1. Guitar III & Guitar IV 8th night Spring 2005 Moving date of performance night Review of Scale stuff Have a Marshall Rep (David Spann)coming next week. Will also do All Blues by Miles Davis – it is a 6/4 blues in the key of G. Very cool bass line, chords and progression. Time for group playings. Time permitting we will work a little more on Here Comes The Sun. Purple Haze – Really fits in with All Blues. Born To Be Wild

2. David Spann

4. Watch the fingering While there are a couple of ways to play some of the scales, most have only one fingering that works. If there are more than one fingering pick one and stick with it until it is mastered. Keep your thumb in back of the neck and do not move it when playing a scale. Don’t press the frets too hard – it makes the notes play out of tune. Play close to the frets without being on the frets, do it with just enough pressure. Try to minimize your finger movements.

5. 1 23 0 0 0 1 1 1 2 3 4 E Major E Form (G Major Chord) Here is the form of the chords that the first scales are based on

6. G Major E Form

7. E Form Major Scales 3 This is the scale form that you should start with. It is the easiest of the patterns to Finger. It falls totally into one position and does not have a stretch outside that Position. The next form you should work on is the A form. Then the C, G and Lastly the D form.

8. Position 1 E Form G Major Scale Notice on this that it stars and end on the 2 nd finger and that is the root. Don’t play the 1 st string 5 th fret for the major but for the Dorian and Mixolydian do play it. The Dorian Mode will start on the 2 nd note of the scale – this is an A Dorian. It can be used also against any Am7 chord (or Am – any number). For the Mixolydian mode it will start on the 5 th note of the scale or the D on the 5 th string 5 th fret. So this is a D Mixolydian Mode.

9. 123 X 0 0 1 3 3 3 X A Major A Form (C Major)

10. 4 A form 4

11. A Form of the Major Scale

12. Ideas Notice that both scales start on the 2 nd finger (E form and A form). There is a shift on the 3 rd to 2 nd string – that is the only difference – same fingering. Also to play Dorian start on the D (5 th string 5 th fret), again D Dorian mode. For Mixolydian you will start on the 5 th degree (G) so start on the 6 th string 3 rd fret and you will have G Mixolydian.

13. 2 34 1 1 1 2 3 4 G Major G Form (A Major Chord)

14. A Major 2 nd Position. G Form Note: 3 rd string 1 st fret can also be played on the 4 th string 6 th fret. (4) ( )

15. G Form of the Major Scale

16. 1 2 3 0 0 C Major Chord 1 1 1 1 1 1 2 3 4 C Moveable Chord (D Major) Use this as a visual basis for the chords and the scales. It is one method that can excel you learning of the scales. Notice how the notes in the chord are all in the following Major scale. In fact, 3 of the 7 notes in a major scale are In the chord. Try to visualize that on all of the chords and ‘ Scales. It will also help you with doing chord extensions.

17. D Major – C form 4

18. C Form of the Major Scale You can also play this by going all the way down to the 6 th string 2 nd fret – that would fully cover the position. The pattern above is More of the standard way to play the scale.

19. Ideas To play Dorian start on the 2 nd note (B) and you will have B Dorian. Mixolydian start on the 5 th note or E and you will have E Mixolydian. By now you should start seeing the pattern. The next scale is the C form and is a D major. Note how it is the same as the G form or in our case the A major! The difference is the change from the 3 rd string to the 2 nd string.

20. Previous Slide Information It is the C form in D major. So it is a D major scale as played. Start on the 2 nd note of the scale and you will have an E Dorian. Start on the 5 th not of the scale and you will have A Mixolydian (5 th fret of the 6 th string is where you would start that.

21. 12 3 1 23 4 D Major D Form (E Major) 0 X Note you can more the F# on the 1 st string 2 nd fret to The 6 th string 2 nd fret (both strings are the same letter Name – it works out better for most cases.

22. E Major D form. Or E Major 0 1 1 1 3 3 3 4 4 4 4

23. D Form of the Major Scale

25. This is what Santana stresses For this form the 2 nd note F# is the F# Dorian. It just lays down really good. For the Mixolydian start on the 5 th or B. This concludes the 5 forms. I practice these every day in the following order. C, F, Bb, Eb, Ab, Db, F#, B, E, A, D, and G (Cycle of 5ths). But start by just memorizing the forms.

26. Take your time and master each form! Do every day until you have it down. Play each form at each fret. Say the scale as you do it. For example, doing the E from starting at G major (2 nd position but first note starts on the 3 rd fret of the 6 th string). Then move up one fret to Ab then another fret to A Major, etc. Say each scale as you play it. Then practice them saying the name of the scale degree. So for the E form it would be 1, 2, 3, 4, 5, 6, 7,1, 2, 3, 4, 5, 6, 7, 1, 7, 6, 5, 4, 3, 2, 1, 7, 6, 5, 4, 3, 2,1 – always remember to just play the top note once.

27. Next Steps After this is mastered you can work on the other scale forms. For minor (usually Dorian Mode) you lower the 2 nd and 7 th degrees of the scale – that is why you need to know the degree of the scales. For a dominant chord (such as G7) the scale is the Mixolydian mode. For that you lower the 7 th degree of the scale. You will find that you can do that with all scale forms. It makes it very easy to learn new scales. You just have to know which degree(‘s) to alter (raise or lower).

28. Summary Scales are derived from the chord forms. You should know the chords before the scale forms. The scales all have the same whole – ½ step form. The scales always go up the neck in the same order (CAGED). Learn all the scale forms in every key. Once they are mastered try the other scales. They are all derived from the major scale. Take them slowly – speed comes with time and practice.

29. All Blues – Miles Davis F. Markovich

30. Before we dig in! The process Start by listening to the piece. Then Analyze the chords. Listen closely to the repeated bass line. Sing it! Now the melody. It is built largely off of intervals of a 6 th. Learn the Melody, then the chords, then the bass, combining chords and bass. For this it is possible to do all of the parts at one time. Do the scales used. Analyze the solo. Do your own solo Put it all together.

31. Count (1&2) & 3 & (4 & 5) & 6 & The bass is written out for both guitar and 4 string bass. Start on guitar by playing it in the 1 st position. Then try the 3 rd and 5 th positions.

32. Degree of the scale 1 (rt) 5 6 5 b7 5 6 5 Note that the chord tones for G7 (The chord for this) are G B D and F. E is the 6 th which can be Considered as part of the chord. Note that the 2 notes used the most are the 1 (G), (root) and the 5 th (D). Note that the G or root is used at the start of the measure!! This is the note that will be used the most on a chord change or at the start of a measure. There is a swing to this so listen to the music to get that feel correct.

33. This 3 rd version will lead to combining the bass and the chords. The key is to get the feel of this even more than getting the right notes. It has to really flow!! While the timing is written out it is like a swing. Without that swing it will be stiff and not flow.

34. The sea The sky And you and I Sea and sky and you and I With all blues All shades All hues Some blues Are sad But some blues are glad Dark and sad or bright and glad We?re all blues All shades All hues We?re all blues All Blues Lyrics

35. All Blues Chords

36. 1 1 1 C/E 2 3 G7 G13 or F6 1 1 1 3 1 2 3 4 6 th Fret Here is the voicing and look at the next page for the Rhythm figure.

38. Next add in the Chords Chords are as follows: 6/4 ||: G7 | | | | C7 | | G7 | | D7alt|Eb7alt D7alt| G7 | | | | | : || 1 1 1 2 3 G7 C7 1 1 1 34 For just this class play G7 at the 3 rd. Can play just C7, D7 and Eb7 for the C13, D7alt, and Ebalt respectively. The next slide will have the chords that are exact.

39. Next add in the Chords Chords are as follows: 6/4 ||: G7 | | | | C7 | | G7 | | D7alt|Eb7alt D7alt| G7 | | | | | : || 1 1 1 2 3 G7 1 2 3 4 D7alt at 4 th, Eb7alt at 5 th fret – index) XX C7 (C13) 1 2 3 4 These aren’t the only voicing choices but good ones to start with. Remember the count is a 6 count.

40. G7 13 4 2 Here is the voicing used for this but any chord voicing works.

41. Chord Progression 6/4 ||: G7 | | | | C7 | | G7 | | | D7alt|Eb7alt D7alt| G7 | | | | | : || Remember to count to 6. Class will break into 3 rd ’s, first group will start with the G7 bass – 4 bars as an introduction of bass only. Then chords coming in for 4 bars of just bass and rhythm guitar, then the melody at the start of the progression. So 8 bars of G7 vamp to start.

42. This is an example of a melody in 6 th ’s The D to B is a 6 th ( D, E, F#, G, A, B). 6 th ’s and 3 rd ’s always sound good. The whole fist section of G7 is 6ths and then ornamentation on the melody. Start with this. The ornamentation can either be played individually or use hammers and pulls.

43. Here are the first 4 measures. Very simple but sounds great! Learn this as the first step in the melody. Be able to sing it also.

44. This part of the melody is just playing the C7 scale starting on an A. The D at the end of this is leading up to going back to G7. Watch the timing. It is counted: (12) 3 (45) 6. Count (12) 3 (45) 6 (12) 3 (45) 6 &

45. Back to the G7 – again 6ths’s. Then the G# leading to the D7 chord.

46. Very interesting here as the it is mainly just the 5 th of the chord for the melody. Then on G7 it is a background riff. The next 4 measures are really a vamp to go back or to the solo section.

47. This is the backgound All Blues Melody -