JFK Outsideconceptsbluesmasterclass PDF

MASTERCLASS BOOKLET
John F. Klaver
OUTSIDE CONCEPTS
BLUES MASTERCLASS
INTRODUCTION
Welcome to this masterclass. This one is all about really stepping outside the pentatonic box.
We’ll even be stepping outside the key of the song temporarily. We’re going to use several
concepts to do this. Working with outside notes is a great way to give your playing a hip jazz/
fusion feel, but you still retain the bluesy pentatonic sound if you want. It’s not so much about
flashy techniques, but more about getting the most out of all the notes available.
THE BACKING TRACK
The backing track is in B flat and has only one chord, Bb7#9. This will give you lots of time to
experiment and try out all the concepts. The great thing about the 7#9 chord (the “Hendrix
chord”) is that it epitomises the major/minor ambiguity of blues. Although it’s a dominant 7th
chord (which contains a major 3rd), the #9 is the same note as the minor 3rd. In Bb, the major
3rd is D and the #9 (or minor 3rd) is C#/Db.
And of course once you master these concepts, you can apply them to other musical
scenarios, including the regular blues progression.
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OUTSIDE CONCEPTS BLUES MASTERCLASS
JOHN F. KLAVER
THE SCALES
We will be using our beloved minor pentatonic scale (Bb Db Eb F Ab) as a starting point, but we will
also be using several other scales…
F Superlocrian: F Gb Ab Bbb [A] Cb [B] Db Eb
This is all about implying another chord over the Bb7#9, and then playing a scale to fit that (implied)
chord. For example, we can imply an F7 chord, suggesting a V7-I movement (F7-Bb) and then play F
Superlocrian. The backing doesn’t change; we’re just creating an imaginary chord change.
Whole/half diminished: Bb C Db Eb E F# G A (alternating whole and half tones).
Or we can imagine there’s a Bbdim7-Bb7#9 change, and then play Bb whole/half diminished over
the imaginary Bbdim7 chord. This sound is the same as the #IVdim7 chord (Edim7) you might hear
in a blues progression – Edim7 and Bbdim7 have the same notes.
Whole-tone: Bb C D E Gb Ab (another symmetrical scale built only from whole tones)
Mixolydian: Bb C D Eb F G Ab
Check out these shapes. These are just root position shapes, so take your time finding the notes in
different fretboard positions.
Bb minor pentatonic Bb whole/half diminished
F Superlocrian
5 A
6 Bb Eb Ab Db F Bb 5 G C E A
Eb Ab Db
Bb Eb Db Bb
B A Gb B
F Eb E A F#
F Bb Eb Db Gb B Ab Db
C Bb Eb G C
F A
Db Ab Db Db F#
Eb
Bb Whole-tone Bb Mixolydian
6 Bb Ab Bb 6 Bb Eb Ab
D
E D Gb
C F Bb Eb G C
C Bb C
Ab
Gb E Ab
D G C F D
D C D Bb Eb
JOHN F. KLAVER
OTHER CONCEPTS
We’ll also be exploring the simple concept of moving a whole scale up or down by different
distances. What happens when you play a Db minor pentatonic lick over a Bb tonality?
Don’t forget, the most important thing is to resolve back to the home key at the end of the line, or it
will just get too weird!
EXERCISES
We now have ten exercises, to help you get your fingers around the new scale patterns, and to learn
how the scales relate to each other. If you’re going to change scale, you need to see in advance
which notes are going to change, and which notes you can keep from the previous scale. Please
review the explanations below, and then scroll down for the TAB/notation.
EXERCISE 01
This exercise is about learning to find the notes of the Bb whole/half diminished scale, combining
it with the Bb minor pentatonic scale, so we can hear the outside and inside notes. Notice that the
diminished scale has a lot of the same fingering patterns, since it is symmetrical.
EXERCISE 02
Now we’re learning to find the notes of the F Superlocrian scale, combining it with the Bb minor
pentatonic. Always end on an inside note (from minor pentatonic, Mixolydian or the Bb7#9 chord).
EXERCISE 03
This one goes inside and outside the key using the minor pentatonic half tone above (B minor
pentatonic: B D E F# A). Going over almost the entire neck we also learn all the pentatonic shapes.
And again we can hear going inside and outside the key.
EXERCISE 04
Now we’re working with the notes of the Bb Mixolydian scale and combining it with the Bb minor
pentatonic scale. Bb Mixolydian is not really outside, as it’s the mode we usually play over a
dominant 7th chord. But it’s still important to know. We can only go outside when we know what’s
inside!
EXERCISE 05
In this exercise, we’re combining Bb whole-tone scale with the Bb minor pentatonic. One of the
most important features of the whole-tone scale is that it contains a lot of augmented triads (Bb aug
= Bb D F#).
JOHN F. KLAVER
EXERCISE 06
Again we can only go outside when we know what inside is. So here we play the Bb7 arpeggio but
adding chromatic approaches for each chord tone. This is a great way to learn the chord-tones and
to make your playing really fit the chord when you want it to.
EXERCISE 07
Here’s a nice fingering for the whole/half diminished scale which can be easily moved around the
neck. Again, this is combined with the minor pentatonic scale for resolving back into the key.
EXERCISE 08
This is probably the only real technique exercise for endurance and precision. But still it can be
used as a cool melodic lick, as it goes up a half tone at the end.
EXERCISE 09
Here it is, one of the coolest diminished patterns. John Coltrane and John Scofield have used it, so
you can’t go wrong! It’s a four-note pattern which moves through the scale, but also notice that it’s in
triplets, so it moves around in the bar.
EXERCISE 10
This exercise uses a simple minor pentatonic pattern, but it moves through three tonalities over the
static Bb7 backing… Bb -> D -> F# -> Bb. You could apply this concept to other patterns and other
scales. An important discipline here is to find the closest pentatonic shape when you change the
tonality. If you simply jump around to root-position shapes, it won’t sound as musical.
EXERCISE 1
As recorded by jamtrackcentral.com
(From the 2016 Album JOHN F KLAVER: OUTSIDE CONCEPTS MASTERCLASS)
`Pb = 103
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V V gV V V
9 12 11 9 8
T 9 11 11 10 8
A 8 10 11 9 8
8 11 11 10 8 7
B 8 11 10 9 7 6
9 11 9 6 9
gV V gV f V V V f V gV V
sl. sl. sl.
ee gV V V V gV f V V V
I V V gV V V gV V V gV f V
V gV V gV V
3
6 9 8 6 5
T 6 9 8 7 5
A 6 8 8 6 5
6 8 8 7 5 4
B 6 8 7 6 4 3 4 6
6 4 6
V V gV V V f V gV V V V f V V
sl. P sl. sl.
e e V gV V V gV V V
5
I V gV gV f V V V V V V
4 6 5 3 2
T 4 6 5 4 2
A 3 6 5 3 2
3 6 5 4 2 1
B 4 3 0 1
1 0
sl. P sl.
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P
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B
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Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org
EXERCISE 2
`Pb = 103
gV V V V V f V
B79
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1
Ie 44 gV V V gV V gV gV f V V gV gV f V j
9 11 13 11
T 9 11 14 12
A 8 10 14 13 11 10
8 11 13 11
B 8 11 14 12 11
9 11 14 13
e V V gV V gV f V V V gV V V gV f V
3
Ie V V gV V gV V gV gV f V V c k
V gV gV f V e V
6 9 7
T 6 9 10 9 7 6
A 6 8 8 6
6 8 9 7 6
B 6 8 9 8 6
6 9 9 7 6
e gV V V gV V f V V V gV V V gV f V
5
Ie V V gV V V gV gV f V V
gV V gV gV f V V e V
4 6 7 5 4
T 4 6 7 6 4
A 3 6 6 4
3 6 7 6 4 3
B 4 6 6 4
4 6 7 5 6
e
sl.
7
Ie j
V
T
A
B
1

EXERCISE 3
`Pb = 103
V gV V V f V V gV
B79
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1
Ie 44 gV V V gV V gV gV V V f V e V gV V f V gV e V gV
9 11 10 7
T 9 11 10 7
A 8 10 9 7 6 8
8 11 9 7 6 8
B 8 11 9 7 6 8
9 11 10 7 6 9
e V gV V gV f V V gV V V gV V V gV V V gV V V
3
Ie f V V gV V
V fV V gV V V gV V
gV V
6 9 7 5 4 6 5 2
T 6 9 7 5 4 6 5 3
A 7 4 3 6
7 4 3 6
B 7 5 4 6
7 5 4 6
e e fV V V W
I
3
gV V V f V
V gV f V gV e V gV V V V V V
5
gV V
T
A 4 2 3
4 2 1 2 1 1
B 5 2 1 4 4 4 1
5 2 1 4
H P

EXERCISE 4
`Pb = 103
gV V V V V f V
B79
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1
Ie 44 gV V V gV V gV V V V gV f V
V V V
9 11 13 11 10
T 9 11 13 11
A 8 10 13 12 10
8 11 13 12 10
B 8 11 13 11 10
9 11 13 11 10
e V V gV V gV V f V V V V V V V V
Ie V V gV V gV V gV f V V V
V V V
3
V gV
6 9 10 8 6
T 6 9 9 8 6
A 6 8 8 7 5
6 8 8 6 5
B 6 8 8 6 5
6 9 8 6
e gV V V gV V V f V V V V V V gV f V
5
Ie V V gV V V V V V V
gV V gV gV f V V
4 6 4 3
T 4 6 6 4 3
A 3 6 5 3
3 6 6 5 3
B 4 6 6 5 3
4 6 6 4 3 1

EXERCISE 5
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V gV V f V V V
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1
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V gV V
6 9 10 8 6
T 6 9 9 7
A 6 8 9 7
6 8 10 8 6
B 6 8 9 7 5
6 9 8 6
gV gV V V V V gV V V V gV V V V
e V V V V V gV V
3
Ie V V gV V gV V V gV V V
8 10 12 13
T 7 9 11 13 14
A 7 9 11 13 15 13
6 10 8 10 12 14 15 13
B 7 9 16 13 13
8 16 13

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EXERCISE 6
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1
Ie 44 V f V gV V e V
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V V gV V
c k V gV V V f V
T
A 5 8 7 5 6
B 6 5 9 6 7 8
8 7 4 5 6 8 9
e V gV V V f V V V V gV
Ie V f V gV V e V l V V gV V k l u k
u
3
6 5
T 8 7 6 8 9
A 5 8 5 6 7 8 9
9 6 7 8
B
V f V gV V eV V V
e V j
5
Ie V gV V V V V
8 7 5 6
T 9 9 6
A 7
8 6
B 8 5
6

EXERCISE 7
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V f V V gV V V V V V gV V V V V V V V V V V f V V
B79
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1
Ie 44 gV V V gV V gV V
V gV V
T 2 5 5 8 5 8 5 8
A 3 5 6 8 6 8 6 8 9
1 3 4 5 7 8 7 8 7 8 10
B 1 4
1 4
e V V gV gV V V V gV V V V V V V gV f V V V gV V j
3
Ie gV V V
T 8 11 11 14 14
A 11 12 14 15 15 13
11 13 14 16 15 14 13
B 16 13
16 13

EXERCISE 8
`Pb = 103
gV V V V V
B79
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Ie 44 V V V gV V gV
V V V V V
V V V gV V gV V V
4x
1
9 10
T 6 8 8 6 6 9 9 6
A 6 7 7 6 6 7 7 6
6 8 8 6 6 8 8 6
B 8 7 8 8 7 8
e j
3
Ie V V V gV W W V
T
A 6 8 (8) (8)
B 8 7 8
sl.

EXERCISE 9
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V V gV V V gV
V V V V gV V V f V V V V V V V
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1
Ie 44 V
3 3 3
3 3 3 3
3
8 6 5 8 6 5
T 7 5 8 7 5 7 5 8
A 8 6 5 8 6 8 6
8 7 5
B
gV V V V V V V gV
e V V V V f V V V gV V
3
3
Ie V V gV V V gV V
3 3 3 3
3 3 3
8 6 5
T 7 5 7 5 8 7 5
A 5 8 6 8 6 5 8 6
8 7 5 8 7 5
B
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3
V V gV
3
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3
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3 3
V V gV V V f V V V gV V
5 3
V fV V W
T
A 5
8 4 7 5 4
B 7 6 4 7 3 6 4 3
6 5 3 6

EXERCISE 10
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V V gV V Vu k V V V Vu k
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Ie 44 gV V gV
V V V V
V V
V gV V V
1
6 5 8 10
T 6 9 6 8
A 6 8 5 7
6 8 5 7
B 6 8 5 8
6 9
V gV V
8va
V f V gV gV V V
e V gV u k V V
Ie gV V f V gV gV V gV
V gV V V
3
7 9 12 14 13 16 18 (18)
T 7 10 14 16
A 6 9 13 15
7 9 13 15
B 9 13 16
sl.

JOHN F. KLAVER
PHRASES
With these short phrases, I have applied the concepts in some “real world” licks. These make a
good preparation for working on the full solo. Again, Please review the explanations below, and
then scroll down for the TAB/notation.
PHRASE 01
The first phrase uses Bb pentatonic and Bb whole/half diminished. In the second half, notice how
I add the major 3rd (D) to the minor pentatonic lines. This takes us into that ambiguous grey area
between Mixolydian and minor pentatonic.
PHRASE 02
Again pentatonic and diminished, and in the diminished part I’m playing around descending 4th
intervals. The symmetrical diminished scale lends itself well to patterns like this. Think of the great
sax-player John Coltrane… we’ll hear more about him later.
PHRASE 03
Only pentatonics here, but we’re moving around in major 3rds… (Bb -> D -> F# -> Bb).
PHRASE 04
This is basically the same as Phrase 3, but with different patterns. Once again, it starts with Bb minor
pentatonic (note the added b5 blue note of E or Fb) and ends with a minor pentatonic Mixolydian
hybrid.
PHRASE 05
In this phrase we’re implying a V7-I change (F7-Bb). Over the implied F7 we play F Superlocrian
which resolves back to Bb minor pentatonic. Notice that F Superlocrian contains a B major triad (B
D# F#), a half-tone higher then Bb. At the end the Adim7 arpeggio is also part of F Superlocrian.
PHRASE 06
As in Phrase 5, we’re using F Superlocrian to imply a superimposed F7 chord, and then resolving to
Bb minor pentatonic.
PHRASE 07
This phrase is all minor pentatonic, but we’re using a series of 4th intervals and gradually moving
the pattern up, one fret at a time.
JOHN F. KLAVER
PHRASE 08
Again we’re taking a minor pentatonic pattern and moving it up fret by fret.
PHRASE 09
This one goes from Bb minor pentatonic to Bb whole tone. The whole tone scale lends itself to
patterns and gives an awesome sound and feel. Think of the great piano player Thelonious Monk,
who even wrote whole compositions with it. You also hear it a lot in scary movies.
PHRASE 10
This phrase starts in Bb minor pentatonic, but we move to a series of 4th intervals in bar 4, and then
we start moving the pattern down, two frets at a time.
This concludes the phrases! Please scroll down for the full solo that we’ll use to wrap everything up
with!
PHRASE 1
P = 103
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1
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6
T 6
A
B
`b
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1/4 1/4
9 6
T 9 6 6
8 9 8 6 8 6 8 6
A 8 8 8 6 6
B 8 8 6 4 4 7
6 4 6
sl. P P sl. P
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V V V V gV V V V V V
l
4
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6 5 8 8 9 8 6 5
T 5 8 6 6 8 7 6 5 6
A 5 6 6 8 5 6 7 6 7
5 8 8 8
B 8
P sl. sl. P P sl. H
V V V gV V V V V V
6
e
Ie V gV V gV V V V V V l V l
V V gV V V gV V fV
8 9 11 12 13 10
T 8 10 11 11
A 6 7 8 8 9 11 10
6 8 8 6 6 8 10 11
B 8
sl. P P
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1/2 1/2 M
15
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A 12 10 10 12
13 13 10 11 12
B
P sl.

PHRASE 2
P = 103
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1
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fV eV
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A
B
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M
Full M
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6 6 8 5
T 6 6 9 6 8 5 7
A 6 6 8 (8) 6 8
6 8 8 8 8
B 6 7 6 6 7 8
9 9
gV V V
H P sl.
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3 3
4
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9 6 6
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A 5 6 7 6 6 6 7 7
5 7 4 8 8 6 6 8 6 5 8 8 5
B 7 4 5 8
V gV W V
sl. sl. P P sl. sl. sl.
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A 8 8 9 (9) 10
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sl. sl. sl. sl.

PHRASE 3
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1/2 M
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6 6
T 6 9 6 8 8 6 5 8 6
A x 6 5 6 7 6
8 5 5 8 8 6
B 8 8
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P sl. sl. sl.
3
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5 7 6 6
T 6 7 5 7 6 9 6 9
A 6 7 5 6 8 6 8 6 8
7 8 6 6 8 6
B 8
VV V
sl. sl.
gV V f V gV V g V V
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5
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V gV
3
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1/4
13
T 7 14
A 6 9 7 13 15 15 13
9 7 10 8 11 13 15 15
B 10 8 11 11 13
11 9 9 11 13
sl. P
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7
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3
let ring
T 14 (14)
A 15 13 13 (13)
15 13 15 13 11 13 11
B 13 13 12 13
sl. sl. P sl. sl.

PHRASE 4
P = 103
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1
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B 1 4
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1/4
1 2 1
T 2 3
A 1 3 1
1 2 1 1 2 3 1 2 1 1 2 3 3
B 4 1 4 4 4 1
H P sl. H P sl. P
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4
T 3 2
A 3 3 3 2 6
4 4 4 3 6 8
B 5 5 5 8 9
6 6 8
V V V V
P P P
V V V V V V
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6
I V V V V
8 10 13 10
T 7 10 11 11 13 11
A 7 9 10 12 10
13 11 12
B 13
13 11 10
P sl.
sl.

PHRASE 5
`Pb = 103
gVV V V V V V gV V
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1
Ie 4 V
M
1/4 M M
1/4 1/4 M
1/4
9 6 9 9 6
T 8 6 9 6 6 7 6
A 8 9 6 (6) 8 8 6
8 6 6 7 10 7 6
B 8 9 7
sl. P sl. sl. P P sl.
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I V gV V V V V V P V V V V
3
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gV V V gV V V gV gV V
V
6
T 7 6
A 6 8 8 6 6 7 (7)
6 8 8 6 6 6 7 10 8
B 8 8 8 6 7 6 4 6 4 6 9
6 4 5 8
sl. H P sl. sl. sl. P P sl. sl. P H sl.
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sl. H
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5
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4
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A 6
B
sl.

PHRASE 6
`Pb = 103
V gV V V V V V V V gV V V f V gV V V e V f V V V V gV V
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1
Ie 44 j l
3
gV
9 11 12 11 9 11 9 13 11 13 10 10 9
T 9 11 11 11 12 11 10 9
A 10 11 10 10
11
B
H sl. P P P P P
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3
Ie gV V V V V V gV
V
T
A 8 7 6 7
10 8 8 6 8 6 7 8
B 12 11 9 8 11 8 8 6 7 8
9 6
e j
P sl. sl. H P
5
Ie V
T
A 8
B
sl.

PHRASE 7
P = 103
e
1
Ie 44 j l
V gV V
T
A 6
B 6 8
`b B79
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2
Ie V gV f V gV l V l gV V V V
T 6 6
A 6 6 6 6
8 6 5 6 8 6 8 6 5 6 8 6
B 6 8 6 8
V V fV V V V V eV V gV
e V gV V gV V V V V gV V V V V V V
4
Ie V gV gV V V V V
7 10 8 11 9
T 7 10 7 10 8 11 9 11 9 6
A 6 8 6 9 10 8 6 6 8 6 8 6
8 6 8 8 8
B
e V V V
sl. sl. sl. sl.
6
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T
A 8 6 8 6 8 6
B
sl. sl. sl. sl. sl. sl.

PHRASE 8
P = 103
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1
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V
T
A
B 6
`b
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2
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T
A 6 6 7 8 8 8
6 8 8 6 6 8 8 6 7 9 9 7 8 10 10 8 8 10 10
B 7 8 8 8 9 10 11
V V V V V V fV V
P H P P P H
fV eV V
4
Ie
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8 11 10 8 7 6 6 4
T 9 11 9 8 7 10 10 9 6 6
A 10 10 9 8 7 7 9 8 9 6 7 (7) 5
10 11 8
B
gVV
P P sl. H sl.
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6
Ie u
T
A
B

PHRASE 9
P = 103
V V gV V gV
e V
1
Ie 44 l V
T 14
A 12 13 15
13 15
B 15
`b
B79
sl.
8va
e V gV f V V V V gV V f V V V V V gV V gV f V V V V
Ie gV V gV V gV V gV V V
2
gV V V
13 16 15 13 13 12 10 8 6 6
T 16 14 13 11 9 7 9 6 6
A 13 11 9 7 8 9 6 7
8 6 8
B 8 9
V V V
P P sl. P sl.
e gV V V gV V V gV V gV
4
Ie V V gV V gV V V W
8 6
T 7 9 7
A 9 7 6
10 8 8 6
B 8 6 4 4 6 4
6
sl. P sl. P sl. sl.

PHRASE 10
P = 103
V gV
8va
e
1
Ie 44 j l V gV
3
13 16
T 14
A 15
B
`b
B79
V V gV V V V V
8va 8va
e e V V V V V gVV VV l
V gV V gV V V V V V V k V
2
I
M M 1/4M
3
1/2 1/4
15 15 13 13 13 13
T 16 14 14
A 15 13 15 13 13
15 15 15 13 14 13 13 14 15 13
B 16 16 13
gV V V f V V V V gV gV V gV f V V f V V
P P H P sl.
e V gV gV V gV f V f V V V f V V gV gV V e V
4
Ie fV V
T 13 11 9 7
A 13 15 12 14 11 13 10 12 9 11 8 10 7 9 6 8
15 14 11 13 12 9 11 10 7 9 8 5
B
e e V V V f V V V gV V V V V V V V V V V V gV V V V V V gV V V V V
6
I
3
1/4 M
4 4 4 4 4 6
T 5 6 5 6 5 6 5 6 5 6 9 6 6
A 5 7 4 9 8 6 8 6
7 8
B
sl. H H sl. sl. P sl.

JOHN F. KLAVER
FULL SOLO
In the longer solo I’ve expanded on the concepts we examined in the exercises and phrases. It’s
important to have some inside playing to resolve the outside licks. Also think about the best times
to move outside. For example you might decide to move into a little outside lick in bar 4,
returning to the inside notes in bar 5… always be aware of the wider structure in your playing.
Please scroll down to find the TAB/notation of the full solo!
Best of luck and thank you!
John.
FULL SOLO
x
B79 `bx `b xx xx
`b x
`b
B 7 9(type 2)5 fr. B 7 9(type 3)7 fr. B 7 9(type 4)12 fr.
x
P = 103
e
1
Ie 44 j k
V V
T
A
B 7 8
`b
gV V V V V V V V V
B79
ee gV V V V V gV V V gV
2
I gV V gV V V V V V V V f V f V
6
T 6 9 9 6 6 7
A 6 8 9 8 9 9 8 6 6 8
6 8 8 6 6 8 8 7 10 9
B 8 8
sl.
e V V V f V V gV gV f V V 3
Ie gV V gV gV gV V gV V V V V V V V V V V V V
V V fV
4
8 7
T 10 10 9 7 6
A 10 8 6 6 6 6
7 6 6 8 8 6 6 8 8 6 6
B 9 6 7 8 8 7 8
P H P P H
V V gV V V V V fV
e V
6
Ie V gV l V gV V f V V l V V e V f V k k V gV V V
V
l
8
T 9 11 9 8
A 6 7 8 10
8 7 9 8 10 8 10
B 8 9 9 10 8 10 11
P
V V V
8
Ie
e V V V V V V V gV f V V gV V V V V l V V V gV gV V V f V V V
8 (8) 5
T 7 6 6 8 5 7
A 10 8 8 8 6 6 7 6 8 5
10 8 7 10 8 8 5 7
B
P sl. sl. P H

FULL SOLO - jamtrackcentral.com Page 2 of 3
Ie
e V l gV V V V V V gV
3
V V gV V gV V V V V V V V
gV V
10
T 6
A 6 7 6 7
4 8 8 6 6 6 6 6 6 6 6 6
B 7 4 5 8
sl. sl. P
e
3
Ie gV V V V V gV V fV V V V V V V l V V V V
3
12
M
Full
T
A 6 3 5 3 3 3 3
6 6 6 6 8 8 5 5 5 5
B
sl. sl.
e V gV V V gV V V V f V gV V V V V V V V V V gV V V V 3
14
Ie V V V gV V V V V V
3
3
M
Full
4 8 5 6
T 5 6 6 6 9 (9) 9 6 6
A 5 6 5 6 8 9 8 6 8 6
7 8 8 6 8 6 7
B 8 8
sl. sl. P sl. P sl. P P sl.
V V V f V gV e V gV V V V V P V gV V V V
e V gV f V V z
16
Ie f V V
FullM M
Full
O
10 7 9 9 11 (11) 11 (11) 9 9
T 7 10 10 11 9 9 11 11 11
A 7 9 10
9
B
sl. P H P
P V V fV V V V V V V V V eV
e z gV V V V V gV V V V V V V V V gV
18
Ie
FullM M2
T
11 13 11
12
13 11
12
13 11
12
13 10
11 11 13 (13) (13) 11
O 11 14
A 11 11 11 10 12
13 11 12
B
sl. P P P sl. P
gV fV V V V V V V V V V gV V V fV V V V
e u k k
20
Ie
M
1/2
T
O
13 (13) 11 11 13 11 (11)
6
6 9
6
6 8
6
6
A 12
B
P H P sl. H
FULL SOLO - jamtrackcentral.com Page 3 of 3
e gV V fV V V V V V V gV V V V V
22
Ie gV l V V V gV V V V V V V
6 6
T 7 6 5 6
A 6 6 8 9 9 8 6 8 6 6
8 8 8 6 8 6 8
B 7 8
sl. sl. sl. P
e l l V V V gV
Ie V gV V V gV V V V V gV
V V V V V V V gV V
24
V V gV V
T
A 5 8 5 6
8 6 5 3 3 5 6
B 8 6 4 4 6 4 3 6 6 3 4 5
6 6 3 4
P sl. P H P P H sl. sl.
H
V V gV V V V gV V V f V V V V V gV f V V V V V V V gV V V V V f V
e V
26
Ie V V gV
8 11 8 9 10 8 6 6
T 6 8 9 6 6 9 8 6 6
A 7 10 8 7 8 9 9 8 6 8 6 5
8 8 6
B
sl. sl. sl. P sl. P P sl.
e V gV f V V gV V V c c c
28
Ie V V V V V V V gV V V gV k V k V k V k
2 1
T 4 4 2 3
A 5 3 5 3 2 5 3 3 1 1 1 1
3
B 4 5
sl. P sl. sl. sl. sl. sl.
e c c V
Ie V gV k V k V k V V l gV l V gV l V l l 3
30
V V V V V gV V V V
gV
1
T 2
A 3 1 1 1 1 3 3 1 1
3 3 1 2 1 1
B 4 4 1
4
sl. P H P P
e
32
Ie
V gV V V W
T
A
B 1 1
4 1

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MASTERCLASS BOOKLET

THE BACKING TRACK

F Superlocrian: F Gb Ab Bbb [A] Cb [B] Db Eb

Whole/half diminished: Bb C Db Eb E F# G A (alternating whole and half tones).

Whole-tone: Bb C D E Gb Ab (another symmetrical scale built only from whole tones)

JamTrackCentral Ltd 2016

JamTrackCentral Ltd 2016

JamTrackCentral Ltd 2016

JamTrackCentral Ltd 2016

JamTrackCentral Ltd 2016

JamTrackCentral Ltd 2016

JamTrackCentral Ltd 2016

JamTrackCentral Ltd 2016

JamTrackCentral Ltd 2016

JamTrackCentral Ltd 2016

JamTrackCentral Ltd 2016

JamTrackCentral Ltd 2016

JamTrackCentral Ltd 2016

JamTrackCentral Ltd 2016

JamTrackCentral Ltd 2016

JamTrackCentral Ltd 2016

JamTrackCentral Ltd 2016

JamTrackCentral Ltd 2016

JamTrackCentral Ltd 2016

JamTrackCentral Ltd 2016

Best of luck and thank you!

JamTrackCentral Ltd 2016

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