alex skonick - jazz guitar

Breaking The Traditional Barriers


Method by John McCarthy

Presents

Adapted By: Jim RutkowskiSupervising Editor: Joe Palombo

Music Transcribing & Engraving: Jim RutkowskiProduction Manager: Anna-Lisa Tedeschi

Layout, Graphics & Design: Jim RutkowskiPhotography: Rodney DabneyCopy Editors & Proofreaders:Cathy McCarthy, Alex Palombo

Cover Art Direction & Design:Paul Enea, Tovero & Marks

HL14037605Produced by The Rock House Method®

© 2009 Fred Russell Publishing, LLC All Rights Reserved

Featuring Alex Skolnick

Jazz GuitarBreaking The Traditional Barriers


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Table of ContentsAbout the Instructor ......................................................................................................................Introduction ...................................................................................................................................Icon Key ........................................................................................................................................Tablature Explanation ...................................................................................................................Reading a Scale Diagram .............................................................................................................Tuning ...........................................................................................................................................

Lesson 1: Starting From the Blues ...............................................................................................Lesson 2: Blues Shuffl e ................................................................................................................Lesson 3: Playing Over a Blues Progression ...............................................................................Lesson 4: Embellishing the Major Third: Slow Blues ....................................................................Lesson 5: Embellishing the Major Third: Blues Shuffl e ................................................................Lesson 6: Triads Following the Chords .........................................................................................Lesson 7: Expanding Patterns Over the Blues .............................................................................Lesson 8: Expanding On the Blues ..............................................................................................Lesson 9: Major Scale Degrees ...................................................................................................Lesson 10: The I-vi-ii-V: Blues Turnaround ..................................................................................Lesson 11: Licks For The I-vi-ii-V Turnaround ..............................................................................Lesson 12: The I-vi-ii-V Rhythm Changes: Beyond the Blues 4 Bar ............................................Lesson 13: Licks For The I-vi-ii-V Rhythm Changes ....................................................................Lesson 14: The I-vi-ii-V: 2 Bar Rhythm Changes ..........................................................................Lesson 15: Licks For The I-vi-ii-V .................................................................................................Lesson 16: The Chord Scale ........................................................................................................Lesson 17: The ii-V-I Progression .................................................................................................Lesson 18: Applying the Modes to the ii-V-I ..................................................................................Lesson 19: Patterns For the ii-V-I Progression: Adding the 7th ....................................................Lesson 20: Patterns For the ii-V-I Progression: Adding the Diminished Arpeggio ........................Lesson 21: Patterns For the ii-V-I Progression: Up the Triad Down the Mode .............................Lesson 22: Patterns For the ii-V-I Progression: Up the Arpeggio Down the Mode .......................Lesson 23: Expanding the ii-V-I Chord Voicings ...........................................................................Lesson 24: Expanding the ii-V-I: Adding the 9th ...........................................................................Lesson 25: Expanding the ii-V-I Chord Voicings: Adding the 9th To the Arpeggio ........................Lesson 26: Adding 11th & 13th Chords into the ii-V-I ...................................................................Lesson 27: The Minor ii-V-i Progression .......................................................................................Lesson 28: Applying the Modes to the Minor ii-V-i ........................................................................Lesson 29: Patterns For the Minor ii-V-i: Triads ............................................................................

67891011

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This Booklet Is Interactive!

Lesson 30: Patterns For the Minor ii-V-i: Adding the 7th ..............................................................Lesson 31: Combo Patterns For the Minor ii-V-i Progression ......................................................Lesson 32: Combo Patterns For the Minor ii-V-i Progression: Arpeggios ....................................Lesson 33: Chromaticisms ...........................................................................................................Lesson 34: Applying Chromatics: One Note Below ......................................................................Lesson 35: Applying Chromatics: Two Notes Below .....................................................................Lesson 36: Complete Jazz Composition: “Autumn Leaves” .........................................................Lesson 37: Autumn Leaves: Composing a Lead ..........................................................................Lesson 38: Creating a Jazz Composition: “Still Loving You” ........................................................Lesson 39: Popular Jazz Rhythm Styles: Bossa Nova .................................................................Lesson 40: Popular Jazz Rhythm Styles: Up Tempo Swing .........................................................Lesson 41: Popular Jazz Rhythm Styles: Ballad ..........................................................................Lesson 42: Popular Jazz Rhythm Styles: Waltz ...........................................................................Lesson 43: Popular Jazz Rhythm Styles: 6/8 ...............................................................................Lesson 44: Alex Skolnick’s Jazz Licks ..........................................................................................

Rock House Catalog .....................................................................................................................

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This booklet is an interactive PDF fi le. All of the icons throughout the pages are linked to their corresponding lesson support link at wwwrockhousemethod.com. Each lesson in the table of contents is also linked to its page within the booklet. The Rock House logo on the top left of each page will redirect you back to the Table of Contents page to make navigating through the booklet and fi nding a spe-cifi c lesson easier.

Also, you will notice that at specifi c places in this Program booklet, there are icons for you to go to Rockhousemethod.com to use the ear trainer and guitar professor. We added these in at the places where we feel it will be most benefi cial for you to use these learning aids.

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Alex Skolnick is an American Jazz and Metal guitarist and has been a professional musician since the age of 17. His virtuoso guitar playing skills have been lauded by music publications as far ranging as his music interests: Downbeat, Metal Maniacs, Jazziz, Revolver and the Jazz Notes column of Billboard Magazine, to name a few. He has also had cover articles in maga-zines such as Guitar World and the UK’s Total Guitar.

Alex has a bachelor’s degree in Jazz from the prestigious music program at The New School in New York City, has had the profound distinction of being a stellar student of Joe Satriani’s (among noted Satch alum’s: Steve Vai, Kirk Hammett, and Charlie Hunter), and was catapulted to fame from the San Francisco Bay Area Metal music scene thanks to his lead guitar skills with the legendary Thrash Metal band Testament. He has penned instruction columns for three na-tional guitar magazines: Guitar Player, Guitar World and Guitar For The Practicing Musician.

Alex is as comfortable with inventive interpretations of Bebop infl uenced Jazz standards as he is with searing Metal solos over jackhammer riffs. He primarily writes instrumental compositions from a Jazz harmonic perspective, showcasing his playing infl uences that evoke Pat Martino, Jim Hall and Wes Montgomery.

As a touring and recording musician Alex is a member of the Trans Siberian Orchestra, Testa-ment, and his own stellar group, the Alex Skolnick Trio, that plays original tunes plus sophisticat-ed Jazz improv versions of classic Metal and hard Rock songs. In addition to these groups, Alex has recorded with a number of amazing musical acts that range from Lamb of God to Rodrigo & Gabriela and has found time to be involved in a number of side projects that include performing on the soundtrack to a Broadway musical, Jekyll & Hyde, and performing under the direction of famed “Bat Out of Hell” composer Jim Steinman. Originally from the San Francisco Bay Area, Alex is now based in Brooklyn, NY.

Alex Skolnick

About the Instructor

6


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IntroductionWelcome to The Rock House Method® system of learning. You are joining millions of aspiring musicians around the world who use our easy-to-understand methods for learning to play mu-sic. Unlike conventional learning programs, The Rock House Method® is a four-part teaching system that employs DVD, CD and 24/7 online lesson support along with this book to give you a variety of sources to assure a complete learning experience. The products can be used individu-ally or together. The DVD that comes with this book matches the curriculum exactly, providing you with a live instructor for visual reference. In addition, the DVD contains some valuable extras like sections on changing your strings, guitar care and an interactive chord library. The CD that we’ve included lets you take your lessons with you anywhere you go.

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Throughout this book, you’ll periodically notice the icons listed below. They indicate when there are additional learning tools available on our support web site for the section you’re working on. When you see an icon in the book, visit the member section of www.rockhousemethod.com for musical backing tracks, additional information and learning utilities.

Backing TrackMany of the exercises in this book are intended to be played along with bass anddrum rhythm tracks. This icon indicates that there is a backing track available fordownload on the Lesson Support site.

Additional InformationThe question mark icon indicates there is more information for that section avail-able on the web site. It can be theory, more playing examples or tips.

TablatureThis icon indicates that there is additional guitar tablature available on the web site that corresponds to the lesson. There is also an extensive database of music online that is updated regularly.

TunerAlso found on the web site is a free online tuner that you can use to help tune your instrument. You can download the free online tuner from www.rockhousemethod.com.

MetronomeMetronome icons are placed next to the examples that we recommend you prac-tice using a metronome. You can download a free, adjustable metronome from our Lesson Support site.

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Tablature ExplanationTablature (or tab) is a number system for reading notes on the neck of a guitar. It does not re-quire you to have knowledge of standard music notation. This system was designed specifi cally for the guitar. Most music for guitar is available in tab. Tablature is a crucial and essential part of your guitar playing career.

The six lines of the tablature staff represent each of the six strings. The top line is the thinnest (highest pitched) string. The bottom line is the thickest (lowest pitched) string. The lines in be-tween are the 2nd through 5th strings. The numbers placed directly on these lines show you the fret number to play the note. At the bottom, underneath the staff, is a series of numbers. These numbers show you which left hand fi ngers you should use to fret the notes.

Chords can also be written in tab. If there are several numbers stacked together in a column, those notes should be played or strummed at the same time. Here are the Am and Em chords with the tablature written out underneath each diagram. Since the fi ngerings are shown on the chord diagrams, we won’t bother to repeat them underneath the tab.

fret numberfi rst string(thinnest)

sixth string(thickest)

left handfi ngering

9


Reading a Scale Diagram Scale diagrams are used to visually show you a scale pattern on the neck of a guitar. The six lines that go from left to right represent each of the six strings. Like you just learned with the tablature, the top line is the thinnest (highest pitched) string. The bottom line is the thickest (low-est pitched) string. The lines in between are the 2nd through 5th strings. The lines running from top to bottom are the frets. The numbered dots placed directly on these lines show you which fi nger to play at a specifi c fret. Each of these dots will have a number inside of it. These numbers indicate which left hand fi nger to fret the note with (1 = index, 2 = middle, 3 = ring, 4 = pinky). The numbers underneath the diagram show you where on the neck the scale is located, in this diagram the scale begins at the 12th fret.

fi rst string(thinnest)

left handfi ngering

neck location

fretboard positionmarkers

sixth string(thickest)

10


Tuning

Throughout this program Alex tunes his guitar to standard A440 tuning. If you do not have a tuner you can download a free tuner software program using the membership number included with this program on the Lesson Support site at www.rockhousemethod.com.

Standard Tuning= E= B= G

= D= A= E (thickest string)

(thinnest string)

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Breaking The Traditional BarriersLesson 1

Starting From The Blues

12



Blues Shuffle

13



Playing Over a Blues Progression

Following the Chords “Slow Blues”

Alex Skolnick - Jazz GuitarLesson 4

Embellishing the Major Third

14




“Blues Shuffle”Embellishing the Major Third

15



Triads Following The Chords

The Triad Shapes

Ascending

87

6

88

6

1010

8

A Triad is the Root, Third and Fifth of a Chord. Triads are great for mapping out the chords within a progres-sion. All proficient Jazz musicians are always aware of the triads all over their instruments when playing through a progression.


16



Alternating

Descending

17


Expanding Patterns Over The Blues

Adding the Minor Third

Adding The 6thSweep Picking

Adding the 4th Start On Upbeat

18



Expanding On The Blues

19



Major scale Degrees

1 2

3 54

6 7 8

1 2

3 54

6 7 8

Lesson 9

20



The I-vi-ii-VBlues Turnaround

Lesson 11

Licks For the I-vi-ii-V Turnaround

Variation

21




The I-vi-ii-V Rhythm ChangesBeyond The Blues 4 Bar


Licks For The I-vi-ii-V Rhythm Changes

The I-vi-ii-V progression can be heard in countless Jazz compositions. Amongst Jazz musicians, these changes are often referred to as “Rhythm Changes.”

22





The I-vi-ii-V2 Bar Rhythm Changes

Licks For The I-vi-ii-V

23




The Chord Scale

Bb Major

C Major

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The ii-V-I Progression

BbMaj7 Cm7 Dm7 EbMaj7 F7 Gm7 AØ

CMaj7 Dm7 Em7 FMaj7 G7 Am7 BØI ii iii IV V vi vii

BbMaj7 Cm7 Dm7 EbMaj7 F7 Gm7 AØI ii iii IV V vi vii

BbMaj7I

Cm7ii

F7V

(Am7b5)

From the roman numerals chord chart you can see how the ii-V-i chords are derived for this standard Jazz progression. This system applies to all scales and keys.


25



Applying the Modes to the ii-V-I

The following example Alex plays over the backing track is a great way to practice your scales and modes in a musical context. By practicing this way you really learn to visualize the scales needed to improvise over changes and you learn how to map out the appropriate arpeggios on the neck. Try doing this every time you are working on a new song or progression. Start by learning the rhythm, then map out the changes using the scales. Practice ascending, descending and alternating as well.

26



Alex once again uses the practice method discussed in the last lesson for practicing these arpeggios. Mapping out the changes is an imperative skill as a Jazz guitarist.

Patterns For The ii-V-I progressionAdding The 7th

27



Patterns For the ii-V-I ProgressionAdding the Diminished Arpeggio

Take notice of the similarities between the “F” Dominant Seventh Arpeggio and the “F#” Diminished Seventh arpeggios. The Arpeg-gios are essentially the same except for the first note.

Being Diminished scales & Arpeggios are symmetrical, they can begin and end on any tone within their respective patterns. So here is the same diminished arpeggio, but I will start it on the other tones within the arpeggio.

Now put it all together with the rhythm track.

28



Patterns For the ii-V-I ProgressionUp the Triad Down the Mode

Up the triad, down the mode.

Up the mode, down the triad

Down the triad, up the mode.

Down the mode, up the triad.

29



Here it is all together.

30


Patterns For The ii-V-I progressionUp The Arpeggio Down The Mode

Up the Arpeggio, down the mode.

Up the Arpeggio, down the mode - Variation

Down the mode Arpeggio, up the mode.

Down the mode, up the Arpeggio - Variation

31



For the complete example, notice that Alex throws in another variation for the middle part of this example.

Pay special attention to Alex’s right hand throughout this example. Whenever there are notes on adjacent strings, Alex uses a “sweep picking” technique to give the notes a real fluid sound.

32


Expanding the ii-V-I Chord Voicings

Lesson 23

Try these ii-V-I voicings with the backing track.

33



The ii-V-I Progression

Lesson 24

Adding the 9th

Try playing the ii-V-I with these new ninth voicings.

34



Expanding the ii-V-I Chord Voicings

Lesson 25

Adding the 9th To the Arpeggio

35



Adding 11th & 13th Chords into the ii-V-i

Lesson 26


The Minor ii-V-i Progression

36




Applying the Modes to the Minor ii-V-i

Lesson 28

Now that you have learned the scales, modes and chords in this program, go to the Lesson Support site and check out the Gui-tar professor!

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Patterns For the Minor ii-V-i

Lesson 29

Triads


38




Patterns For the Minor ii-V-i

Lesson 30

Adding the 7th

39



Combo Patterns For the Minor ii-V-i

Lesson 31

Up the triad, down the mode

Up the Mode, down the triad

Down the triad, up the mode

Down the mode, up the triad

When Alex plays these different variations with the rhythm track he plays each example one time each in order.

40



Combo Patterns For the Minor ii-V-i

Lesson 32

ArpeggiosAdding the seventh to the triad.

up the arpeggio, down the mode.

Down the arpeggio, up the mode.


41



Chromaticisms

Lesson 33

This melody employs a chromatic passing tone one step below the Root, minor third and fifth degrees of the “C” minor seventh triad.

Chromatic Riff 2

This melody uses a chromatic passing tone one step below the minor seventh and flatted fifth degrees of the “C” minor seventh triad.

This melody has a chromatic passing tone one step below the fifth of the “Bb” Major seventh triad.

Chromatic Riff 3

Chromatic Riff 1

42



Applying ChromaticsOne Note Below

Lesson 34

Ascending the ii-V-I triads

Descending the ii-V-I triads

Applying ChromaticsTwo Notes Below

Lesson 35

Ascending the ii-V-I triads

Descending the ii-V-I triads

43




A Section ChordsCm7

8

888

F7

878

BbMaj7

6

77

EbMaj7

6878

AØ

5655

D7#9

5456

Gm7

3

333

Minor ii-V-i

Key of “G” minor

Major ii-V-IKey of “Bb” Major

B Section ChordsAØ

5655

D7#9

5456

Gm7

3

333

Cm7

8

888

F7

878

BbMaj7

6

77

EbMaj7

6878

Minor ii-V-i


Major ii-V-IKey of “Bb” Major

A Section ChordsAØ

12131213

D7

10

1011

Gm7

10

1011

C7

8

87

Fm7

8

87

Bb7

6

67

EbMaj7

6878

AØ

5655

D7

545

Gm7

3

333

Gm

3

533

Minor ii-V-i


ii-V ii-V or

Minor ii-V-i


Complete Jazz Composition“Autumn Leaves”

Lesson 36

A

count: &1

Cm7

8

888

2 3&

8

888

& 4 &

The rhythm we will use to play this “standard” is the same basic rhythm we have been using throughout the program. However, you should listen to many different recordings of this song from various musicians and listen to the rhythms gradually trying to incorporate the different feels you hear to your own performance.

44



A

count: &1

Cm7

8

888

2 3&

8

888

& 4 &

F7

878

878

BbMaj7

6

77

6

77

EbMaj7

6878

6878

AØ

5655

5655

D7#9

5456

5456

Gm7

3

333

3

333

3

333

3

333

B

AØ

5655

5655

D7#9

5456

5456

Gm7

3

333

3

333

3

333

3

333

Cm7

8

888

8

888

F7

878

878

BbMaj7

6

77

6

77

EbMaj7

6878

6878

A

AØ

12131213

12131213

D7

10

1011

10

1011

Gm7

10

1011

C7

8

87

Fm7

8

87

Bb7

6

67

EbMaj7

6878

6878

AØ

5655

5655

D7

545

545

Gm7

3

333

You can use either the Gm7 or the Gm

3

333

Gm

3

533

3

533

45


“Autumn Leaves”Composing a Lead

Lesson 37

46



47


Creating a Jazz Composition“Still Loving You”

Lesson 38

48



49


Popular Jazz Rhythm Styles


Bossa Nova

Up Tempo Swing

Lesson 39

Lesson 40

Ex. 1

Ex. 2

50




Ballad

Waltz

Lesson 41

Lesson 42

51


Popular Jazz Rhythm Styles6/8

Lesson 43

Ex. 1

Ex. 2

Alex Skolnicks Jazz Licks

Lesson 44

52


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Learn Rock AcousticBeginner

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Workout Routinesfor Guitarists

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Alexi LaihoMelodic Speed, Shred & Heavy Riffs #1

Alexi LaihoMelodic Speed, Shred & Heavy Riffs #2

John McCarthyBasics of Metal Guitar Leads, Runs & Rhythms #1

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alex skonick - jazz guitar

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