THE FRANK GAMBALE | TECHNIQUE BOOK I ANBALE THE ESSENTIAL SOLOING THEORY COURSE FOR ALL GUITARISTS! an 86sSOLOING CONCEPT | prea music down into six basic chord types, and their applicable scales (See Fig. 1). Then ‘ver each ofthe chord types | apply fiva soloing approaches for each applicable scale. The possibilites for soloing over these chords are, theretore, greatly expanded. This book covers the second and thd approaches for chord type 4 and all approaches for chord typos 5 and 6. CHORD TYPES APPROACHES (and appicabie scales) + mayor? ta Doran 1b Asokan 2 MaoR7 tet et eect wan (or notes) Boyden 2 PENTATONICS & BLUES 3. UNALTERED DOMNANT7 er SaMroiyoan 3 ARPEGGIOS 3 Lydian 67 (4 notes) 4. ALTERED DOMINANT 7 4 TRIDS ‘4a Supor Loran 445 Diminished 172 / whole eer ‘4 Phrygian major 5 INTERVALS 5 MINOR 7(65) cae a Locian > Aeoian bs Be Loenan nats + Approaches 2 trough 5 are 6 DIMINISHED Gorved fom ihe applicable 6a Diminished whote/ 2 stale chosen for slong {6 Super Locrian nats approach 1. Fig.SOLOING CONCEPT rex music down into six basic chord types, and their applicable scales (Soe Fig, 1). Then - each of the chord types | apply five soloing approaches for each applicable scale. The sessites for soloing over these chords are, therefore, greally expanded. ss book covers all the approaches for soloing over chord types 1 through 3 and the most ‘cant approaches for chord type 4. In Book I, will cover the remaining approaches for ‘vers type 4 and all approaches for chard types 5 and 6. ———E—E— ES CHORD TYPES APPROACHES ard applicable sales) 1 MINOR 7 ta Dorian tb Aeotan 1 SCALE 2 MAIORT 8 wnon7 (or notes) 2b lyaan 2 PENTATONICS 6 BLUES (68 6 notes) 3. UNALTERED DOMINANT7 2a Molan 3 So tyien br ene 4 ALTERED DOMINANT 7 4 TRIADS: 4a Super Loran (@ notes) 4b Diminished 172 / whole 4 Phnygian major 5 INTERVALS. 5. MINOR 7 (06) — $a Locnien 5b Aeolian bs ————— Se Loodan nat 6 OIMANISHED Prec tem ite specie fa Diminihed whoa / 172 Seale chosen for slong fb Super Loctan nate eer Fig.CHAPTER MINOR 7 CHORDS ‘There are to main ways to treat a min? chord! As 2 ll chord in a major key, or as a VI chord. 1a Min? as allchord: the chord = 1 ba § b7 (9 11.13); the scale to use is Donan mode = 1 2 63 4 5 6 b7 ‘mode Il of major. @ «1 (13) (see appendis if you need an explanation of modes. tb Min7 as a Vi chord: the chord=1 63 5 b7 (9 11 b13): the scale is Agolian mode (also known as natural minor) =1 2 B34 5 b6 b7 = mods Viot major ©) GN @13) Example: Omin? can be a il in C major maiz Emin? maj? G7 Amin? Bmin7 (b5) ' uo ow vow vi ora Vlin F Major. Fmaj7 Gmin? Amin? Bbmaj7 C7 1 " m veo Emin? (08) vil Compare these two scale approaches and you can see that the chords ditfer by only one ote: nati over min7 (Dorian) versus 613 over min7 (Aeolian). The modes dtier by one ote: naté in Dorian versus b6 in Aeoian. Of course, 6 = the same note as 13; D6 = the same note as b13 or #5. So the pentatonies, arpeggios etc. that we use over Dmin? which contan 2 8 (6 oF 13 of D) will be specifically Dorian. Those which contain a Bb (b6 or #5 or b13 of D) ww be spectically Aeolian. And there are some which contain neither a 6 nor ab6; these are commen to both Dorian and Aeolian First, we'l take a look at the Dorian seale over min7.CHORD TYPE: Min? APPROACH: DORIAN SCALE IMin7 chord as a lin major: use Dorian mode = model of major= 12 b3 4 5 6 b7 XAMPLE Dmin7: Use D Dorian = mode WotC major=D EF G ABC, ian needs to be learned in the following manner all over the neck Ex DDORIAN ; Knowing the intervals that aro being played is very important: knowing where the 6 of D is, where the 67 of Dis ete. Remember, Donan means 1 2 b3 4 5 6 b7 fromany root Learn Dorian in other keys as well EXAMPLE: ‘Arin7; US8 A Dorian = mode lof G major 2 ba 4 5 6 b7 fomA=ABCDEF#GNow. la’s see what the ether approaches offer us, given the choice of the Dorian mode, £x.2.D Dorian over Dmin7. CHORD TYPE: Min? APPROACH: Dorian Pentatonics/Blues ‘The second approach is pentatonics/blues, To see which ones are available, we need to look at the harmonized scale of Cmaj (since our example, Dmin?, is being treated as a Min °}, Cmaj7 Dmin7 Emin? Fmaj7 G7 Amin? Bmin7(b5) ' oe ev os vi vi Minor pentatonics (1b3 4 § b7) and minor blues (1 BG 4 bS natS b7 ) can be extracted from the minor 7 chords (Il Mland Vi) of any major scale. Therefore, we have Omin, Emin, ‘and Amin pentiDiues which can all be played over Dmin? since they are all related through ‘the harmonized scale. Emin pentblves is spectically Dorian because it contains & 8 60D) +0, 85 fat as pertatonice and blues go, Dmiin pentatonics and Dmin blues piayed over 1:3 are okay, but sound a ile too ordinary. Combining the other two pentatonics or blues i> and Amin) with Omin pent/olues creates a fresher sound. sranspose this to other keys: min pantblues from rootup] whole step or fup] FORMULA: Tix2. Dmin pentatonic over Dmin7 x4. Emin pontatonic over Dmin? Ex.S. Amin pentatonic over Dmin?Combining ail shree min pentatonics (Omin, Emin, Amin) over Dmin7. IH Eee M ‘The following examples are written out with the intervals as they affect the Omin7. Example: Eminpont=1 b3 4 5 b7 fomE=EGABD=2 456 1 of Doran. Aso, writing out the whole neck trees you up to select any fingering or position for these ‘eas.Ex.8 EMin Pent Ex.9 AMin PentCHORD TYPE: Min7 APPROACH: Dorian Arpeggios ‘The next approach is arpeggios. Example: Dmin? Whats Drin?? 1685 b7 from D =D FAC | rarely play @ Omin7 aepeggio over Dmin? because it sounds trightfully dul, chaps! But there isa remedy and its quite simpie, really. Let's extend the chord up to 9 anc tess out the 1 {09507 = BF ACE = Fra Now, you play an Fa arp over a Din? chord, you sound automaticaly te George Benson: t's much hipper. We're now playing b3 5 b7 9 which is creating a Dmin9 sound without us bothering to play aD note. FORMULA: maj? arp {up) b3. Exo Fmaj7 arpeggio over Din? (Okay, that was a good idea. Such a good idea. in fact, that we're going to do it again, ‘except this time well extend 1011. osvro-PFACEG ‘Ths time we'e left with A C E G which is Amin7; this arp sounds teri over Dmin7 FORMULA: min? arp [up] Sth. Let's listen, &. ‘Amin? arpeggio over Drein7.ise are my first two choices for attacking a min7 chord with arpeggios. Now lots look at the rest of the harmonized scale, ALL DIATONIC ARPEGGIOS SOUND GREAT over Dmin?. Lets listen to al of them, (Cmaj? Dmin? Emin? Fmaj? G7 Amin? Bmin7(b5) Ex Diatonic arpeggios from Cmraj over Din? (cascading etect). Con enig7es Am? c7 | Feai? enn? _Dnin?_ Cra? so, ' a pattern for learning one-octave arps moving up or Gown in ths (this is a very ‘cal way to practice ther), a Diatonic arpoggio's in 4ths over min? chord cna? ar Dmey Amn? = minreS Ere? Amin? Oman? Ene? e705 Fa? Cait Ce or Dm? Amey Emin? Fra? OrinteS Eme? Amba?Frat cma? ‘cmap mo? fin? min? das CHORD TYPE: Min7 APPROACH: Dorian Triads 2 Jet's look atthe triad approach, ALL DIATONIC TRIADS from D Dorian (Cmajor) sound good over Dmin7. But the best effect vnes from using the diatonic MAJOR taads, Major téads are found on I, 1V and V in evory key. In. that’s C, F and G. FORMULA: maj triads [down] whole step, {up} min 3, 49} 4th. G triad over Dmin7 is specifically Dorian because t contains a B (6 of 0}. Lets sen to each of these thiads over Dmin7. x14 maj, Fmaj and Gma) triads over Omin7. trad (my favorite) =C EG = b7 9 11 of D. C trac gives you the upper extensions of a Omin7 chord. Simply think of this formula: maj wiole step. 10Fimaj iad F AC-= b3 5 b7 of D. This tiadis the same as Dmin7 without the D. This ‘sounds okay; just re-defining the chord without saying anything new. Gmaj iad = G BD = 11, 13, rot of Dmin7. Of the major tiads, this one isthe least related tothe chord. It has @ very interesting sound, very suspended or unresolved, The trick to ‘making these tads sound good is to mix them all up. ‘Learn triads on each group of three strings; @ B E, DGB, ADG, EAD, horizontally down the neck in t 4 motion, Let's listen. x15. C TRIDS E16 F TRIADS Ex1Z G TRIADS 1"IV, V Tnads from ©m on D G & B strings. 2x18 CTRIADS Ex19 F TRIDS £20 .GTRIADS 2LIV, V Tiads in Cmajon A,D& G strings. x21 C TRIADS E22 F TRIADS. £423 G TRIADS 81L1V,V Triads in Cmaj on E, A &D stings. x24 © TRIADS £425 F TRIADS x26 G TRIDS “‘ote that you should hear these triads as they affect the Dmin7 chord. They sound hip gainst the chord, but ordinary by themselves. ts listen to this triad exercise which incorporates our next subject as well two-string triads. 27 Two string triads from Cmaj over Omin?. ow, lets ]ook at two-string triads as opposed to the three:string triads. £28 CTRIADS x29 F TRIADS x20 GTRIADS ! +l | ! = 15Variation, 2-string triads Exa1 © TRIADS E92 F TRIADS £82 G TRIADS CHORD TYPE: Min? APPROACH: Dorian Intervals Any intorvals can be chosen. find Srds, ths, Sths and 6ths to be the most useful and ‘musical, 50 let's examine those. Daatonle 3rds (using the notes of D Dorian = the same notes as © major): C-E, D-F, E-G, F-A, G-B, A-C, B-D. ‘onto these over Dmin7. 16Dmin7 Diatonie ars from Cm, sa38 Dmin7 {rds on the E & B stings only. atonic éths: these sound more angular, oriental almost. Lets listen, first separately, ther couble stops. Sane Dmin7 ‘ths as a Scale. 7Dmin7 min? ‘ths on the E & B strings only ‘hs sound unusual. Lets listen. 18Exco min? ‘ins on the E & B strings, Engg Dein? ‘Soths sound very nice. Lets listen. Ce ere Dein? ‘Sxths diatonic to Cmaj on the E & G strings ony ghia aaa, 19You should be beginning to see how many possibilities there are when epproaching a “mple min7 chord. The min7 chord (Dorian) has so many possibilities because every note of ‘ne Dorian mode sounds good against it; there are no “avoid” notes. ‘en you hear good improvisers, you can tell how well versed they are. They'll play a ‘2:2 that goes up @ minor pentatonic, comes down an arpegglo, up again in 4th intervals ‘wn again wrth a éiatonic thad: you get the picture. An inteligent solcist includes mary ‘approaches or colours, That's how one can tall how long and hard that person has oied muse and the instrument summing vp this section on min? (Dorian), wo can see that there are certain formulas that 7 always work and always sound good against any min? chord, SUMMARY: /AMULAS FOR SOLOING OVER MIN7 (DORIAN) IN ANY KEY. Scale: Donan =mode Wot major=1 2 b3 4 5 6 b7 (@ 11 15) 2 Pertatonics/Blues: trom root, [up] whote step, [up} Sth 2. Arpeggios: all diatonic arps, especially maj? (up) min 3rd, min? (up) Sth. = Trads" all ciatonie tdads, especially the major tiads which are [down] whole step, {up] rnin 3rd, [up) 4th 5 Intervals: diatonic Srds, ths, Stns, 6hs ‘ow Il select just one of my personal favorites from each category. really simpitying Scale: Dorian 2 Pentatonic/BIues: min pontiblves {up} Sth 3. Arpeggio: maj? {up} minded Tac. maj [down] whole step 5. Intervals: 4ths So over Gmin? for example, using the above formulas wo artive at the following: Scale: G Dorian = mode WotFimaj=1 2 b3 4 § 6 b7; fromG=GABBCDEF 2 Pentatorie/Biues: Dmin pent (DF GAC) or Dmin blues (DFG Ab Anat C) ‘Arpeggio: Bomai7 arp (Bb D F A) = Toad: Fma} Intervais: ths diatonic to G Dorian: G-C, AD, BD-E etc. chord progressions to practice:Ex42 ymin? F min? ‘Ab min? 8 min? ‘Doan F Devan ‘Dotan BO Doran Donen Now, some musical examples. Diatonic Srds in maj over Dmin7. "CAT PAUSE” ove = eco Exas “CAT SNEEZE” (adapted from progrossion in Ex. 42) Brin? (0 Dorian) Fin? (F Dorian) Tews) Leora] el 2Ex 45 cont Abmin7 (Ab Donan) [Gomay J [bm JL Oma min? (B Dorian) Lema LO may wp ake up your own melodées from the formulas discussed in the Dorian chapter over the sample chord progressions, examples 42 and 43. 22CHORD TYPE: Mia7 APPROACH: Acoban Scale Min? chord as a VI in major: use Aeolian mode (mode VI of major) =1 2 b8 4 5 D6 b7. ‘Acolan is also known as natural minor, Example: Dmin7: use D Aeolian = mods Vio! Fmaj = D EF G Ex48 5 peotlan ‘ABDC. You may sometimes see a min7(A5) chord indicates. ey DPB Dmin7#5) = DF BDC. (It may also be writen Fsus/D or Bb/D) Remember thal #5 = D6. So you can see that this ‘chord would fit the Agolian mode (which has a be) and net the Dorian (which has a nat6). Other than when a min7(#8) chord is indicated, if you choose to use the Aeolian approach for a min? chord, the 06 note will generally bo used as just a passing tone, es its @ bit c'ssonant; go just be careful with it ? Remember, Aeolianmeans 12 b3 4 5 b6 b7 from any DBO root. Learn Aeolian in other keys as well $ D5. CHORD TYPE: Min? faa APPROACH: Aeolian Pentatonics/Biues 6 ‘Our example Is Orin? (Aeolian) = VI of Fmaj. So we need 10 look at the harmonized scale of F major. Nee Ad Set Veet vit Fmaj? Gmin? Amin? Bomaj7 C7 Dmin? Emin7(0s) J6 Remember that minor pentatonics (1&9 4 § b7) and minor blues (1 b3 4 b5 nat'S 67) can be extracted from the II nd VI of any major scale. From Fm that's Gmin, Amin and Omin pentibiues which can be played over Dmin7. min pant or blues sound good. ‘Amin pent or blues sound good. ‘Gmin pant or blues contains a Bb; so if a Dmin7(#5) chord is indicated, it sounds very good: butif lust a Dmin7 chord is indicated, be careful with it Notice that min pent/oiues and Amin pent/biues wore also in the Dorian approach to Dmin?. FORMULAS: min pentblues from root and [up] Sth, Min pentlues [up] 4th over a min7(#5) chord. 23CHORD TYPE: Min? APPROACH: Aeolian Arpeggios io? = 1 B3 5 b7 fromD=DFAC, As before, let's extend Dmin? to find some more interesting arps to play. 5 07 9= FACE = Fmai7 9 11= ACEG = Amin7 “ese two arps sound great over Dmin7. Note that theso are the same arps wo arrived at ren extending Dmin7 in the Dorian mode. ‘Once again, the only ditference between Dorian and Aeolian isthe 6 (13) is natin Dorian and stn Aeolian, Therefore, we have to extend further to Giscover an arp which is specifically ‘Aaclan (includes a b6 » 19). b7 9 11 bIS=CEG Bb =C7 Lets Ssten to this over Dmin7. C7 arpeggio over Din? amps diatonic to Fal sound good over Dmin7. 7 Gmin? Amin? Bbmaj? C7 Dmin7 Emin7(bs) Lers isten. 24Dan? Emans Fal? "9s over Dmin7 that are specifically Aeolian Grn? =G Bb D F = 11 bt3 1 bg of Dmin7. 7 = Bb D F A= b13 1 3 & of Dmin7. > = C EG Bb = b7 9 11 bI3 of Dmin7. in7(06) = EG Bb D = 9 11 b13 1 of Din? 3 leaves three which are common to both Dorian and Aeolian 7 =F AC E =b3 5 b7 9 of Dmin7. 17 = ACE G = 5 b7 9.11 ofDmin?. Deny = DF AG = 163 5 b7 of Dmin7, HORD TYPE: Min? ROACH: —Aeofan Triads sample: Dmin? = Vi of Fmaj, 6o we need to look at the harmonized Fmal scale. 2i7 Gmin? Amin? Bbmaj7 C7 Dmin? Emin?(b5) ‘% catonie triads wil work over Dmin7, especialy the major triads, found on I, 1V and V of In that’s F, Bb and C. en to these three triads over Drin?. 25a2 F, Bb and C triads (Aeolian) over Dmin7. > tried is spectically Aeolian [good over Dmin7(#5)} > and F triads are common to both the Aeolian and Dorian approaches to Drin7. FORMULAS: maj triads [down] whole step, [up] min3rd. Also may iad on up] b6 (AeoFan CHORD TYPE: Min? APPROACH: Aeolian Intervals Sros. ath, Sths, and 6ths all work fine. You can use the interval examples (Ex. 94-41), but =F an Amin? VI chord instead of Dmin7. SUMMARY: MULAS FOR SOLOING OVER MIN7 AS VIIN MAJOR (AEOLIAN) IN ANY KEY Scale: Aeolian 2 Pent/Blves: min from root, [up] 4th, [up] Sth. Arpeggios._all those diatonic to Acolian, especially maj? [up] minSrd, min? {up] th ‘Trace. all hase datonic to Aeolian espocally, major triads [down] whole step, [Up] ‘reer, up] min 6th ervals: 31ds, 4ths, Sths, 6th. 26by FAVORITES: Scale: Aeolian Pertiolies: min [up] Sth Arpeggio: raj? [up] minded Triad: [down] whole step 5. Interval: Srds Progressions to Practice (Aeolian) 1 Aealan toustout =O pect ought esa Amin? “STICKMAN (cased on Ex. 50) ay LF wed J a74.53 cont Tamm nae) 1Owad | Wad CHAPTER I: MAJOR 7 CHORDS Now let's move on tothe maj7 chord. A lot of people have a hard time making a maj? sound puesy. ala Carton, Some of the mysteries will unfold withthe help of our ile systematic proach. Lst as @ min? chord can be treated in two ways, as a lin major (Dorian) or as a VI in major ‘eolian), the maj7 chord ean also be approached in wo diferent ways: 282a Mai7 as al chord in major:the chord=1 3.5 7 (9 11 13); the scale touse isMaor=1 2.3.45 6 7 =modelV of major @ (1) 03) 2b. Maj7 as alV chord in major: the chord = 1 3 5 7 (9 #11 19); the scale to vse is Lydian mode =1 2 3 #4 5 6 7. =mode lV of major @) #41) 03) Example: Cmal7_can be in C major ma?) Dmin? Emin? Fai G7 Amin?’ Bmin7(b5) 1 w W Vevey vi orlV in G major. Gmaj7_ Amin? Brin? [Cmaj?] 07 Emin? F¥min7(bs) ' wv eal) vow vi Ex You can see that the chords differ only by the 11, Schis nati] over ® mal? chord ash and #11 1234567 vara maj? chotd es IV. The scales der only by Cm) Scale ‘se nat 4 in the Major scale versus the #4 in the FI mode, (4= 11.84 = #11) ro 1's look first at maj7 as a | (Major Scale). m 4 2 5 » EERE CHORD TYPE: ta? & APPROACH: Major Scalo oat ° $ #27 chord as a I: z $ 2 the Major scale = 123.4567. Example: 256 + Smal? agatinG: ‘ = Cnaj scales CDEFGAB. ws P @ vt $OF6 4‘maj Scale CHORD TYPE: Maj APPROACH: Pentatorics/Bives For Cmaj7 as lin C, we need to look atthe harmonized C Major sal. Dmin? Emin? Fmaj? G7 Amin? Brin7(05) HS Va saa ae -2 minor pentatonies ané blues can ba extracted trom the I, land Vi ofthe Major scale. In that's Dmin, Emin and Amin, t's Listen, Emin pentatonic over Cal? ‘ay - Dmin pent sounds avdul, so we avoid it Em sounds only okay. Emon sounds the best of these three. 19 and Emin pent are common to both the Major and Lydian approaches to mai? because ey contain no 4 or #4 of C. FORMULA: Min pentiolues [up] 3d, [up] 62h. 30Ens? Blues scales [upl 3d, [up] 6th over Cmai7. CHORD TYPE: Maj7 PROACH: Major Arpegcios ext approach is arpeggios. va7=1357=CEGB =secerd, 3579 EG BD = Emn7 Emin? Arpeaaio over Cmaj7 > a= 's very good over Cmajz. Now the next extension is $7.9 11. Thereis a problem er “2 11 (4) doesnt sound good over a maj7. You're better off using the Lydian the higher extensions since the #11 sounds better than the natt1. (The 4 or 11 passing), cin? exp up] 8 aCHORD TYPE: Maj7_ APPROACH: Major Triads. Example: Cma{? as 1of C. The three major triads, |, IV and V, in Care C, Fand G. Over Cmaj7, C triad sounds just okay” F oesn't sound any good” G sounds very good FORMULA: maj trad [up] Sth “Note that C and F thads sound better when used over a Cmaj chord with no 7 and al three ound great ovar a C bass. om G maj iad over Cmaj7 CHORD TYPE: Maj7 APPROACH: Major Intervals: 31d, aths, Sths and 6ths all work fine. To practice, play exercises 34-41 over a Cmaj7 Chord, SUMMARY: FORMULAS FOR SOLOING OVER MAJ7 AS A CHORD (MAJOR SCALE). 1, Scale: Major=1 23.4567 2. PentatoniciBlves: min up} 370, min [up] 6th, 3. Arpoggios: min? [up] Sra 4, Tnads: maj [up] Sth 5. Intervals: 3rd, aths,Sths, ths. MY FAVORITES: 1, Seale: Major 2, PentatonictBlues: min fup] 3rd 3. Arpeggio: min? [up] Grd. 4. Triad: maj [up] th 5. Intervals: ths.Se. for Dmaj7 as a | in D, using the above formulas we get . ‘Scale: Dmaj = DEF#GAB CH 2 PentiBiues: Fimin Ap: Fain? & Tad: Ama} 5. Intervals: 6ths diatonic to Omal. CHORD TYPE: Mai7 APPROACH: Lydian Scale « Ot z capsMaj7 chord as a IV in major: use the Lydian mode = 1 2 3 #45 6 7=mode IV of major, Example: Omal7 as alV. Cis iV ot Gmaj7_ Amin? Brin?{ Cmay7| D7 Emin7 FAmin7&5) ' 7 ww Lvjv wow C Lycian = 123 #4 567 from C=C DE F# GAB. the same notes, same harmonized scale as G major. Ex 6ota) © Lycian over Cmai7 Any maj? (#11) chord is Lydian. Dorit be thrown by a maj7(b5) chord. emember, bS « #4, so ths fits into the Lydian roach. CHORD TYPE: Mai7 APPROACH: Lydian Pentatonics/BWes Example: Cmaj7 (Lyéian) © Lycian is mode IV af Gmay so let's look at the harmonized Gmal scale, D7 Emin? Famin?(05) Gmaj7_ Amin? Brin? vow ww rember, that the minor pent (163 4 5 D7) and minor blces (183 4 5 nat 5 b7) can sai, wo have Amin, Brin Je enacted from I, ll and VI af major. Therefore, in G Lyciar Emin pent or biues which can be played over Cmai7. Lets listen.Exot Brin Pentatonic over Cmai7 Exae Combination Emin and Emin Blues over Cmaj7 ‘Amin sounds only okay. Bmin and Emin both sound very good. Bin pent or blues over Cmai? is specifically Lycian because it contains an F#. ‘So the gist i, over @ Cmal? you can play an Emin pentblues (FORMULA: min pentibiues [up] 31d) whether you're using the Major or Lydian approach. Use a Bmin pentibives (FORMULA: min (down] 1/2 stop) if you wish to play specifically Lycian, CHORD TYPE: Maj? APPROACH: — Lydan Ampeggios omaj7=1357=CEGB Lot's extend. 9579=E€G BD =Emin7 Emin? erp is very good over Cmaj7. FORMULA: min? arp [up] 3rd $79 #11=G BD FR=Gmai7 7981119 = BD Fe A = Bmin7 ‘These sound good too. Gmaj? and Bmin7 played over Cmaj? are specifically Lydian bbocause of the #11 (#4), 3548 ionic arpeggios from Lydian work fine. FORMULAS: maj7 arp{up] Sth, min7 arp [down] 1/2 stop. x63 Gmaj7 over Cmaj? chord Bein? over Cmaj7 chord CHORD TYPE: Maj7 APPROACH: Lydian Triads ‘Al ads, diatonic to C Lydian (same notes as Gmai) sound good over Cmai7. Let's examine ‘ne major taads, which are found on I, V and V of major. In Gmaj. thats G. Cand D G tnad over Cmai7 sounds very good. FORMULA: maj tad {up} Sth. sounds just okay. 1 sounds very good. FORMULA: Maj triad up] whole step D triad over Cmai7 is specifically Lydian becauso of the Fi (#11 of C) x64” Dmajtriad over Cmaj7 chore ava a obves CHORD TYPE: Naj7 APPROACH: Intervals 34d, 4ths, Sths and 6ths diatonic fo Lydian (mode IV of major) all sound great For practice, play Ex. 34-41 over a Fmaj7 chord (IV in Cra). 36SUMMARY: FORMULAS FOR SOLOING OVER MAJ7 (LYDIAN) Scale: Lydian = 1 2.9 #4 5 6 7 = moda IV of major 2. Pent/blues: min {up} Sr, [down] 1/2 stop, [up] 6th. Arpeggios: All iatonic arps, especially min? up] 3rd, mal? [up] Sth, min? [down] 1/2 step ‘rads: All diatonic trads, especially maj [up] 5th, maj [up] whole step 5. Intervals: Stds, 4ths, Sths, 6ths MY FAVORITES: 1. Scale: Lydian 2. Pentiblues: (down) 1/2 step 3. Arp: min? {down 1/2 step. 4 Trad: maj [up] whole step 5. Interval: 61Ns 1 Amaj?, using tha above formulas, we get Scale: A Lydian = AB C# DP E Fé G# = mode IV of Emaj Pentiblues: G¥min 2 Ap: Gitmin? Trad: 8 interval: 6ths diatonic to A Lydian ‘CHORD PROGRESSIONS. A maj? c maj? Eb moj? Gb maj? AirijoroAWGas CmaprarGWaan EomaerarEdyoan Cormier Gb yan so88 0 wai Bb ear cake ‘Cwm a7Ens? COMBINATIONS (CHAPTER 1 & 2) S maor Gasan x8 r ® mor E eran 7D map Gama Emap Famer 7 F yan Feoranx70 Amaj7 “THEBUMBLE TREE" (Basedon Ex 65) Emin7 h % L_ Fen? ap 39(CHAPTER III; UNALTERED DOMINANT 7 CHORDS: Basically there are two types of unaltered dominant chords (unaltered meaning they contain a nat, not abd oF a #9, and a natS ar a bS but not a #5): 3a Dominant sus4 or dominant 11 chords, as a Vin major, contain a 4 or 11 instead of 3 Thechord: 14 5 b7(9 11 13) Examples (C rool): C7susd Casusd C11 C13eus4 BUC Gmin7iC Bbmai7iC ‘The scale to use with dominant sus4 chords is mode V of major = Mixolygian 12345607 (9) 11) (13) ‘3b Lydian dominant chords: IV in melodic minor. The chord: 13.5 b7 (9 #11 13) (05), Examples: C7 C9 C13 C7(b5) C9fbs) Bbma|7(#5YC C9(#11) The scale to use with Lydian dominant chords is the Lydian lat seven moda, which is modo Wotmelode minor=1'2 3 #4 5 6 07 () (11) (13) ‘When the extensions aren't specified on a dominant chord (for examsie, when only C7 is Indicated) and it doesn't function as a V movirg to | {for example, the next chord attor the C7 isnot F oF Fron), this is the best type of chord and scale fo use, Compare these two approaches and you can s9@ that the only difference between zhe scales ‘5 natd in Mxolydian vs. #4 in Lycian fat seven. 4 = 11, #4= #11, So, the natdinatt relates to the Mixolydian dominant and the #4i#11. relates to the Lydian 'b7 dominant. Some chords could be treated as either seale. For instance, C7, C3 arc C13, {do nat spociy ine character ofthe 4th or 11th Now. let's look at the possiblties within Mixolydian and Lydianb7 separately. CHORD TYPE: Dominant 7 Sus 4 APPROACH: — Mixolycian Scale Use MIXOLYDIAN Mode = 1 2.3 4 5 6 b7 (9) (11) (13)=medo V of major.EXAMPLE: C7susé as Vin major, Fmalor=F G A Bb C DE FGA Bb etc Mode V of Fimaj = C Mixolydian = C DE F G A Bb Ext © Misolydian scale over C7 sus 4 chord 22 CMxoydian $ » do DAA — cronorvee: out sna i remanent “indyCanPetone ee : ire WANONZED Nk sa =F? Gri Ane t 7 | 5 7 Bbmaj? C7 Omin? Emin7es. ‘Remember that minor pentatonics/olues can be built or the ll, and IV degrees of tho major scale. So for F major, Grin, Amin and Dmin pentatonics’bizes can be fe2 played over C7sus4 (or any other Mixolycian chord “2 listed at the beginning of the chapter). 5S EDS FORMULA: minor porstoniosies vp Sth, ue to f {up] whol step. > &esa Let's Uston Spesfeete ah 4 tp ax73 Gmin pertatonic over C7sus4 ExZ4 Amin pentatonic over C7sus4 E225 Dminpentatonic over C7sus4 CHORD TYPE: Dominant 7 Sus4 APPROACH: Mixolydian Arpeggios cunts 7911 {(n a dominant 11 chord, he 3 is omitted because it clashes with the 11) £5079 11 =£G Bb DF = Grin? 4 B07 911 13= Bb DF A = Bbmai7 ‘These two arps sound good over dominant sus4 chords because they are the most closely related, 42FORMULA: min7 arp [up] Sth, maj? arp [down] whoto step. ALL OTHER DIATONIC ARPS IN F MAJ (C MIXOLYDIAN) SOUND GOOD OVER C DOMINANT SUS CHORDS. Ex 76 Grin? arpoggio over C7 sus —8vA ney layoy 7 Bb maj? arpeggio over C7 sust 5x78 Diatonic arpeggio's om Fma over C7 suse Lonert | LEmens jr may cr 43CHORD TYPE: Dominant 7 Sus 4 APPROACH: = Mixolydian Triads © Maxolydian is mode V of F major. The three major triads (I, 1V, and V) of F are F, Bb and C Lets listen to these over C7susd oer) F tod Bb tiad over C7 sus Ex C trad over C7 susd 44They all sound good. All other diatonic triads in F major work well to. FORMULAS: Major triads [up] 4th, [down] whole stop and irom the root CHORD TYPE: Dominant 7 Sus 4 APPROACH: — Mixolydian intervals Srds ths Sths 6th all work nicely. Lets listen, x82 Diatonic 3idsin C Mixolydian (Fmai) over C7 sus4 =89 Diatonic ths in © Mixolydian (F mal) over G7 sus4 45EX.83 cont Exes Diatonie Stns in C Mxolydian (Fraj) over C7 sus 83 Diatonic 6ths in © Mixolycian over C7 sus4 46SUMMARY: FORMULAS FOR SOLOING OVER DOMINANT 7 SUS 4 CHORDS. (MIXOLYDIAN SCALES 1. Scale = Mixolydian 2. Penvilues minor [up] whoo step, [up] Sth up] 6th. 3. Arpaggios = min? {up Sh, maj? [éown] whle step (ll tonic arps to related major scale) 4, Triads = Up] 4th, [down wholo step, root 5. Intonals = Srés, ath, ths, ths, MM FAVORITES: |. Mxolydian - Minor pentislues [up] whole step . Maj? arp [up] 4th. ‘Major trad [up] ih eins. Using these formulas over E7sus4 = 1. EMixclydian= 1 23 45 6 b7 = mode Vot A major (E F#G#AB CKD), 2. Minor pentilves [up] whole step = Fi. 3. Maj7 arp [up] 4th = Amj?. 44, Major triad fup] ath = A. 5. 6ths diatonic to A major. CHORD TYPE: Lycian Dominant APPROACH: — Lydian b7 Sca'e Now let's took at Lydian dominants 13.5079 #11 13 (#11 =b5 =A4) Our example willbe C9. Tho scale to use on Lydian dominantsis Lydian b7, 123 #4 5 6 7, This scaio is Mode IV of Melodic minor scale, 9. C9-= chord IV of G melodic minor. moked minor= 1 2 63 4 5 6 7 (9} (11) (13)= G A Bb CDE Fe. fode IV=C DE FH G A Bb = CLydanb7 (Lydian moans raised 4{#4); Lydian b7 = "ayor scale with #4 and b7). arC Lydian b7 over co X82 C Lydianb7 5 cme? 2 BY 2 $ © CHORD TYPE: Lydian Dominant APPROACH: | Lydanb7 Peribwes a HARMONIZED MELODIC MINOR SCALE fr P Grin ai?) Amin? Bomaj7#8 C7 D7 Emn7es > Crear Famn?os yey $e Aero There is one minor penvblues in melodie minor, at the i 4 —_rd-depiee CO = C Lydan 67 = 6 melodie minor. 2nd degree ot G a mmole minor = A. Therefore, A minor pantblues is 2 SEE possible & FORMULA = min ponubives [down) min 3x rom chore = $O14 Lets Usten z wo + &CHORD TYPE: Lydian Dominant APPROACH: Lydian b7 Arpeggios, 07=13.5 67. Letsedend 1.957 9 = C EG Bb Dw Emin7es 5 07 9 FI =G Bb DF# = minima?) b7 9 #11 19 =Bb D FHA = Bomai7es FORMULAS: min705 a7 [up] Sr. min (a7) arp [up] Sth, ma7AS arp [down] whole step ALL DIATONIC ARPS OF G MELODIC MINOR SOUND GOOD OVER € LYDIAN DOMINANTS. Lots listen Baad Emin705 arpeggio over C9 £4.20 Gmin(maj7)_arpeggio over C9 femai7¥5_ arpeggio over C9 “Note: Key signature for 9 melodic minor has all B's fa, all F's sharp. 49Diatonic amps in C Lycian b7 (Gmel min) over C9 1G mina) L Ame?) | (ebmapes | Lory | (071. Eminres ete. down L Fe mines __1 L_ G rantmoin CHORD TYPE: Lycian Dominant APPROACH: Lycian b7 Triads First welt look at major lads. There are two major triads in melodic minor. They are on the 4th and Sth degrees. Our example chord is C8 = C Lydian b7 = G melodic minor. ath and ‘5th degrees of G melodic mincr are C and D. Let's isten to C and D major tnads over C9. xg. (Cmaj and Dmai triads ever C9FORMULA: MAJOR TRIADS from ROOT and [up] whole step. Ail giatonic tnads in G melodie minor sound good over C Lydian dominant chords. aay} Diatonie tnads trom C Lydian b7 over Co Ex.25, Lycian b7 in rinds over 9 LF LG me ILAring Bag Le mal Jip. CHORD TYPE: Lycian Dominant APPROACH: Lycian b7 Intervals, 310s and 6ths are usetu! in melodic minor (the Ath and Sth intervals are almost ai augmented 4ths and diminished Stns). So, or our purposes we'll lust use Srds and 6ths in melocie minor). 51Enos Diatonic 3rds in C Lydian 67 over C9 ur Diatonic 6tnsin C Lydian 67 over C9 SUMMARY: FORMULAS FOR SOLOING OVER LYDIAN DOMINANTS (LYDIAN b7 SCALE) 4. Scale: Lygian b7. 2. Pentiolues: [down min 3rd 3. Arpeggios: Min705 [up] 3rd, Min(mat 7) {up] Sth, Maj7#S down] whole step. (All diatonic amps of related melodic minor scale}, 44, Tradsstrom root and {up] whole step 5. Intorvals: rds and 6ths MY FAVORITES: 1. Lydian b? scale 2. Minor pentbiues [down] minged 3. Maj7#S arp [down] whole step 4 Major toad [up] whole step 5. 3rds. x98 (Chord Progressions Be mayen ‘Be yeanv7 52S88 aoe bb/eb HG murayaan Eb maayaan mnovdian Ex 100 wan BF ‘eiyean A vean 7 F yan 7 Bu 101 ivan? F yan 67 Cyan 7 F yan b7 ‘Caan br Ex102 E raxciaan ‘ean b7 Te macyaar yan 7 53COMBINATION PROGRESSIONS mane F moan ‘Boon ‘De ean 7 F major ‘De nsan BT Teena ‘Ciidan BTEx 106. “Playing My Dx 9 Trition® (based on Ex. 98) Bbmas7/c sf Bbmas7#5/¢ Crmoyeien in : ees. | F wa Trad D ner ae De wee Bbaaj7#5/¢ “ Ex107 “Fried Zucchini" (based on Ex. 104) ‘Amin? es Bbc ‘A covan aes LL, Cristian LL ahs 8 been F i] Lod Bb haan o7 | 55(CHAPTER 4: ALTERED DOMINANT CHORDS “There aro three main scale approaches for altered dominants: Super Locrian (7th mode of Melodic Minor), Diminished (naif whole from root), and Phrygian Major (Sth mode of Harmonic Minor) ‘Melodic minor wil be the final topic for this book. The Frank Gambale Technique Book I! wil ‘continue where this Book leaves of. CHORD TYPE: Altered Dominant APPROACH: Super Loorian (Melodic Minor) Scale ‘The most common scale used over altered dominant chords is tho SUPER LOCAIAN. This scale begins on the 7th degree of the melodic minor scale. An altered dominant means a 7th ‘chord with an altered (# or b), 9 or Sor any combination. ‘The chord wo will use for our purposes is E7#9. The scale will be E Super Locrian which = ‘ih mode of F Melogic minor. F Melodic minor = F G Ab Bb CDE. E Super Locran = EF G ADBDCD=1 b2 b3 3 OS #5 b7 (09) (HS) (11) (b13). FORMULA: On attored dominant chords play Super Locrian trom the raot or play melocic ‘minor [up] 1/2 step from the root of the chord, E Soper Locrian (Fmelosié minor) over E77 56E108 E Super Locrian fae CHORD TYPE: ered Dominant aegest P13) APPROACH: Super Locrian Pentatonics Blues: ‘There is one minor pentatonic in melodie minor starting on the 2nd degree. E7#9 = E Super Loctan = F Melodic Minor. 2nd degree of F Melodic Minor is G. FORMULA: Minor pentatonic [up] min Srd from attered dominant, Lots listen to G minor pentatonic over E7#9 (Ex. 110). CHORD TYPE: Altered Dominant APPROACH: — Super Locrian Arpeggios HARMONIZED F MELODIC MINOR. Fmin(maj7) Grin? Abmaj7#S 867 C7 Dmin7bS Emin7b6. All these arpeggios sound great over E7 alt Let's look a litle closer o see which are the most Closely relatod. Dmin7b5 = 1 b3 b5 b7 =D F ADC. I wo play this arp over E, and rearrange tho notes of Dmin?bS (= b7 of €, F= 09 of E, Ab = 3rd of E, C = 45 of E), wo get E Ab(GH)CDF=1 3 #5 b7 bo = 78509 = (Omin7bS/E bass), ” Ex 110 Grin pentatonic over E7#9 37Ex111 — Dmin7 bS arpeggio over E79 ‘The Dmin7bS is the most closely related chord to E7alt. Let's list all the diatonic amps of F ‘melodic minor and see how they each affect E7#9. Fmin(maj7) =F Ab C E = b9 3 #5 A of E Gmin?—=G Bb DF = #9 b5 b7 bo of E Abmaj7#S =Ab CEG = 3 #5 F #9 of E 8b7 = BbDF Ab = b5 b7 b9 3 of E cr =C EG Bb = #5 F #9 b5 of E Dmin7>5 = DF Ab C =b7 bo 3 #5 of E Emin?05 = EGEDD = R #9 b5 b7 of ‘All these arpeggios atfect the altered chord differently and they are al useful sounds. Let's listen to all of those. Ext? Fmin (maj7) Arpeggio over E7 #9Ex Gmmin7 arpeggio over E7#9 eva oc * Enid ‘Abmaj7#5 arpegnio over E7#9 Ex iis Bb7 arpeggio over E7#9 Ex ii6 C7 arpeggio over E7#9 59Emin7bS arpeggio over E7#9 CHORD TYPE: Altered Dominant APPROACH: Super Locrian Triads In a melodic minor scale there are two major triads. They appear on the ath and Sth degrees. E7#9 = F melodic minor. 4th and Sth degrees of F are Bb and C. FORMULA: Major iniads [up] bS and [up] #5 trom the root of the altered chord Let listen to Bb and C major tiads over E7#9, 1 ‘Bb triads over E7#9 chord 1 ‘Cma) tiads over E7#9 chord 60Ex120, Diatonic Triads rom E Super Locrian over E7#9 chord Lett Fmn11Gmoi tabavg! | 1&1 LCi 1 01 Lt Altered Dominant ‘Super Locrian intervals, ‘rds and 6ths. Let's listen. Exi2i Diatonic Srds from E Super Locrian over E7#9 chord, Ex122 Diatonic 6ths from E Super Locrian over E7#9 6‘SUMMAR) ‘OF ALTERED DOMINANT 1. Scale: Super Loorian 2. Peni blues: [up] mia 3rd 3, Arpeggios: Min7bS [down] whole step (all atonic arps) 4, Maj tiads:[up] bS and [up] #5 5, Intervals: Srds and 6tns (My FAVORITES: 1, Super Locrian scale 2. Min penvolues [up] min Sra 3. Maj 745 arpeggio [up] Srd 4. Majtriad [up] #5 5. ards Baa Progressions 7% eoran super berar Baoan ‘Divan b7 Fyden TE wope eranx25 Northbourne Ave.” (Based on Ex. 128) Tove ps 7 ss eT a rn E78 1G ad | 18 9d | cre 1 [Lop tomo vind Fay? LA dues geaieek, Based on £ cede mn eckoEDITOR'S NOTE: (n the acconpanying cassette Frank indicates thet the Tech Book 1 ‘will include sections on stash chords and modes. Though Frank had originally intended to include these toples, he later decided to ‘ave then for future projects. The Tech Book 11 is now on sale ‘and details the second ha of Frank's soloing theory course. 6APPENDIX Terminology used in this book. INTERVALS, | refer to intervals by numbers in this manner: 4 = the root ofa scale or chord be = minor 2nd interval (half stop) = major 2nd (whole step) 163 = minor third Sm major third 4= perfect fourth #4 = augmented fourth bS = diminished tith 5 = perfect Sth 8 = minor 6th 6 = major 6th b7 = minor 71h 7 = major 7th b9= minor ninth (came note as b2, up an octave) 9 = major ninth (came note as 2, up an octave) ‘#9 = augmented ninth (same note as b3, up an octave) 111 = pertect eleventh (same note as 4, up an octave) #11 = augmented eleventh (same note as #4, up an octave) 1b13 = minor thineenth (same note as b6, up an octave) 13 = major thiteenth (same note as 6, up an octave) {tis very important to be aware of enharmonic equivalents (different spelings of the same ote). For example, G# = Ab, Dit = Eb, otc. Alsoin intorvals: #4= 5, #5~=b6, ete, And also in octave equivalents: 2=9 (eg. the 2 of C scala is D. The 9of a C8 chordis 0.) b2 = D9, b3=#2=#9,4=11,05= #4 = 411, 6= 13, #5=b6=b13, OTHER NOTATION ‘Tuse the notation [up] and [down] for “up a” and “down a”, respectively. So, *mel min [up] 1/2" ‘means play the melodic minor scale up a hal step (rom the chord being discussed). ‘THE MAJOR SCALE ‘Ail major scales are made up of these intervals from the root. (W means whole step, 1/2 ‘moans half step): fomrost Ky N73 Ay BV B\/7A/1 NEY MENENING 65SointhekeyofCmajor= 1 2 3 4 § 6 7 4 Cy OvEy FYGyAVB VC Wow, WWW ie You! notice that the major scales other than C require the use of sharps or flats to maintain the right interalrelatonships. For exampio, the A mejor scale: 12,3 Mase) Avy BUCKD y Ey FlyGhy A wow WwW Ww ‘THE HARMONIZED MAJOR SCALE ‘There are mary chord's that ean be constructed from the major scale. Let me show you how we arive at them. ‘The notes of the C major scale are: Haye, SWAA Se 7 2 epee eeae cD EFGABCGCDEFGA @ 9 10 11 12 13 ‘Chords ara mado up basically in ascending diatonic Srds, every other note of the scale. (DIATONIC means Using only the notes of the given scala. So when referring to diatonic 3rds, soma will tun out to be major 3rés and others will bo minor 3rd.) you start on the 1st degree (root) of the scale, C, and build a 4-part chord by selecting every other note, . De F rN youhave CEG, « ma? = he (ore ehordin ©. ee co oe ta we & ‘YougetD F A C =Dmin? = the ll Chord in C. EGBD Emin? =llinC, and so on. Tho Ist of four-part chords arrived at in this manner is the Harmonized G Major Scale. Harmonized © major scale: Cmaj? min? Emin? Fmaj? G7 Amin? Bmin7(bs) TW Aiea ae ev Harmonized A major scale Amaj? Brin? Cimin? Dmal? 7 Famin? G#min7(b5) row uM vow vil‘Notice that since all major scales are constructed of the same intervals, 1 23 4 5 6 7 from ‘oot, the chord types on each degree remain the same in all major keys. TRIADS: in all major keys, the |, IV and V inlads are major (1.3 from root of tad) the i Il and VI triads are minor (1 63.5) the Viltriad is diminished (1,3 b5) FOUR-PART CHORDS: In all major keys, the | and IV chords are maj7 (13.5 7) the I Ill and VI chords are min? (1 63. b7) the V chordis dominant (1.3.5 67) the Vil chord is min7(b5) (1 B3 bS b7) Although | generally write down just the 4-pant chords whan listing the harmonized scale, itis very important to keep in mind what the dlatonic extensions (continuing up In diatonic 3rds to the 9 or b9 or #9, 11 or #11, 13 or b13) would be. For example, tho IV chord in C would be: coeMcornecoerecaseod ets > eas eecmearrite 3 Notice that 9 of F = the same note as 2ot F, #11 = #4, 13.= 6. The diatonic extensions ‘available on each scale dogreo also remain the same in every major key. Inal major keys: Imaj7 (9 11 13) Mein? (9 11 13) min? (bo 1113) IV maj7 (9 #11 13) V7 @ 11 13) Vimin? (9 11 b13) Vil min? (05) (b9 11 b13) orMODES OF THE MAJOR SCALE music theory, the major scale is always used as a relerence to determine ancther seals ierval stricture. Modes of major can be compared to major in two ways: as ‘aksratons of a major scale (taking @ major scale and raising or lowering certain notes by 1/2 ‘Steps) oF 25 inversions of a major scale (taking a major scale and playing a 7-note scale by ‘on a degree other than 1 of the major scale. I want you to be aware of both ways. Wer ute C as. root for our examples of modes. DORIAN as an inversion: DORIAN IS MODE Il OF MAJOR. Example: In C Dorian, Cis 201 Bb, 80. 8p Major © Dorian SSS V2345671 Dorian is mode Il of Bb major, (has the same notes as Bb ‘mar, staring on 2). {As an alteration of C major ¢ Major ¢ dorian 1224567 Tig o8ais)6. 97 Dov te a je sal wit 8,87. —E—————— PHRYGIAN IS MODE Il OF MAJOR. Example: In C Phrygian, Cis 3 or Ab, $0 Ay Major Phrygian 123456712 CC Phiygian is mode Il of Ab major. ‘Compared to major of the same root: C Masor © Phrygian be Tbe b3 45 po b7 iiehs:¢ ia do nt 13 Phrygian is tke @ major scale with b2, b3, b6, b7 68LYDIAN IS MODE IV OF MAJOR Example: C Lydian. Cis 40tG, so p & Major © tyaian ~Eve T234s567123 Lydian is modo IV of G major. Compared to major of the same root © Hajor © tydian 1234567 0 $67 113 Lydian is ike @ major scale with a #4, ee \MIXOLYDIAN IS MODE V OF MAJOR Example: CMixolydian. Cis Sof F, 60 F asor te € mixolydian 23 9 1234567123 C Mixolydian is mode V of F major. Compared to major of the same root: © Major © Hixolydian 72345607 at 13 Mixolydian is ike a major scale with b7. 1234567 ‘AEOLIAN (also known as natural minor) IS MODE VI OF MAJOR. Example: C Aeolan, Cis 6 ot Eb, so Eb Major © Aeolian 123456712345 C Asolian is mode Vi of Eb major. Compared to major of the same root: p_£ Hasor © Aeolian pS TE bo 4 5 06 b7 1234567 Z 094506 Aeolian is like & major with b3, b8, b7. 69OU IS MODE VIIOF MAJOR CLocrian. Cis 7 of Db, s0 € Locrian 1234567123456 C Locrian is made Vil of Db major. ‘Compared to major of the same roct: c Major C Locrtan T bz b3 4 b5 b6 b7 1234567 Pema nte Locrian i ike & major scale with B2, b9, BS, B6, b7 —— SUMMARY OF THE MODES OF MAJOR (mode t=mepr) = 1294567 modell = Dorian =1 263 4 5 6 b7 modell = Phygan= 1 b2 bo 4 5 b6 b7 model = lydian = 12.3 #4567 modoV = Mrobdian = 12.3 456 b7 mode VI = Aeolian = natural miror = 1 2 63 4 5 b6 07 mode Vil = Locfan = 1 b2 0 4 bS b6 b7 70MODES - MAJOR Major © Doran Cc Phgian 1234567 1208456 b7 1 b2 63.4 5 BG OF Gn (3) @ Oo 03 (08) (14), 13) x ncycian c 0 C Acoian 129567 12345607 120345 b6 b7 11) (13) @) 1) (13) (9) (11) (13) or OF tye x 35 4 7 > see FOFG oF i ¢ + ae o $ Td 1 SO rib t 3 Ed op e $e 2 yee $ oy i Tories fas oy aS of $y 2MODES MAJOR C Loerian 1 b2 b3 4 DS bE b7 (09) (11) (13) pe T 73‘The melodic minor scale is made up of these intervals: ‘om root: yy 28 V4y5y By7¥1 tromeachotne: Wo, w WW Ww % ‘The melodic minor scale is Ike a major scalo with a b3. For example, C melodic minor is C DED FG AB. ‘THE HARMONIZED MELODIC MINOR SCALE {In all melodic minor scales, the harmonized seate is: I min(maj?) (9 14. 13) min? (b9 14 43) lutmaj7 (#8) (@ #11. b13 (nat}13) V7 @ #11 13) V7 (9 11 B13) Vimin7(b5) (@ 11 B13) Vilmin7(bs) (b9 49 bit =3 #11 b13) For exampl In A melocic minor (A B © D E Fé Gi), the harmonized scale is Amin(maj7) Brin? Cmaj7(#6) D7 E7 Fémin7(bS) Gtmin7(b5) MODES OF THE MELODIC MINOR SCALE. ‘Just as we artive at modes of the major scale by playing seven-note scales, we can start on Siferent degrees and arcve at mades of the melodic minor by doing the same thing. The modes ate given names which compare them to modes of the major scale. The interval structure Is compared back to the major scale. DORIAN FLAT TWO IS MODE II OF MELODIC MINOR. Example: Ia C Dorian 62, C's 2 of Bb melodic minor, so. Bb Nelodic Minor © Dorian b2 120345671 Dorian b2 is mode I! of Bb melodie minor. ed to major of same root: ¢ Major Dorian b2. : T'b2 ba 45 6 07 ee bn 13 Dorian Flat Two Is ke a major scale with b2, b3, b7. 4LYDIAN SHARP FIVE IS MODE Ill OF MELODIC MINOR. Example: In C Lycian #5, Cis b3 of A melodie minor, $0 g A Melodic Minor C Lydian #5. 12b3456712 C Lydian #5 is mode Il of A melocic minor. ‘Compared to major of the same root € Hajor C Lydian #5 T2305 6567 Se ak 3 aii piss Lydian Sharp Five is Ike a major scale with #4, #5. LYDIAN FLAT SEVEN IS MODE IV OF MELODIC MINOR. Example: In C Lycian b7, Cis 4 of G melodic minor, so, 6 Melodic Minor ¢ Lydian 67, 7 345671203 a2 C Lydian b7 Is modo IV of G melodic minor. ‘Compared to major of the same root © Major ¢ tydtan 97 234567 TZ 3 aes 6 br Lydian Flat Seven is ike a major scale with #4, b7. MIXOLYDIAN FLAT SIX IS MODE V OF MELODIC MINOR, Example: In G Mxolyeian b6, Cis § of F melodic minor, so F Melodic Minor, ,b-obe. © Mixolydian_b6 12b3456712034 C Mixolydian b6 is mode V of F melodic minor. Compared to major ofthe same root ¢ Major C Mixolydian, dé 2345 06 07 911 brs Mixolydian Flat Six is ike a major scale with 86, b7 1234567 5AEOLIAN FLAT FIVE IS MODE Ill OF MELODIC MINOR. Example: In C Lydian b5, C is 6 of Eb melodic minor, so g £b _Kelodic pease C Aeolian 4 12nsas6712045 Aeolian bS is mode VI of Eb melodie minor. ‘Compared to major of the same root C Major € Aeolian BS T 2 ba 4 5 b6 b7 1234567 pees esiie ‘Aeolian Flat Five Is ike @ major scale with ba, bS, D6, b7. ‘SUPER LOCRIAN IS MODE Vil OF MELODIC MINOR, Example: In C Super Locrian, Cis 7 of Db melodie minor, so . Db Melodic Hjnoy ¢ Super _tocrian 12bs456712004656 (© Super Locrian is mode Vil of Db. melodie minor. ‘Compared to major of the same root @ hafor He oh ce =a anaes bo 49 ATLDIS ‘Super Locrian is like a major scale with b2, b3, bé, DS, b6, b7 ‘SUMMARY OF THE MODES OF MELODIC MINOR (mode |= melodic minor) = 1 2b3 4.567 ‘modo li = Dorian b2 = 1 b2b3 456 b7 mode lll= Lycian #5= 12984 #567 mode IV = Lycian b7 = 123#456b7 moda V = Mixolydian 06 = 123.456 b7 mode Vi = Aeolian b§ = 1 23 4 bSb6 b7 ‘mode Vil = Super Locrian = 1 b2 b3 ba b5 b6 b7 7MELODIC MINOR MODES © MELODIC MINOR © DORIAN b2 © LYDIAN #5 1g rye Toe [To] E 4 = a © 35 a a 5 ae ‘ctrors + bt byt 4 25. z $ 7 6 $0} os SO 1 1 ° oh = $3 OS Dy by * w 2 7© LYDIAN b7 MELODIC MINOR MODES © MIXOLYDIAN b6 yy EE $ oy 7MELODIC MINOR MODES SUPER LOCRIAN « oe 79PENTATONIC SCALES ‘The minor pentatonic scale isa five note scale made up ofthe intervals 1 8S 4 b7 (trom the root of the minor pentatonic scala). For example, Amin pert = AC DE G. Intho key of C major, C D EF G ABC DEF G otc. ... you can extract minor pentatonic scales starting on I (0), I (), and VI (A). In: Iminpent'=DFGAC min pent =EGABO Viminpent=ACDEG. Itis true of every major scale that minor pentatonics can be extracted trom I lll and VI (the ‘same degrees that produce minor 7 chords, i you remember from the section on the harmonized major scale ) “The major pentatonic scale pont = CDEGA. ‘a five-note scale made up of the intervals 12356. e.g.,Cma} Inthe key of C major, you can extract major pontatories starting on | (C), IV (F), and V (G) In: I majpent =CDEGA IV mal pent =F GACO Vmajpent = GABDE Itis true ot every major scale that you can extract major pentatonics from I, IV and V (the same degrees that produce major triads). Notice that the major and minor pentatonics are inversions of each other (contain the same rots) In: 1 majpent =C DEG A= same notes as V1 minor pent = AC DEG 1V maj pont =F GAC D= Il minor pent= DF GAC V maj pent = GABDE =lll minor pent=EGABD 80BLUES SCALES. ‘The minor biues scales are six-note scales: the same notes as minor pentatonics, with the addition of. The intervals are 1 b3 4 bs {nat J5b7. InC: minorbues= DF G [EH Ajpat) C Iilminorbies= € G A [Bb Birat) DO Viminorbues=A C 0 Eb} Ejnat] G Even though the bS's of the minor blues scales are not in the major scale (lor example, C ‘major does not contain Ab, Bb or Eb), the blues scale is such a strong sound that your eat will accept th extra note with no problem, adding spice to the regular pentatonic sound. So any ‘ime the minor pentatonics are appropriate, the minor blues may also be used, ‘The major blues scales aro six-note scales, the same notes as the major pentatonics, with the addition of b3. Theintervals are 1 2 63 [nat]3 5 6. In: I major bles - C DEB E{nat GA IV major blues = F G Ab Alnat| CD Vmajor blues = G A Bb Binat| DE ‘Notice that the major and minor blues are inversions of each other. (This is essentially the itference between blues and country styles) InC: | majorblues = CD EbEjnat}G A = VI minor blues = AC DED E[nat] G IV major blues = F G Ab Alnat] C D = I minor biues = DF G Ab Anat] C \V major blues = G A Bb Bjnat] DE = Ill minor blues = E.G A Bb Binat } D ‘Again, even though the b3's ofthe major blues are notin the major scale, your ear accopts them and so the major blues may be used any time the major pentatonics are appropriate. ‘Since the major pentatonicsiblues scales contain the same notes as the minor pentblues, the use of the minor is more common In contemporary pop, rock and jazz (the major ppentblues ara used in country music). | refer only to the minor pent/biues inthis book and leave ito you, i you want, to remember that the majors are available as well a2 CMAJ PENTATONIC (CMIN PENTATONIC MIN BLUES 82CMAJ BLUES a3CD Tracking Information ‘Opening/Foreword ‘Soloing Corcept Examples 1-9) Examples 10-14 Examples 15-20 Examples 21-26 Examples 27-33, Examples 34-37 Examples 28-43, Example 44 (Cat Pause) Example 45 (Cat Sneeze) Examples 47-52 Example 53 (Stickman) Examples 54-59 Examples 60-69 Example 70 (Bumble Tro) Examples 71-75 Exampies 76-78, Examples 79-81 Examples 62-85, Examples 86-88 Examples 69-92 Examples 83-05 Examples 96-105 Examples 106 (OX9-Triion) Examples 107 (Fed Zucchini) Examples 106-111, Examples 112-117 Examples 118-120 Exampies 121-124 Examples 125 (Northbourre Avenue)