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Gambale, frank improvisation made easier

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Un libro de Gambale,para que estudien y toquen algo más que la pentatónica :P

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Gambale, frank improvisation made easier

  1. 1. A 1,}; LL. ) L ti0nL%AC0urse fin‘ Intermedia1 L‘ 1 Advanced gfiitafists X’; ‘JNULJI/ J U5 EXAMPLES , A‘ so cn TRACKS - TWO CD5 0 STANDARD NOTATION AND TABLATURE 0 THE MOST USEFUL SCALES AND MODES PDMBHHLICATIONS T
  2. 2. AN IMPROVISATION COURSE FOR INTERMEDIATE TO ADVANCED GUITARISTS COVER DESIGN: JORGE PAREDES COVER PHOTOGRAPHS COURTESY OF MICHELLE MORTON MUSIC TYPESETTING AND PAGE COMPOSITION BY CHELSEA MUSIC ENGRAVING Published by Manhattan Music, Inc. “ © 1997 MANHATTAN MUSIC. lnc. "“ All Rights Controlled and Administered by Warner Bros. Publications All Rights Reserved. international Copyright Secured. Made in U. S.A. Distributed by Warner Bros. Publications 15800 N. W. 48th Avenue Miami, FL 33014 Any copying of this material in whole or in part without the express written permission of Warner Bros. Publications Inc. is a violation of copyright law.
  3. 3. _TAME : :_é_ Lesson 1 Lesson 2 Lesson 3 Lesson 4 Lesson 5 Lesson 6 Lesson 7 Scale Fingerings for E Mixolydian 6 Scale Fingerings fcrA Mixolydian 1 Chord Voicings for D/ E and G/ A 8 Licks in E Mixolydian (Examples 1-3) 9 Links in A Mixolydian (Examples 4-6) I0 Combination Licks in E and A Mixolydian (Examples 7-8) II Song Example Using ‘llth Chords (Example 9: "Mixotune") I2 _7n"E Lesson 1 Lesson 2 Lesson 3 Lesson 4 Lesson 5 Lesson 6 Lesson 7 Scale Fingerings for E Lydian I4 Scale Fingerings for A Lydian I5 Chord Voicings for Ft/ E and B/ A I6 Licks in E Lydian (Examples 10-I2) I7 Licks in A Lydian (Examples 13-15) I8 Combination Links in E and A Lydian (Examples 16-18) I9 Song Example Using the Lydian Chord (Example 19) 20 mfimmnmmfi .1 E .2 E . “ J 2' Lesson 1 Lesson 2 Lesson 3 Lesson 4 Lesson 5 Lesson 6 Lesson 7 Scale Fingerings for E Dorian 22 Scale Fingerings for A Dorian 23 Chord Voicings for E and A Dorian Chords 24 Links in E Dorian (Examples 20-22) 25 Links in A Dorian (Examples 23-25) 26 Combination Licks in E and A Dorian (Examples 26-28) 27 Song Example Using the Dorian Minor 7 Chords (Example 29) 28 __mnTm1 Lesson 1 Lesson 2 Lesson 3 Lesson 4 Lesson 5 Lesson 6 Lesson 7 Scale Fingerings for E Ionian 30 Scale Fingerings for A Ionian 3| Chord Voicings for E and A Ionian Chords 32 Licks in E Ionian (Examples 30-32) 33 Links in A Ionian (Examples 33-35) 34 Combination Licks in E and A Ionian (Examples 36-38) 35 Song Example Using the Major 7 Chord (Example 39) 36 mimmnnmm .15 N” .2” J :1 Lesson 1 Lesson 2 Lesson 3 Lesson 4 Lesson 5 Lesson 6 Lesson 7 Scale Fingerings for E Locrian 38 Scale Fingerings for A Locrian 39 Chord Voicings for E and A Locrian Chords 40 Licks in E Locrian (Examples 40-42) 4! Licks in A Locrian (Examples 43-45) 41 Combination Licks in E and A Locrian (Examples 46-48) 43 Song Example Using the Locrian Minor 7 Chords (Example 49) 44 I, ,EB"mm, mmE| WE HE Em, M ) ,5 Lesson 1 Lesson 2 Lesson 3 Lesson 4 Lesson 5 Lesson 6 Lesson 7 Scale Fingerings for E Phryglan 46 Scale Fingerings for A Phryglan 47 Chord Voicings for E and A Phryglan Chords 48 Licks in E Phryglan (Examples 50-52) 49 Licks in A Phrygian (Examples 53-55) 50 Combination Licks in E and A Phryglan (Examples 56-58) 5| Song Example Using the Phryglan Chord (Example 59) 52
  4. 4. Lesson 1 Lesson 2 Lesson 3 Lesson 4 Lesson 5 Lesson 6 Lesson 7 Lesson 1 Lesson 2 Lesson 3 Lesson 4 Lesson 5 Lesson 6 Lesson 7 Scale Fingerings for E Aeolian 54 Scale Fingerings for A Aeolian 55 Chord Voicings for E and A Aeolian Chords 56 Licks in E Aeolian (Examples 60-62) 51 Licks in A Aeolian (Examples 63-65) 58 Combination Licks in E and A Aeolian (Examples 66-68) 59 Song Example Using Minor 715 Chords (Examples 69) 60 Scale Fingerings for E Lydian W 61 Scale Fingerings for A Lydian W 63 Chord Voicings for E and A Lydian 1:7 Chords 64 Licks in E Lydian )7 (Examples 70-72) 65 Licks in A Lydian )7 (Examples 73-75) 66 Combination Licks in Eand A Lydian )7 (Examples 76-78) 67 Song Example Using Lydian )7 Chords (Example 79) 68 Lesson 1 Lesson 2 Lesson 3 Lesson 4 Lesson 5 Lesson 6 Lesson 7 Scale Fingerings for E Super Locrian 70 Scale Fingerings for A Super Locrian 1| Chord Voicings for E and A Super Locrian Chords 12 Licks in E Super Locrian (Examples 80-82) 73 Licks in A Super Locrian (Examples 83-85) 14 Combination Licks in E and A Super Locrian (Examples 86-88) 75 Song Example Using 719 Chords (Example 89) 76 : m" Lesson 1 Lesson 2 Lesson 3 Lesson 4 Lesson 5 Lesson 6 Lesson 7 Scale Fingerings forE Half-Whole Diminished 78 Scale Fingerings for A Half-Whole Diminished 79 Chord Voicings for E131-9, A1319. and Other Half-Whole Diminished Chords 80 Licks in E Half-Whole Diminished (Examples 90-92) 8| Licks in A Half-Whole Diminished (Examples 93-95) 82 Combination Licks in Eand A Half-Whole Diminished (Examples %-98) 83 Song Example Using 1319 Chords (Example 99) 84 Lesson 1 Lesson 2 Lesson 3 Lesson 4 Lesson 5 Lesson 6 Lesson 7 Lesson 1 Lesson 2 Lesson 3 Lesson 4 Lesson 5 Lesson 6 Lesson 7 Scale Fingerings for E Phrygian Major 86 Scale Fingerings for A Phrygian Major 81 Chord Voicings for E and A Phrygian Major Chords 88 Licks in EPhrygian Major (Examples 100-102) 89 Links in A Phrygian Major (Examples 103-105) 90 Combination Licks in E and A Phrygian Major (Examples 106-108) 91 Song Example Using Harmonic Minor V Chords (Example 109) 92 L . . . Scale Fingerings for E Aeolian l>5 94 Scale Fingerings for A Aeolian 1-5 95 Chord Voicings for E and A Aeolian | >5 Chords 96 Licks in E Aeolian 15 (Examples 110-112) 91 Licks in A Aeolian )5 (Examples 113-115) 98 Combination Licks in E and A Aeolian )5 (Examples 115-118) 99 Song Example Using Aeolian 1:5 Chords (Example 119) I00 _Emm Song Example Using All the Chord Types Used (Example 120: "Modalawn") I02
  5. 5. this twelve-chapter course we'll be looking in-depth at the twelve most important scale sounds you'll need to become a well-rounded guitarist. Of course we'll be looking not only at scales, but also at the chords and voicings derived from these scales, and licks that will keep you learning and challenged. I'll be presenting you with seven lessons per chapter. I'll be using only the keys of "E" and "A" throughout all of the examples. I believe that it is an unnecessary waste of time to learn everything in twelve keys on the guitar, mainly because every scale will look the same and incorporate the same fingerings. So "E" and "A" are sufficient to give you a good idea of how the scale shapes overlap on the guitar. At the end of each chord chapter there is a song study of all the information we'll have learned in the chapter. There's lots to learn, but take your time, there's no rush. This is a serious course here and I've attempted to make learning fun and easier. So, on that note (Bi), let's dive right in to Chapter 1, Lesson 1 —— good luck. ) welcome to the Frank Gamba/ e Improvisation Made Easier course. Over Emiliiiifi Ei. ir1,M1)ll‘iil. .E
  6. 6. THE MIXOLYDIAN MODE he mixolydian mode is built on the 5th note of a major scale. E mixolydian Twould have the same notes as the A major scale (A B C1 D E F! G! ) because E is the 5th scale degree of A. Therefore. E mixolydian is the notes of A major beginning on the note E: E Ft Gil A B C1 D. An understanding of the interval- Iic relationship between each of these notes is necessary in order to understand the character of the mixolydian scale. To do that we must compare these notes to the standard scale from which all music theory is derived: THE MAJOR SCALE. If we compare E mixolydian to the notes of E major we have: EMajor: E F! G8 A 8 Cl D: E Flt Gt A B Ci 12345B7891011i213 EMixo| ydian: E F! G! A B Cll D E F1 Gt A B C8 123456l~78910111213 Now you can see that the only difference is that the 7th degree is fiat (lowered 1/2 step) in the mixolydian scale. By numbering the degrees we get a scale formula we can use which will be consistent with every mixolydian scale in every key Mixolydian: 1 2 3 4 5 6 1-7 (9) ill) (13) You can see by this scale’s interval content that the chords possible from mixoly- dian are dominant 7th chord characters: E7 (1 3 5 37), E9 (1 3 5 L7 9), E11 or D/ E (1 L7 9 11), and E13 (1 3 L7 13). These are just a few of the possibilities for chords available using the mixolydian interval structure: 1 2(9) 3 4(11) 5 6(13) | v7. The most popular mixolydian chord is undoubtedly the 11th chord, which is more commonly referred to as a major tried over a bass note which is one-whole»step higher. For E11, that would be the same as D/ E lverbalizedi "D over E"). Here, the D major triad is borrowing three notes from E mixolydian lD(l«7). Fill9) and Al11)l with the E below it functioning as the bass note or root of the chord. Visualizing this chord as a triad over a bass note makes it easier to find these chord Voicings on the guitar. Now it's time to start putting all this information for mixolydian together. IMPROVISING MADE EASIER
  7. 7. Learn all seven scale finger‘ or E mixolydian, Notice that the scales are writ- ten out, numbered in one-oc intervals: 1 2 3 4 5 B W. I think it's bet- ter for you to learn each scale ‘ ervals rather than by the note names at first. The reason is that all the diff keys would involv rning many different notes. But since the g ' shapes will remain the sam all keys, the rel ' - the ship between all those as remains same — that is, the intervals fro root l»7. Eventually it will b ood idea to will always b e 1 2 3 4 5 6 learn the notes too, but for now just get familiar with the intervals. actice these fingering medium tempo. Remember. it's better y accurately at a ium tempo it is to play inaccurately at a fast temp . Fingering 1 t'l'l, '>UQU: lt'l'1 Fingering 7 l2fi' gt FRANK GAMBALE
  8. 8. .. ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... . Once again, I don't think it's ssa earn all 12 keys, but to get used to ey changes it's important to se owt ale fingerings overlap on the g ' . In Lesson two we'll learn the scale fingerings for A mi I dian. Once you've played all seven rin s, combine Lessons 1 and 2 by 'ng the fingering of E mixo| yd' , he firs ' ering ofA mixolydian, then the s fin ri of E mixolydian, etc. This wi p you get familiar with the concept of in as In chang one fretboard location. Fingering 1 E B G D Fingerin 2 A E 2fr Fingering 3 3f: l2fr IHPIIOVISIIIG MADE EASIER 7
  9. 9. it is vital to have a strong chord vocabulary for soloing. Having lots of voicings for the D/ E and G/ A chords will certainly help. This is a particularly pleasing chord, as is the mixolydian scale over it, but we'll get to that a little later because now it's voicing time. Learn these voicings thoroughly. Be able to grab them without missing a beat. Some of the voicings require a bit of a stretch; you may be able to use these voic- ings to warm up your hand muscles like a warm-up exercise. D/ E 12ft 3211 FRANK GAM BALE
  10. 10. Now it's time to get some licks under your fingers. These licks will go from easy to hard and will be over the D/ E chord. Remember, be patient. You can always slow any of the licks down or even stop them. Have fun! -' Illa. ‘ 1'/ ‘.. i—i= ’-: ----"2--J Auvj. & -— — _ 7 , — J +_ 11-. I’--: - ‘— ' l — — my "5". 1-‘. 1—1-"= rflH. _ , U _ jammy-1:: u 1 4 43431 214 21 VFlVFlVl'| V 411 21411 VHVHVHVHVHVHVHV 1341331142 HVF'lVI'lVI'lV ' Key signature denotes E mixolydian Example 2 mm 3141123121411 141123141 FlVl'lVI'lVl'lVi'lV| 'lVl'lVi'lV l"'lVl'lVl'tVHVFlVr"'lVl'lVHV l'l ' Key signature denotes E mixolydian Example 3 ' Key signature denotes E mixolydian . . , Tiijjjjjjjjjjjfl | ljjjjjjju 3121131122421412t12313 VVVFlF| VVVt'Il'l Vvvi-inr-ivni-ir1HVVVr'i IMPROVISING MADE EASIER 9
  11. 11. More licks. this time in A mixolydian. These licks will go from easy to hard and will all be over the mixolydian G/ A chord. Plav them as accurately as possible and at your own pace. jjjlunn jjj-: --jjjjjj ——"_. -j --—TT: __, '-éjjl * —; jI 1 4 Hl'li"iVl'lVl'| l"'lVVI'lVl'l Vl'lVl"ll'lVVl'lVl"1Vl"1V ‘ Key signature denotes A mixolydian Example 6 "“"‘ 214214131233211341l24 HVVHVVHHVVVVHHHVHHHVH f. ' ' '-'f""'5.7i'_"'ii§= > 41234114-1.11341244124312421-1214312 l"lVVVl'| VVVHVVVl'lVVVHVVVl'IVVV fll'IVl'1|"lVl'll'lH I0 FRANK GAMBALE
  12. 12. Even more licks. This time we combine the two scales and chords. Study the notes carefully and try to get a feel for licks that have a smooth transition between keys through chord changes. THIS IS THE VERY ESSENCE OF IMPROVISING THROUGH CHANGES! Example 7 V Vl'lVl"1VVV l'| VVV I'IVFIVI'lV1'lV t'IVVVl'lVVl'l HVf"'| VI"lVI"IVI'| Vl'| Vl"lVl'l H V H V H V H V. H V H. V H. V. H HVHV VHVHVHVH HVHV VHVHVHVH IMPROVISING MADE EASIER
  13. 13. m msm e . .Haf 6|. f m ems C 9 k.0.a m aem. S mme 3 mB. Ia n WIC . .H. Vrnus A .0.VE / imam w mww . I 00 D. Smrm m ant V: m Vmd nu 813 WS .56 In" Te The last lesson in this first chapter will demonstrate the use of the 11th chord (usually indicated as a triad over a bass note, for Every chord will be an 11th chord so the corresponding scale for each chord will be mixolydian, relating to the chord's root. sense to you. l'l1 be using other keys as w said before, it will be no problem because you alre the earlier lessons. Enjoy the song. FRANK GAMBALE ____
  14. 14. IMPROVISING MADE EASIER THE LYDIAN MODE same notes as the 8 major scale (B Cl Dll E Ft G8 Ail because E is the 4th scale degree of 8. Therefore, E lydian is the notes of B major beginning on the note E: E Fl 81 Al B Ct DI. An understanding of the intervallic relationship between each of these notes is necessary in order to understand the character of the Iydian scale. To do that we must compare these notes to the standard scale which all music theory is derived: THE MAJOR SCALE. If we compare E lydian to the notes of E major we have: The lydian mode is built on the 4th note of a major scale. E lydian has the EMajor: E Ft G! A B Ct Dtl E Fa Gil A B Cit 12345678910111213 ELydian: E F! Gt Ail 8 C3 D! E Fll Git All 3 Ci 123I45678910m1213 Now you can see that the only difference is that the 4th degree is sharp (raised 1/2 step) in the lydian scale. By numbering the degrees we get a scale formula we can use which will be consistent with every lydian scale in every key. Lydian: 12384567 l9l (M1) 113) You can see by this scale’s interval content that the chords that are possible from lydian are major chord characters: Ema}? (1 3 5 7), Emaj9 (1 3 5 7 9), Emaj7l11 (1 3 7 #11). and Ft/ El 1 M 6 9 ). These are just a few of the possibilities for chords available using the lydian interval structure: 1 — 2l9l- 3—ll4lll11l~ 5 - 6113) ~ 7. The most popular lydian chord is undoubtedly the S811 chord, which is more com- monly referred to as a major triad over a bass note which is one-whole-step lower. For E5111), that would be the same as Ft/ E iverbalized: "Ft over E"). Here, the Ft major triad is borrowing three notes from E lydian (Fl = 9, At= t11, C3 = 6) with the E below it functioning as the bass note or root of the chord. Visualizing this chord as a triad over a bass note makes it easier to find these chord voicings on the gui- tar. Now it's time to start putting all this information for Iydian together. I3
  15. 15. n out. scale urately at a cales are writte Practice these 0 play it acc mpo. Learn all seven scale fingerings for E lydian. Notice that the s numbered in one-octave intervals: 1 2 3 #4 5 6 7. fingerings at a medium tempo. Remember, it's be medium tempo than it is to play inaccurately at a fa Fingering 5 7fr Fingering 6 9fr m iiiT>f, .lfiffllll BABMALE
  16. 16. - . ... ... ... .. ..c__. .m. _.. _.. ... ... ... Once again, 't think it's necessary to learn keys, but to ge used to key changes i ' ‘m ant to see how the scale erings overlap e guitar, so in this lesson w ' a scale fingerings for A lydian. Once you've played all seven fingerin s for A ' , combine Lessons 1 and 2 by playing the first fin- gering ydr , e first fingering of A lydian, then the s fin ring of E lydia , . This w‘ p get familiar with the concep ing key changes in one fretboard loc ' . 12ft lil*fll"i"iillZli*ll"lhllal'tt'i Milltifllfi EATTEB I 5
  17. 17. .. ... ... ... ... ... ... ... ... ... ... ... ... ... ... .. . It is vital to have a strong chord vocabulary. Having lots of voicings for the Ff/ E and B/ A chords will certainly help. This is a particularly pleasing chord, as is the lydian scale over it. Learn these voicings thoroughly. Be able to grab them without miss- ing a beat. Amaj9ii11 X0 t 2143 iihttlilvilill hi. lllh’l§l. -llti. lEi
  18. 18. .. ... ... ... ... ... ... ... ... . -. Now it's time again to get some licks under your fingers. These licks will go from easy to hard and will be over the Fll/ E chord. Hemember, be patient. You can always slow any of the licks down or even stop them. Have fun! Example 10 241214 1 1 Vl'lVl'll'lVt'lVl"| VVVVFlVF'l ‘ Key signature denotes E lydian Example 11 -. -iEfi§= §2-'= =aa! !:ggg-_= =-- 113411321 VHH| "lVl"ll'lf1Vl'| f'll"| VPll"lf"| Vl"ll'1l'| Vl'lf"ll'lVl'lP1f'1 - - . s—+ 4 ‘ Key signature denotes E Iydian 4211344221 132412432133113411 lhliliiihhfelhlhl 1% iilllilliih Mtfillfihl 1'1’
  19. 19. More licks, this time in A lydian. These licks will go from easy to hard and will all be over the lydian B/ A chord. Play them as accurately as possible and at your own pace. VHVH HVHV VHVHVHVHV VHVHVH H V V H V H V H V V V H V H V H V V V H V H V V V. H H V V V H. ' Key signature denotes A Iydian Example 15 B/ A V V H V H V V H V V V H V H V H V V H V V H V H V H V H V H V H ' Key sigiature denotes A lydian H H H H V H V V V H H V H V H V H V H V V H V V H V V H V V H FRANK GAMBALE iii
  20. 20. t . ... ... ... ... ... . Even more links. This time we combine the two scales and chords. Study the notes carefully and try to get a feel for licks that have a smooth transition between keys through chord changes. jjeallefuje 1-—1_. ._jVjr, j*jlje T Example 17 we B/ A &'I—I3C? l1v‘—}1—2:Z1e "'“"“_*" '_**"V'= iT-3-35:5-"“’: ”’= §§E= '“= === EE= -‘—‘= ==EE"'= 412a1432412314324112a42131131a4 I'IVVVVr‘rnI'Ir'1VVVVnr'II'IHVVVVHI-II'1r-rVVVr'IVV ' '. 5 I T 4 7 a a a a } I I CD1 18 TRACK BIA , _:-, = T~—T<-—S “ jjjj 3!-131421133314313143142113431 f'1VVf'| VVi"IVflVVl"1VV| '1Vr"1VVI'IVVflVr"| VVl'| VV| '1V '11. = =——-9;-sear. -'. ::. Eu ‘, _ ‘ / — ‘jj“——j . A.j 4 214314314211333121 .4 j j’ Hnrfivnnnvnvvnvvnv nvvnvvr-IVHVHVHVHH $M? M3"M5Mfi Mimfi MMEH I9
  21. 21. _ . ... ... ... ... ... .. . . This lesson will demonstrate the use of the Iydian chord in a song context. Every chord will be a lydian chord, so the corresponding scale for each chord will be lydian, relating to the chord's root. This way the melody will make perfect sense to you. I'll be using other keys as well as the two we've Ieamed. but as I said before, it will be no problem because you already know the scale shapes from the earlier lessons. Enjoy the song. Mil FRANK llilfitlllfiilibfi
  22. 22. THE DORIAI_l MODE_ *Cm"Er he dorian mode is built on the 2nd note of a major scale. E dorian would T have the same notes as the D major scale (D E Fll G A 8 Cl) because E is the 2nd scale degree of D. Therefore, E dorian is the notes of D major beginning on the note E = E Fll G A B Cll D (E dorian). An understanding of the intervallic rela- tionship between these notes is necessary in order to understand the character of the dorian scale. To do that we must compare these notes to the standard scale which all music theory is derived: THE MAJOR SCALE. if we compare E dorian to the notes of E major we have: EMajor: E Ft GO A B Cl Dll H E Gil A B Cl 1 2 3 4 5 6 7 8 9 10 11 12 13 EDorian: E Fl 6 A B C! D E H G A B Cl 1 2 53 4 5 6 57 8 9 F1011 12 13 Now you can see that the only difference is that the 3rd and 7th degrees are flat (lowered 1/2 step) in the dorian scale. By numbering the degrees we get a scale formula we can use which will be consistent with every dorian scale in every key. Dorian: 1 2 l3 4 5 6 l»? (9) (Hi (13) You can see by this scales interval content that the chords possible from dorian are minor chord characters: Emin7 l1 53 5 l7), Emin9 l1 l3 5 l7 9), and Eminll (1 531-7 11). These are just a few of the possibilities for chords available using the dorian interval structure: 1 2(9) $3 dill) 5 6l13) L7. The most popular dorian chord is undoubtedly the minor 7 chord. IMPROVISING MADE EASIER 2|
  23. 23. ings for E dorian. Notice that the scales are written out, ered in one-octave intervals: 1 2 i=3 4 5 6 l7. Practice these scale better to play it accurately at a a fast tempo. Learn all seven scale finger numb fingerings at a medium tempo. Remember, it's medium tempo than it is to play inaccurately at FRANK GAMBALE 22
  24. 24. rn all 12 keys. Once you've played all Lessons 1 and 2 by playing the first finger» of A n the second fingering of again, I don't think it's necessary to lea fingerings for A do ' , combine E dorian, then the fingering dorian, the ' n, etc. Once seven in E 23 IMPROVISING MADE EASIER
  25. 25. It is vital to have a strong chord vocabulary. Having lots of voicings for the Em? and Am7 chords will be useful. Learn these voicings thoroughly. Be able to grab them without missing a beat. fits FRANK GAMBALE
  26. 26. Now it's time again to get some licks under your fingers. ‘These licks will go from easy to hard and will be over the Em7 chord. Remember, be patient. You can always slow any of the licks down or even stop them. Have fun! Example 20 TRACK r I‘ EH17 ‘ Key signature denotes E dorian Example 21 Q , , Em7 H4 HH "_'-H-iH- : -j j **—— —‘: *-—jjjj¢——j Huj ' Key signature denotes E dorian Example 22 22 Tim! Em7 %_'H-'' <: 2 3 1 2 4 1 2 3 1 2 1 4 1 4 3 1 4 1 4 1 4 1 4 1 —""‘“— H V H H V H H V H H V H V H V H H V H V H V H V H ' Key signature denotes E dorian l‘MI’ROVlSING MADE EASIER
  27. 27. More licks, this time in A dorian. These licks will go from easy to hard and will all be over the Am7 chord. Play them as accurately as possible and at your own pace. ' Key signature denotes A dorian Example 24 Am7 V H V V H H H V V V H V V V H HVVVHVVHVVVHVV ‘ Key signature denotes A dorian ' Key signature denotes A dorian V H H V H V V H V H V V H V V H V H V H FRANK GAMBALE
  28. 28. Even more licks. This time we combine the two scales and chords. Study the notes carefully and try to get a feel for licks that have a smooth transition between keys through chord changes. Example 28 Em7 H V H H V V H V V V H . V H HVVHVVVH Am7 Ern7 H V V V H H V H V H . H H H V V V VHVHVHVHVVVH 27 IMPROVISING MADE EASIER
  29. 29. This lesson will demonstrate the use of the dorian chord in a song context. Every chord will be a dorian chord. Enjoy the song. V V V V H VHVHVVHVHV FRANK GAMBALE 28
  30. 30. iitliifldlfiiflfiliith MADE kidiifillik the notes of E major are: E F! Gil A B Cll D8. The intervallic relationship E major would obviously have the same notes as the E major scale. Therefore, between each of these notes reveals the character of the major scale. EMajor: EF1G1ABCllDllEFilGilABCll 12345G7891U1l12l3 By numbering the degrees we get a scale formula we can use which will be con- sistent with every major scale in every key. Ionian: 1234587 (91 111) 1131 You can see by this scales interval content that the chords possible from major are major chord characters: Emaj7 (1 3 5 7i. E(add9)( 1 3 5 9), Emaj9 (1 3 5 7 9), and Emaj13 (1 3 7 13). These are just a few of the possibilities for chords available using the major interval structure: 1 2(9) 3 4111) 5 6113) 7. The most pop- ular major chords are undoubtedly the major 7 chord and the major(add9). Mi
  31. 31. Learn all seven scale fingerings for the E major scale. Once again the scales are written out, numbered in one-octave intervals: 1 2 3 4 5 6 7. Practice these scale fingerings at a medium tempo. Fingering 1 Fingering 2 21‘: - Fingering 3 %%BE %%% 4fr Fingering 4 Sti- Fingering 5 71'! ’ Fingering 6 9ft Fingering 7 llfi’ % l2fr Ml FRANK GAMBALE
  32. 32. In this lesson we'll learn the scale fingerings for A major. Once you've played all seven fingerings for A major, combine Lessons 1 and 2 by playing the first finger- ing of E major, then the first fingering of A major. then the second fingering of E major, etc. Fingering 1 Fingering 2 2t‘: - Fingering 3 4f: Fingering 4 S11- Fingering 5 7fr Fingering 6 9fi- Fingering 7 1011- 1213' 11l*W‘Rll. '11‘1*il$‘ll11.‘. i MARE liiditiihfi i l'1'1I>UOEJJt'l'l
  33. 33. __lBSmJ_____JHm1mflmfljMUmDAflmMN________ . ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... . Now it's time to look at the most useful voicings derived from the major scale. It will be mostly major 7 chords and some other variations. Have fun! 134211 32 Fllthfizlfl G~AMlMri. .1-'. ~
  34. 34. 133 Now it's time again to get some more licks under your fingers. These licks will go from easy to hard and will be over the Emaj7 and E19) chords. Remember, have fun! H V V V H V V V H V V V H V V V H V V V H V V V H V V V H V V V Example 30 Example 32 rrnnnnrrrsrrrn MADE Elliiimlt
  35. 35. W W W More licks, this time in A major. These licks will go from easy to hard and will all be over the Amaj7 chord. Play them as accurately as possible and at your own pace. Example 33 H V H V H V V H V H H H V V H H V V H H V V H V H V H H V VHHHHHVVVHVVVHVVHHV | '1l'lV l"ll'lVI'lVl'| VV VHHHVHHHVHVVVHVV HVHVHVHHVVHVVHV HVHHVHHVHH Flihhlliif ll'3z1ii1*ii1‘1illlrit. lEE
  36. 36. Even more licks. This time we combine the two scales and chords. Study the notes carefully and try to get a feel for licks that have a smooth transition between keys through chord changes. "”-2:! ‘ HHIIV H H-Lin 31431413l341241242421412412141333 31 HVVHVVHVHVHVVHVVHVHV HVHVHVHVHVHHHVVVH Dmaj7 J 3 3 3133132132312312331441421-1212121133211 HVVHHVHVHHHVVHHVHHH V H V V H VVHVHVHVVVHV 1fi’ll11:BlWf$lil*11.”i MADE EASIER I15
  37. 37. This lesson will demonstrate the use of the major chord in a song context. Every chord will be a major-type chord so the corresponding scale for each chord will be major, relating to the chord's root. This way the melody will make perfect sense to you. Enjoy the song. Example 39 mu % ; :l1l+. -Wmllll nnnnntn
  38. 38. ti-btlisine MADE EASIER THE. LOCR| AN MODE have the same notes as the F major scale (F G A Bl» C D E) because E is the 7th scale degree of F. Therefore, E locrian is the notes of F major beginning on the note E: E F G A Bl» C D. An understanding of the intervallic relationship between these notes is necessary in order to understand the character of the locrian scale. To do that we must compare these notes to the major scale. If we compare E locrian to the notes of E major we have: The locrian mode is built on the 7th note of a major scale. E locrian would EMajor: E Fl 68 A B C! Di E F! Gil A B Cll 12345B7891Ul1l213 ELocrian: E F G A Blv C I) E F G A Bl» O 1 l2 1-3 4 55 56 51 B $951011 $12 513 Now you can see that the differences are that the 2nd, 3rd, 5th, 6th, and 7th degrees are flat (lowered 1/2 step) in the locrian scale. By numbering the degrees we get a scale formula we can use which will be consistent with every locrian scale in every key. Locrian: 1 L2 L3 4 1-5 $6 | >7 (L9) (11) ("13) You can see by this scale’s interval content that the chords possible from locrian are minor chord characters: Emin7l-5 (1 B3 1-5 57) and Emin11 (1 l3 W 11). These are just a few of the possibilities for chords available using the locrian interval struc- ture: 1 l2(| »9l l-3 4(11) l~5 l~6(l13l (>7. The most popular locrian chord is undoubtedly the minor 7(l-5) chord. 37
  39. 39. r E locrian. Notice that the scales are written als:1 B2 B3 4 55 l6 l7. Practice these Learn all seven scale fin 'ngs fo out, numbered in one-oc interv scale fingerings at a medium tempo. FRANK GAMBALE are
  40. 40. 39 Once you've played all seven fingerings for A locrian, combine Lessons 1 and 2 by la 'ng the first fingering of E locrian, then the first fingering of A locrian, then the 0nd fingering of E locrian, etc. LMPROVISING MADE EASIER
  41. 41. Having lots of voicings for the Emin7l~5 and Amin7l=5 chords will be useful. Learn these voicings thoroughly. Be able to grab them quickly. Emin7la5 Bl; / E 2 341 3 4121 FRANK GAMBALE
  42. 42. CD? 41 nwx l I l 4| V fl V V H V H V V VV l'lVVl'lVVl'lV Vl'lVV Now it's time again to get some more licks under your fingers. Once again the licks will go from easy to hard and will be over the Emin7l»5 chord Flemember, have funl l'lVVl"lVVl'lVF'Il'lVl'lVVl"l V VI ' Key signature denotes E locrian ' Key signature denotes E locrian t Em7(l»5l V Fl V V 1'! V V H ' Key signature denotes E locrian Example 40 Example 42 IMPROVISING MADE EASIER
  43. 43. More licks, this time in A locrian. These licks will go from easy to hard and will all be over the Amin7l>5 chord. Play them as accurately as possible. ' Key signature denotes A locrian ' Key signature denotes A locrian V H H H V H V H ‘ Key signature denotes A locrian FRANK GAMBALE 42
  44. 44. s- . ... ... ... .. . Even more licks. This time we combine the two scales and chords. Study the notes carefully and try to get a feel for licks that have a smooth transition between keys through chord changes. b Am7(| >5l 31231312312311 113123 Vf'| VVl"lVVl"'lVVl'lVl'lV 1 2 1 Example 48 . _l‘M| ’ROVl$| NG MADE EASIER 43
  45. 45. .. ... ... ... ... .. . This lesson will demonstrate the use of the locrian chord in a song context. 1 will also use some other chord types to make the example more musical and realistic. Enjoy! Example 49 to Em7 G8m7(l:5) 44 FRANK GAMBALE
  46. 46. llirwfimilfilltiifi Wtfilfiil THE PHRYGIAN MODE have the same notes as the C major scale (C D E F G A Bl because E is the 3rd scale degree of C. Therefore, E phrygian is the notes of C major begin- ning on the note E: E F G A B C D. An understanding of the intervallic relationship between these notes is necessary in order to understand the character of the phry- gian scale. To do that we must compare these notes to the major scale. if we com- pare E phrygian to the notes of E major we have: The phrygian mode is built on the 3rd note of a major scale. E phrygian would EMajor: E F1 (31 A B C1 D1) E Flt Gll A 8 Ci 1 2 3 4 5 6 7 8 9 1011 1213 EPhrygian: E F G A B 0 D E F G A B C 1 52 53 4 5 56 F7 8 591-10 11 12 1'13 Now you can see that the differences are that the 2nd, 3rd, 6th, and 7th degrees are flat (lowered 1/2 step) in the phrygian scale. By numbering the degrees we get a scale formula we can use which will be consistent with every phrygian scale in every key. Phrygian: 1 l-2 F3 4 5 L6 L7 l| ~9l (11) (L13) You can see by this scale’s interval content that the chords possible from phrygian are minor chord characters: Emin| >9 (1 K3 5 F9) and Fmaj7l~5/E (1 4 519). These are just a few of the possibilities for chords available using the phrygian interval structure: 1 i2(l9l l»3 4(11). 5 l«6(l»13) L7. The most popular E phrygian chord is undoubtedly the Fmaj7l>5/E chord.
  47. 47. seven scale fingerings for E ian. Notice that the scale written mbered ' e octave interval : i2 53 4 5 l6 l»7. P ice these ngerings a medium tempo. Learn all out, nu scale fi ' Flmbiii. 'lEllii‘rtli*fBAl. E.
  48. 48. Once you've played all seven fingerings for A phrygian, combine Lessons 1 and 2 by playing the first fingering of E phrygian, then the first fingering of A phrygian, then the second fingering of E phrygian, etc. 1*WRlfli’t’lE$ll: ’l'llB MADE EASIER
  49. 49. Here are some voicings for the Fmaj7li11/E, Bl>maj7ll1 1/A, and other chords avail- able to us from the intervals unique to the phrygian scale. Dming/ E OE5la9O % 2 3144 1234 E5b9 F(r3naj7bO5j/ E BO/ E oWG(rnin9/A O Osfr bass 3421 2 3144 Bb/ A X X % 1 432 E0/A C13/A Gmin(add9)/ A X X 8 fr 8fr ’ 5 fr 4121 41231 3241 fi1AMB. A.11E
  50. 50. Now it's time again to get some more licks under your fingers. Once again the licks will go from easy to hard and will be over the Fmaj7ll1 l/ E chord. Have fun! 001 Example 50 50 ' TRACK 1 Fmaj7(la5)/ E ' Key signature denotes E phrygian cor Example 51 "six * Frnaj7(lu5)/ E 42142 ' Key signature denotes E phrygian Example 52 Fmaj7(l;5)/ E ‘ Key signature denotes E phrygian ' l‘-l‘i11*'1il§”, lili‘1liili1é'l)Z1l liihiliiilii lfE. ll1;llilliii1 AW
  51. 51. More licks, this time in A phrygian. These licks will go from easy to hard and will all be over the Bl>maj7#l1/A chord, Play them as accurately as possible. Example 53 VHHVVVl'll'll"lV H V H V V V V H V H V V V H V . H V ' Key signature denotes A phrygian Example 54 V V H V H V V V V H V V H l'lVHVHl"Il'lVF'lVl'lVH HVVH VHVHVVHVVH HVHVHVHVHVVHVVH ' Key signature denotes A phrygian V V H V V V H V V V H V V V H HVVHVVH HVVHVVH FRANK GAMBALE
  52. 52. More licks. This time we combine the two scales and chords. Study the notes carefully, being sure to read the notes accurately. Good luck! Example 56 Fmaj7(l>5)/ E Bbmaj7(l:5)/ A I, b I ’An‘ jj 1 j jj —). - : .zJjjj—: ——— a_T‘< I Luvs Hi jF—-“ ’ " I 3241341431-12313 FlVl'lVl'IHV| "lHVf'lVVVHVV 1 Example 58 55 Fmaj7( I25)/ E £MlPR1WFMhW Mlh-lfillfi M
  53. 53. This lesson will demonstrate the use of the phrygian chord in a song context. I've decided to use only the chords we've learned so far in this musical example. Have fun! CD I Example 59 59 TRACK Bl»rnaj7(b5)/ A L BL/ C L Fmaj7 1 = -== $= BTTI7 BBITIEI7 ’_ 0 = 77“ T: us. ‘ : 2 2 2 2 4 1 2 1 3 3 3 l 3 3 3 3 3 1 2 1 1 31 4 l"ll'1|"| l'll'| HVHVl'lV HVl'1|'| l'| F|l'lH| "1 Vl'lVV B ,5 i _ ——12— 13 = : ' eemeattt
  54. 54. THE AEOLIAN MODE he aeolian mode is built on the 6th note of a major scale. E aeolian would Thave the same notes as the G major scale [G A B C D E Fl) because E is the 6th scale degree of 6. Therefore, E aeolian is the notes of G major begin- ning on the note E: E Fll G A B C D. An understanding of the inten/ allic relationship between these notes is necessary in order to understand the character of the aeo- lian scale. To do that we must compare these notes to the major scale. if we com- pare E aeolian to the notes of E major we have: EMajor: E Fll Gll A B Cll Dll E F! G! A B Cl 1 2 3 4 5 6 7 8 9 10 11 12 13 EAeo| lan: E Fll G A B C D E Fl G A B C 1 2 53 4 5 | >6 W 8 9 H0 11 12 313 Now you can see that the differences are that the 3rd. 5th. and 7th degrees are flat (lowered 1/2 stepl in the aeolian scale. By numbering the degrees we get a scale formula we can use which will be consistent with every aeolian scale in every key. Aeolian: 1 2 F3 4 5 i=6 1-7 l9) (11) ll>13l You can see by this scales interval content that the chords possible from aeolian are minor chord characters: Emin7t5l1 | >3 l5 l7). This is just one of the possibilities for chords available using the aeolian interval structure: 1 2(9) I-3 4(11) 5 lS(l~13l L7. The most popular aeolian chord is undoubtedly the minor 7ll5l chord. —j: . IMPROVISING MADE EASIER Ml
  55. 55. Learn all seven scale fingerings for E aeolian. Notice that the scales are written 0 , mbered in one-octave intervals: 1 2 | >3 4 5 I26 57. Practice these sca ‘ngerings at a medium tempo. FRANK GAMBALE 511
  56. 56. Once you've played all seven fingerings for A aeolian, combine Lessons 1 and 2 by playing the first fingering of E aeolian, then the first fingering of A aeolian, then the second fingering of E aeolian, etc. 55 IMPROVISING MADE EASIER
  57. 57. .. ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... .. . . Here are some voicings for the Emin7ll5, Amin7lt5, and other chords available to us from the intervals unique to the aeolian scale. FRANK GAMBALE
  58. 58. Now it's time again to get some more licks under your fingers. Once again the licks will go from easy to hard and will be over the Emin7l5 chord. Have fun! Example 60 H H H H V H V H V H V H V V l'lVl"'lVl'll'll"lV HVHVHHVH 57 IMPROVISING MADE EASIER
  59. 59. More licks, this time in A aeolian. These licks will go from easy to hard and will all be over the Amin7ll5 chord. Play them as accurately as possible. Example 63 Example 65 VVVHHHHV HHHHV HHHHV FRANK GAMBALE
  60. 60. More licks. This time we combine the two scales and chords. Study the notes carefully, being sure to read the notes accurately. Good luck! 59 IMPROVISING MADE EASIER
  61. 61. Ern7(ll5l This lesson will demonstrate the use of the aeolian chord in a song context. Once again you'll see mixed chord types. Have fun! Example 69 Am7 ab/ c FRANK GAMBALE M
  62. 62. lMPRll'llll‘ii5llill. 'i Eilhfilfifi THE LYDIAN l»7 MODE E lydian l»7 would have the same notes as the B melodic minor scale because E is the 4th scale degree of B melodic minor. The notes for B melodic minor: 8 Cl 0 E F! Gl Al. if we begin these notes on E (the 4th note) we have the notes for the E lydian L7 scale: E Fl Gl Al B Cl D. To understand the char- acter of the lydian 17 scale we must compare these notes to the major scale. if we compare E lydian l7 to the notes of E major we have: The lydian | >7 mode is built on the 4th note of a melodic minor scale. EMajor: E F8 Gil A B Cl Dl E Fl Gl A B Cl 123456789llJ1112l3 ELydianF7: E Fll Gil Alt B Cll D E Fl Gl Al B Cll l23ll456l=7B910l1112l3 Now you can see that the only differences are the l4th and lr7th in the lydian l«7 scale. By numbering the degrees we get a scale formula we can use which will be consistent with every lydian 17 scale in every key. Lydian l7: 1 2 3 l4 5 6 1-7 l9) lll ll l13l You can see by this scale’s inten/ al content that the chords possible from lydian F7 are dominant 7 chord characters: E7 (1 3 5 1:7). E9 (1 3 5 1-7 9), E1311 3 W 13), and E13111 (l 3 F7 311 13). These are just a few of the possibilities for chords available using the lydian l7 interval structure: 1 —2l9l—3-4ll1ll—5— 6l13l—b7. The most popular lydian 17 chords are undoubtedly the 9th. 13th, and 1301 ll chords.
  63. 63. Learn all seven scale fingerings for E lydian 17. Notice that the scales are written out, numbered in one-octave intervals: 1 2 3 114 5 6 l7. Practice these scale fingerings at a med’ FRANK GAMBALE 62
  64. 64. A lydian i=7, combine Lessons 1 and 2 i=7 then the first fingering of A Iydian lw7, etc. Once you've played all seven fingerings for by pl in the first fingering of E Iydian , then econd fingering of E lydian B7. 611 IMPROVISING MADE EASIER
  65. 65. .. ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... . . . Here are some voicings for the E13111 1 , A13ll11 , and other chords available to us from the intervals unique to the lydian 1:7 scale. Brill FRANK GAMBALE
  66. 66. VHVVHVH 1» Now it's time again to get some more licks under your fingers. These licks will go from easy to hard and will be over the E9 chord. Have fun! H V H V H V H V H V H V H V H V V V V. H. . V. Example 70 IMPROVISING MADE EASIER
  67. 67. More licks, this time in A lydian I7. These licks will go from easy to hard and will all be over the A13 chord. Play them as accurately as possible. VVHHHVHV VHVVVHVHVHVV H HHVHVHVV V H VHVVVHVHVHVVH Example 75 T _ HVHHHVHVHHHVHHHVVHVHVVVHVHVH jun: -rr —. i.. jjj-znji--1 Hf-If, ;j- " "’ II. ..'. -LI—- Lwj: --—-—-—- , _v V. HVHVHVHVHVHVHHVVHVVHVVHVHHV FRANK GAMDALE
  68. 68. More licks. This time we combine the two scales and chords. Study the notes carefully, being sure to read the notes accurately. Good luck! H v 1-1 v 1-: v v H v v v v H V H H V H V H V V V V H. V H. V. VVHHVVHHVVHHVVHH VVHHVVHHVVHHVVHH V H V V V HVHHVHVVHVVH VVHVHVHVHVVH HVHHVHHHVVVH HVVHVHVHVHVHVVH 67 IMPROVISING MADE EASIER
  69. 69. la This lesson will demonstrate the use of the Iydian F7 chord in a song context. Once again you'll see mixed chord tYPl§s. Have fun! Example 79 mm Emaj7 A7(ll11) Gllm7 omit) 68 Flillltlilli BAMBAW
  70. 70. THE SUPER LOCRIAN MODE locrian would have the same notes as the F melodic minor scale because E A super locrian scale is built on the 7th note of a melodic minor scale. E super is the 7th scale degree of F melodic minor. The notes of F melodic minor: F G Al» Bl» C D E. if we begin these notes on E (the 7th note) we have the notes for the E super locrian scale: E F G Al» Bl C D. To understand the character of the super locrian scale we must compare these notes to the major scale. if we compare E super locrian to the notes of E major we have: EMajor: E Fll Gl A B Cl Dl E Fl Gl A B Cl 1Z34567891D111213 ESuperLocrian: E F G 65 Bl C D E F G Gil Blv C 1 | >2 L3 3 i=5 115 | >1 8 59 l9 101111513 Now you can see that the differences are that the 2nd, 3rd. 4th. 5th. 6th. and 7th are flat llowered 1/2 step) in the super locrian scale. This scale has some peculiar intervals which I'd like to take a moment to explain. The 12 and l>3 are the same notes as the 59 and IS, the latter of which you'll see occurring the most in chord symbols. You've no doubt seen a 7ll>9l chord more often than a 7ladd 12). So remember that point. Another thing to remember is that this scale also has a £5 and lvfi. The 56 should be regarded as a I5 which is the way you'll see it appear the most. You'll never see a m7 #6 chord. So be aware of this point also. One more thing: this scale also has a natural 3rd as well as a hard. in a me) chord both notes are used, but remember that the 53 in this case is regarded as a l9. The formula for this chord is 1 3 L7 19. By numbering the degrees we get a scale formula we can use which will be consistent with every super locrian scale in every key. Super Locrian: 1 l2 l3 3 l5 15 W 159) lllll 1113) You can see by this scale’s interval content that the chords possible from super locrian are dominant 7 chords with a 15 and/ or l5, l9 and/ or 1:9 (and any combina- tion thereof): E7l9 ll 3 57 l9), E7l»9 ll 3 57 1-9), and E7351-911 3 I517 19). These are just a few of the possibilities for chords available using the super locrian interval structure: 1 52{l>9) 53 1:413) 1-5 561113) 1-7. The most popular super locrian chord is undoubtedly the 7ll9). IMPROVISING MADE EASIER ill?
  71. 71. writ 1-7 s for E super locrian. No ' hat the scales are ~ , e-octave i als: 1 52 3l| >4) L5 l5ll>6) . Practice these scale fingerings at a me ’ tempo, then gradually play them faster. Learn all seven s e fingering ten out numbered in on FRANK GAMBALE 70
  72. 72. Once you've played all s eh fingerings for A super locrian, combine Lessons 1 and 2 by playing the firs ering of E super locrian, then the first fingering of A super locrian, then the second fingering of E super locrian, etc. IMPROVISING MADE EASIER
  73. 73. Here are some voicings for the E7l9, A7l9, and other chords available to us from the intervals unique to the super locrian scale. E71319 X61} (0 FRANK GAMBALE
  74. 74. Now it's time to get some more licks under your fingers. Once again the licks will go from easy to hard and will be over the E7l9 chord. Have fun! V can 13 TRACK V H V V VHHVHVH HHVHVHHHH HVHVH V V V v H H v V H V V H V V H H V V H H V V H H V V H H V V V H E71119) E71119) Example 82 73 IMPROVISING MADE EASIER
  75. 75. More licks, this time in A super locrian. These licks will go from easy to hard and will all be over the A7119 chord. Play them as accurately as possible. Example 83 FRANK GAMIALE M
  76. 76. More licks. This time we combine the two scales and chords. Study the notes carefully. being sure to read the notes accurately. Good luck! VHVVVHVHVHVHVVV V V V. H. V. H: V. H V H V V V H V. A7(ll5ll9) E71 ll9l E71119) M1353 9) Iii IMPROVISING MADE EASIER
  77. 77. This lesson will demonstrate the use of the super locrian chord in a song context. Once again you'll see mixed chord types. Have fun! Example 89 FRANK GAMBALE M
  78. 78. THE HALF-WHOLE DIMINISHED SCALE half-whole diminished scale is a completely symmetrical scale constructed A from the note arrangement of 1/2 step, then whole step, than 1/2 step, etc. E half-whole diminished would have the notes E F G Gl Al B Cl D. To under- stand the character of the half-whole diminished scale we must compare these notes to the major scale. If we compare E half-whole diminished to the notes of the E major scale we have: EMajor: EFIGl ABClDlEFl GIABCI 123 45678910111213 Ehalf-wholediminishedz E F G GlAI B Cl D E F G GlAll B Cll 1L2L33M5 6L7BL9ll91Ul111213 Now you can see that the differences are the l-2nd, L3rd, l4th. and L7th in the half- whole diminished scale. This scale has some peculiar intervals which I'd like to take a moment to explain. The L2 is the same note as the L9 and the L3 is the same as the 119 (see below), the latter of which (L9 and I9) you'll see occurring the most in chord symbols. This scale has a natural 3rd as well as a L3rd. In a 7(l9) chord both notes are used. but remember that the L3 is regarded as a l9. The formula for this chord is 1 3 L7 l9. If we number the degrees we get a scale formula we can use which will be consistent with every half-whole diminished scale in every key. 1/2-Who| eDiminished: 1 12 are 3 MILE 5 s 17 ll'9lll9l (I11) (13) You can see by this scale’s interval content that the chords possible from half- whole diminished are dominant 7 chords with a I9 and/ or L9, and a natural lith (usually shown in the chord as a 13th): El3L9 (1 3 L7 L9 13 ), E7L9 (1 3 L7 L9 ), and E7L5L9 (1 3 L5 L7 L9 ). These are just some of the possibilities for chords available using the half-whole diminished interval structure: 1 l»2lL9) l2/L3ll9l 3 ((4/L5(ll1) 5 6113) L7. The most popular half-whole diminished chord is undoubtedly the 13(L9). IMPROVISING MADE EASIER 7!?
  79. 79. Leam all four scale fingerings for E half-whole diminished. Notice that the scales are written out, numbered in one-octave intervals: 1 1-2 $3112) 3 l=5lii4l S 6 | >7. Practice these scale fingerings at a medium tempo. then gradually play them faster. FRANK GAMBALE
  80. 80. Once you've played all four fingerings for If-whole diminished, combine Lessons 1 and 2 by playing the first fing ' g alf-whole diminished, then the If-whole dim of E half- first fingering of inis e , then the second fingering whole diminished. . IMPIIOVISING MADE EASIER "N
  81. 81. CHORD VOICINGS FOR EI3L9, A|3l>9, Here are some voicings for the E13l9, A13l»9, and other chords available to us from the intervals unique to the half-whole diminished scale. E13b9#11 E13#9 fig“ E” 4231 1234 Ei3b9 E13b9 E7#9 O / ' O X OX 3fi 1312 2 341 FRANK GAMBALE
  82. 82. Now it's time again for some more licks. These licks will go from easy to hard and will be over the E131>9il11 chord. Have fun! Example 90 Q Ei3(li9ii1I) ' "" "-T= EEE3:: !li'. =;"'“'- ; =_——-=55--"= = T 121141213331l34l II I r'1Vi'lVl'lVl"IVl'll'lFlVVVVVVVVVVl'lV Example 91 ,2 4 ’ - . I1Tfl_T———e T-'$_ _, *"' _. {j—I 1 IA" - 1 " " ' _”T 241243212124124 Vl'lVVVI'1VVI"'lVl'll'lVH . ' '1 - 1 - j-jjjjjujjn j—‘. _ ____, . _ - IMPROVISING MADE EASIER 8|
  83. 83. mMe . ... ... ... ... ... ... ... ... ... ... ... ... ... ... .1 More licks, this time in A half-whole diminished. These licks will go from easy to hard and will all be over the Al3|-911 l chord. Play them as accurately as possible. Example 94 A13(b9;11) Example 95 A13(lI9iI1l) l’ j rélj 1-131 jjjjj I - . I jj. :jj£jjj 7- «~~—-«Tjjjjjjjjjj 1 Z Title __ . jjjjnj *7 jj--jj ‘*1- 143l42l42143l21-121421 . , jjj-I 3-: 1171"! 1-1 jiw —-I jjjujijujujljjujjj jjltj } , F‘-7:“, .41 1 4 1 82 FRANK GAMBALE
  84. 84. More licks. This time we combine the two scales and chords. Study the notes carefully, being sure to read the notes accurately. Good luck! V H V H V. . H V H V H V H V H V H V H V V V H V V V H V V V. H V V Example 97 F'll"| HVl'll‘ll'lVHHl'lVl'll'll"lV V V V. H. V V V —H. V V V. H V V V H VVHHVVHHVVHHVVHHVVHHVVHHVVHHVVHH VVHHVVHHVVHHVVHHVVl"lHVVl'lf'1V 83 IMPROVISING MADE EASIER
  85. 85. This lesson will demonstrate the use of the half-whole diminished chord in a song context. Once again you'll see mixed chord types. Have fun! Example 99 CIm7( b5) D/ E FRANK GAMBALE ilill
  86. 86. THE PHRYGIAN MAJOR MODE —mnm he phrygian major scale is built on the 5th note of a harmonic minor scale. TThe scale formula for harmonic minor is: 1 2 1'3 4 5 | r6 7. E phry- gian major would have the same notes as A harmonic minor because E is the 5th scale degree of A harmonic minor. The notes of A harmonic minor are A B C D E F Gi. so the notes for E phrygian major would be E F G: A B C D. To under- stand the character of the phrygian major scale we must compare these notes to the major scale. If we compare E phrygian major to the notes of E major we have: EMajor: E FI Gil A B Ci Di E Fl Gi A B Cii 1234567891011i213 EPhrygian Major: E F G! A B c D E F Gil A B C 1|>Z345l»6l=78l=9l0l112l~13 Now you can see that the only differences are the | >2nd, Hith, and | >7th in the phry- gian major scale. By numbering the degrees we get a scale formula we can use which will be consistent with every phrygian major scale in every key. Phrygian Major: 1 1-2 3 4 5 56 1-7 ll'9l (ii) (513) You can see by this scale’s interval content that the chords possible from phrygian major are dominant 7 chords with a 59 and a i5th and/ or natural 5th: Ell-9) (1 3 5 $9), and E7lv9 ii 3 1-7 1-9). These are just a few of the possibilities for chords available using the phrygian major interval structure: 1 $2019) 3 4(11) 5 l»6ll>13) L7. The most popular phrygian major chord is undoubtedly the major (B9) or 7ll»9). IMPROVISING MADE EASIER
  87. 87. all seven scale fingerings for E phrygian major. You'll notice that the scales are written ut, numbered in one-octave intervals: 1 L2 3 4 5 l7. Practice these scale fingerings at a medium tempo, then gradually play the ter 0 Leam FRANK GAMBALE
  88. 88. Once you've played all seven fingerings for A phrygian major, combine Lessons 1 and 2 by playing the first fingering of E phrygian major. then the first fingering of A phrygian major. then the second fingering of E phrygian major, etc. IMPROVISING MADE EASIER
  89. 89. 1% CHORD VOICINGS FOR Here are some voicings for the E119), A(l«9l, and other chords available to us from the intervals unique to the phrygian major scale. OE(la%)O EOsus4(Ob§) O§(b9) 231 1243 E7sus4(b9) 3214 Gming/ A X % 2 3144 FRANK GAMBALE
  90. 90. Now it's time again for some more licks. These licks will go from easy to hard and will be over the E718 chord. Have fun! H V H V H V H V V H V V H Example 100 E7(b9) W IMPROVISING MADE EASIER
  91. 91. More licks, this time in A phrygian major. These licks will go from easy to hard and will all be over the A739 chord. Play them as accurately as possible. VHVVHVVH V H V V H V V H V VHVVHVVHV HVVHVVHV Example 104 H V H V V . H V V H V H V H HVHVHVVHVVHVH VVHVHHVHVVH V V V H VHVVHVVHV FRANK GAM BALE
  92. 92. More licks. This time we combine the two scales and chords. Study the notes carefully, being sure to read the notes accurately. Good luck! Example 106 VHVHVHVH HVHVHVHVHVHVHVH l'IVl"1VHHH Example 108 0 HVHVHHVVHVHVHHVV HVVVHVVVHVVVHVHV V H V H V H V H V V V H V V V H V V. H. H V H V H V V H H V H V H N IMPROVISING MADE EASIER
  93. 93. SONG EXAMPLE USING This lesson will demonstrate the use of the phrygian major chord in a song con- text. Once again you'll see mixed chord types. Have fun! Example 109 FRANK GAMBALE
  94. 94. THE. AEOLlAN b_5 SCALE T he aeolian l-5 mode is built on the 6th note of a melodic minor scale. E aeo- Iian i5 would have the same notes as the G melodic minor scale because E is the 6th scale degree of G melodic minor. The notes of G melodic minor = G A Bl» C D E Fil. If we begin these notes on E we have the E aeolian 16 scale (E F! G A Bl» C D). To understand the character of the aeolian $5 scale we must compare these notes to the major scale. If we compare E aeolian 55 to the notes of the E major scale we have: EMajor: E F! G! A B C3 D! E F! G! A B C3 12345678910111213 EAeo| iani5: E H G A Bi» (2 D E Fl 6 A Bi» 0 1 2lv34l5l-651891-1011311513 Now you can see that the differences are the bard, ism, 56th. and | v7th in the aeo- lian | >5 scale. By numbering the degrees we get a scale formula we can use which will be consistent with every aeolian 55 scale in every key. Aeolian 55: 1 2 1:3 4 | ~5 l»6 B7 (9) (ill ll»13l You can see by this scale’s interval content that the chords possible from aeolian 1-5 are minor 7(l>5) chords with a natural 9: Emin9i~5 (1 18 55 1-7 1-9) and Emin11l5 (1 l»3 55 F9 9 1 ll. These are just a few of the possibilities for chords available using the aeolian 55 interval structure: 1 2(9) #3 4(11) l~5 I-6lb13) L7. The most popular aeolian B5 chord is undoubtedly the minor 9(l~5l. jej—. IMPROVISING MADE EASIER W
  95. 95. scales are {=5 i=6 i7. Practice y them faster. r E aeolian I25. You'll notice that the eintervalszl 2 1-3 4 Learn all seven scale fingerings fo writte , numbered in one-octav these fingerings at a medium tempo, then gradually pla l“‘¥iiitll= ‘iiili Kisilliiittl Wltinii, 94
  96. 96. d n na 3” 1» W3 OA Sam mu. H e. n . m8 hm. mfi on If Wen ne 3.. .m Once you've played all seven fingerings for A aeoli 2 by playing the first fingering of E aeolian #5, then | >5, then the second fingering of E aeolian #5, etc. 95 IMPROVISING MADE EASIER
  97. 97. Here are some voicings for the Emin9l>5. Amin9l>5, and other chords available to us from the intervals unique to the aeolian | »5 scale. Emin9la5 IIKIII 3 fr 96 FRANK GAMBALE
  98. 98. Now it's time again for some more licks. These licks will go from easy to hard and will be over the Emin9L5 chord. Have fun! Example 110 l'lVVl"! VVVl"'| V HVVHVVH 91 l'lVVl'lVVVl'lVVVl'lVVV V V V H V V H VVr'IV l'IVVl'IVVV H V V H H V H V H V l'| Vl'lVl'lVHVl'1Vl"lVl'1V| "'lVHVHl'| VVHVl'| Vl'| |'lVVl'lV l'lVVl'IVVV l"lVl'| Vl'lVl'lVl'lVl'lVl'lVHV Example 111 Example 112 IMPROVISING MADE EASIER
  99. 99. More licks, this time in A aeolian V5. These licks will go from easy to hard and will all be over the Amin9l«5 chord. Play them as accurately as possible. Example 113 34421221 V VHVVHVVV H . . VHVVVHHVHV 3 2 H H 19 VHVVHVHVHVHVHV VHVVVHH VHVVVHH VHVVVVHVVVVHVVVVHVVVVHVVVVHV 2 VHVHVHVHVHVHVHVHV V. H uv H uv H uv uv H uv uv H V uv H uv Amflb$ Example 1 14 Example 115 .3 . .. FRANK GAMBALE 98
  100. 100. More licks. This time we combine the two scales and chords; Study the notes carefully, being sure to read the notes accurately. Good luck! Example 116 V H H V H V H V H V V H l"1V| '|Vl'lVl'| V|'l Example 117 l'1Vl'lr'1VVl'l V V H V H V H l'lVl'li'lVVl'l Example 118 Em7(la5) VHVVV HVHVHHHV V V V H V VHVVV VHVVV Am7(ls5) m VHVVV VHVVV Vr'IVVl'lVHVHl'| V VHVVV 9? 7zMMm‘lii'Wtilfi MAME EAESIER
  101. 101. M M This lesson will demonstrate the use of the aeolian l-5 chord in a song context. Once again you'll see mixed chord types. Have fun! Example 1 19 Glln17(| >5) ems) Flm7(b5) %M*°l: l-i5.¥. ih: ll, .iZ“
  102. 102. :_______j . ... ... ... ... ... ... ... .. . -______ In this last section I wrote a pretty challenging piece entitled, “Modalawn, " which incorporates all that we have learned throughout the entire improvising Course. If you made it this far you must be ripping up that fretboard by now! There's a great deal of information in this book to digest, but if you follow the procedure of inputting each lesson in each of the chapters, you can really accelerate as a player and overcome those ruts that we fall into from not knowing exactly what to prac- tice or which direction to go in to become a better player. Stick with this intense improvisational course and I guarantee you'll come out ahead of the pack. Good luck and happy picking to all! Frank Gambale 002 (J =125) , ,§, ‘¢. ( * 8va G/ A (mixolydian) IMPROVISING MADE EASIER mi
  103. 103. Cmai9 (major) V H V H V V V H V H V V V H V V Vl'lVVF‘| I'| V V~HVVl“1HVV V . Dl»maj7lu5/C (C phrygian) Emaj9 (E Iydian) V H V V H V V H V H FRANIII i§iiiliMB; ilfitE. .E Alnabs (Ala hall-whole diminished) 3 El>min7l>5 (Eb aeolian L5) 1 £12
  104. 104. BIvl3ll11 (BI: lydian F7) Fmin7$5 (F aeolian) A7189 (A super locrian) Emin1I (E dorian] H . H V H H V H H V H H V E7la9 (Ephrygian major) Emin7 lo5IE (E phrygian major) V V HVVHVVHVVVHVV I03 liiiiwililiiililihiiiitiii Iiltifiliiiiilfi Miiififii
  105. 105. ISBN 1-57623-610-2 6 9 78157 236109 9: IUSIC EXAMPLES -VfF. R so CD TRACKS Two CDS - STANDARD NOTATION AND TABLATURE - THE MOST USEFUL SCALES AND MODES: I . -MIXOLYDIAN AEOLIAN ’ I LYDIAN LYDIAN I27 DORIAN SUPER LOCRIAN IONIAN HALF-WHOLE DIMINISHED LOCRIAN PHRYGIAN MAJOR PHRYGIAN AEOLIAN I25 Welcome to the Frank Gambale Improvisation Made Easier course. Over this twelve-chapter course we’ll be looking in- depth at the twelve most important scale sounds you'll need to become a well-rounded guitarist. Of course we’ll be looking not only at scales, but also at the chords and voicings derived from these scales, and licks that will keep you learning and challenged. I’ll be pre- senting you with seven lessons per chapter. At the end of each chord gchgapter there is a song study of all the information we’ll have learned Ii___ih"the chapter. There's lots to learn, but take your time, there's no in rush. This is a serious course that makes learning fun and easy. 3 So let’s dive in! Good luck! ‘ (‘ man/ lk Savnimia Also Available by Frank Gambale §Books with Audio Videos The Frank Gambale Technique Book I Chop Buiiderz (MMBKOO02CD) The Ultimate Guitar Workout (REH859) The Frank Gambale Technique Book I Modes: No More Mystery (VHO100) (MMBKOO03CD) Monster Licks & Speed Picking (VHO41) - $2335 _ | ‘§I, I)‘g WARNER BROS. PUBLICATIONS Iications Limited 1i‘3i°a‘. ’riti‘i‘i°u§’ic"c“£3;’,2;“. fin“'. §‘. §n"3°"°“33°“ inigigi 0 29156 60513 6 0005B

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