodies to all the tunes should be coming to you a little more easily by now.

If you are having any problems with the chords or the melodies, we suggest going back and reviewing those sections. Step 12 Turn to page Memorize all the fingerings of the Pentatonic Scale. The Chromatic, Minor, and Funky minor Pentatonic Scales will probably sound more familiar to you than the other scales you have been learning up till now. These three scales are the most popular scales used for rock and blues improvisation.

Many leads are built from these scales by using either the entire scale or just a few notes from the scale and making up some simple blues licks. This is really the beginning of improvisation. Remember, you don't have to keep playing the entire scale. You can use Just a few notes from the scale. The more you keep practicing with these three scales, the more you'll start to hear how they fit.

As we mentioned before, listen to your favorite artists and hear how they phrase their leads. Listen, experiment, and then listen, experiment, and practice some more. This is not something that is going to come to you overnight. Be patient. Form II. Once again, as in previous lessons, these fingerings should be memorized ascending and descending in every position. Step 12 Memorize the fingerings to all the Diminished Scales on pages 50 and Step 13 Turn to pages 52 and Begin practicing and memorizing the fingerings to the Whole Tone Scales.

Begin trying to improvise over the basic chords, first by experimenting with the scales and modes, then the arpeggios. Once you feel comfortable improvising over the chord changes to this first tune, pick the next tune and go on from there.

You can do this with the 12 Bar Blues pattern as well. In addition, the Chord Section is laid out in a certain fashion for good reason, which you'll understand as we go along. First we must realize that some fifty to sixty years ago the guitar was used as a rhythm instrument and that it emerged as a solo instrument in the early forties.

So it was and will always be considered first a rhythm instrument, second a solo instrument. Developing a good chordal foundation will be necessary in becoming a good rhythm player and providing the basis for the creation of solo playing as well. No matter what type of style you are soloing in, jazz.

Free pdf chart with chords in major and minor keys

In order to become a good musician and player, you must first start by developing a good solid chord vocabulary. The Chord Section in this book will help you create and develop this vocabulary.

Important Note: Before moving on and beginning the study program in this book, we feel that we must first define a well-rounded musician and a well-rounded player. They are not necessarily the same. A well- rounded musician is one who can read music, has a good working knowledge of music theory, chords, scales, arpeggios and is able to play all styles of music: rock.

In other words, he has to know it all. The well-rounded player can play well, but he doesn't necessarily know what he is doing because of a lack of knowledge of theory. A good player is generally self-taught and does not know how to read music or have a good working knowledge of chords, scales, and arpeggios.

He relies on his ability to hear certain chord changes and his natural talent for playing leads that he feels sound correct. For now. These two voicings are important when playing chords because they should be moving in various cycles.

Chromatic Cycle, Cycle of 4ths, Cycle of 5ths, Cycle of flatted 5ths, etc. The A note in an Am7 Form I chord is the root or bass voicing. In fact, I believe there is some benefit to learning both. The squared notes indicate the root of each scale: The thing I like about these shapes is that you can clearly see the chord form for each within the block shape.

This is handy, as it allows you to get both under you fingers right away. The 2nd degree A, includes a minor chord form. Dorian is a popular minor mode often used by Carlos Santana among others. The 3rd degree, also a minor chord on the B root. C Lydian with a C Major chord. Lydian is a great mode that exploits the b5 11 sound and is widely used by guitarists such as Steve Vai and Joe Satriani. D Mixolydian with a D Major chord.

Mixolydian works great over dominant 7th and 9ths. Try this scale over a D7 or D9 chord or backing track. E Aeolian, a. F Locrian and the diminished chord. Having both a flatted 3rd, 5th and 7th makes for a very exotic and dark sound.

Want to print this lesson out for later? Block Shapes vs. You bet!

Not only that, but you get a much easier to memorize symmetrical shape that includes a few extra high notes on the high E string. They will feel comfortable in no time with a little practice. What a boom it was too! Suddenly everyone was getting really, really good.

They also were all using some form of a 3-note-per string scale to achieve a higher level of speed and technique than heard previously.

Certainly not. There are a few interesting and useful patterns to remember with these shapes to help you get the whole neck memorized in a key. There are always 3 notes on each string. The next mode always starts on the second note of whatever mode you started with. A Dorian yellow and B Phrygian Black overlap in the same way! D Mixolydian pink overlapped by E Aeolian black.ComiXology Thousands of Digital Comics.

The first trick is to practice all scale fingerings wearing a tight rubber glove on your left hand. Once you have done this, learn to play these scale fingerings A and B in other positions, as you did with the chords in Form 1, using the sixth string as your root. Sit down at the piano and Free Jazz Piano Lessons teaching easy chord progressions and soloing scales.

Beginner Piano Scales and Exercises.

Capo Chart. Deals and Shenanigans. Major Pentatonic from Whole Step below 2. We need to first understand how chords work before we can move on to chord progressions.