Download - Adam Rafferty PDF

How To Develop Virtuoso Single Line Technique

For Jazz Guitarbased on “The Virtuoso Pianist” Exercises of C.F. Hanon

by Adam Rafferty

by Adam Rafferty

c 2000 Adam RaffertyAll Rights Reserved.

http://www.adamrafferty.comAny attempt to reproduce this document in

part or in full without permission is a violation of law and will be prosecuted.

How To Develop Virtuoso Single Line Technique

For Jazz Guitarbased on “The Virtuoso Pianist” Exercises of C.F. Hanon

Table of Contents

Intro: Congratulations! 5

Getting the Most Out of this Book 7

Chapter 1: 7 Positions of the Scales 9

Chapter 2: Hanon Exercise 1 13

Chapter 3: Tremolo Picking and Speed 23

Chapter 4: Hanon Exercise 2 25

Chapter 5: The Moody Scales 33

Chapter 6: Diatonic Triads Arpeggios in 7 Positions 47

Chapter 7: Diatonic 7th Chord Arpeggios in 7 Positions 61

Where To Go Next 77

Congratulations On Your Decision ToSupercharge Your Guitar Playing!

You Can Do It!

It brings me a great amount of satisfaction to help guitar players discover new ways of thinking andimproving their skills.

Is your practicing haphazard? Mine used to be. I'd take the guitar out and have no idea what I wouldbe practicing in the moments to follow. If I was lucky, my chops would be soaring. Since I had nodaily routine though, each day was a moving target. If I played well one day, the following day Iwould not be able to figure out how I got to a high level on the previous day.

I want to teach you how to have a highly organized, productivepractice routine.

I can remember thinking to myself in college that there must be a clear-cut method for improvingtechnique on an instrument, no matter what the instrument. After all, there are so many pianists,violinists, saxophonists, etc who are virtuosos - they can't all be geniuses. There must have been anapproach that they took, or that they were taught in order to get to where they are.

Rather than inventing a new approach every day, I felt the need for a system so that I could put my fullenergy into actually practicing instead of figuring out what to practice.

Guitar is different from "legit " classical instruments in the following way: So many of us are attractedby blues and rock and such an emphasis is put on "emotion" or "feel" in guitar playing. Not only that,but teachers in music schools have to keep people coming back year after year, which means it has tobe "quick and easy" to play an instrument. The guitar has little tradition as a serious (classical & jazz)instrument that requires "discipline". Also many accomplished blues and rock players shudder at whenthey have to face a weakness in their own playing and react that they just "play by feel".

The definition of "discipline" according to Webster 's is as follows: 1. A field of study 2. Training thatmolds, corrects, or perfects 3. Control gained by obedience or training.

I once heard another definition of discipline as the putting off of immediate pleasure for the pursuit ofa greater good or goal.

So, it is discipline that you need in your practice routine. Not to take the fun out by any means, but sothat you have structure and are not wasting energy searching for something that many others havealready figured out. The irony is that if you have a little discipline, you will have much more fun inreal life playing situations.

I asked my main teacher, pianist Mike Longo, how he got his chops together. (Mike is a world classjazz pianist who played with Dizzy Gillespie's group from 1964 -1971) He told me that when hestudied with the great pianist Oscar Peterson, Oscar had him practicing Hanon and Czerny exercisesuntil "each note sparkled".

5

C.F. Hanon wrote a famous book of exercises called “The Virtuoso Pianist” and thebook you are holding in your hands shows you how to put his concept of gaining

virtuoso technique on guitar.

Most of the classical guitar methods are geared towards solo guitar playing - mainly melody with bassand chord accompaniment, and do not focus on single line fluidity. Classical guitar is a highlydeveloped art in itself, but it is completely different from jazz guitar. I knew I wanted something thatwould help me develop my jazz soloing in terms of facility with single line playing so that I could playfast, clean, interesting solos on tunes like "Giant Steps" or "Rhythm Changes". I picked up a book ofHanon Exercises at the music store and tried to get that concept of practicing onto the guitar.

I worked on Excersise #1 from the Hanon book in the "7 Positions" on the neck of the guitar over thecourse of about a week. I put in about 30 minutes on this every day at the beginning of my practiceroutine, and then practiced my other material - tunes, new harmonic material, etc.

It took me a few weeks to actually be able to play all the exercises in this book by ear.

When I went to my next gig, one of my friends in the audience and my bass player both asked me onthe first set break, "What the hell have you been practicing? Man your chops went way up!"

Since then I have always included this type of practicing in my routine. Much of my practice routineis based on improvising and writing tunes, but I always warm up with Hanon Exercise 1 in 7Positions, Hanon Exercise 2 in 7 Positions, and all the Moody Scales every day for technique. Whatare you waiting for?!

The exercises in this book are designed to reveal and correct technical weaknesses that you may have.Your tone will improve, your touch will feel balanced and even, and your knowledge of thefingerboard and all-around musicianship will go up.

You should be able to learn the exercises in all 7 Positions rather quickly because many ideas andfingerings repeat themselves. Your fingers will start to “know” where to go as you learn the exercisesin the 7 Positions. What I really like is that they don’t feel boring and repetetive even though they arevery technical in nature.

After you have mastered the exercises, you should still continue to do them as your practice routinewarmup. As I said, I do Hanon 1 & 2 in 7 Positions and all the Moody Scales plus more every day asmy "technical portion" when I first take the guitar out of the case. Once you know the exercises byheart this entire book can be played in an hour.

You might even find that it's easier to do the exercises by ear rather than sightreading. That's fine. Idid not write these exercises out in order to learn them - I just did it by ear and stuck to my fingeringsystem.

If you commit to a practing routine that is focused, your playing will improve byleaps and bounds.

6

Important Steps To Getting the Most Out of this Book

1. Go easy on yourself. You are not beating the instrument down. Find the balance between playingtoo hard and playing too soft. Know that by doing this routine regularly that you are learning how togo with the instrument. Dizzy Gillespie once said "Everything I play is easy. If it feels stiff I discardit". Let that be your guide.

2. If you go slowly and accurately, then you will surely develop speed. If you try and do theseexercises too fast you will hurt yourself. I never ever practice with a metronome, but I play these assixteenth notes around quarter = 80 mm. (They are written in this book as eighth notes, so listen to80 on a metronome, and play 4 eighth notes for each tick) Like an athlete, don't even think aboutplaying fast until you are warmed up. Stay loose, breath deep and relax.

I never practice with a metronome, and I don’t recommend it. I give you this tempo information soyou don’t play too fast. Stay loose and relaxed, speed will come as a by-product.

Your body is smarter than you think - if you are feeling pain or tension, listen to it! If you try toachieve too much (mind over body) your body will say "No way Buddy!" and you will pay. That ishow people end up with Carpal Tunnel Syndrome - ignoring pain or tension. You could put yourplaying out of commission for months due to injuring yourself! I assume no responsibility if thishappens to you!

Look at this as the start of a new routine for the rest of your life. 30-60 minutes a day in a relaxed,non-achieving manner will add up quickly over the upcoming weeks, months and years. It's a smallprice to pay for gaining great technique on your guitar.

3. Give your full concentration. This is not just physical - it's mental, musical and spiritual. Youcan't watch TV or talk to someone while you do this stuff.

4. Don't be overwhelmed. It's not about doing every exercise right away. It's about putting in thetime everyday with the right mental attitude. Even if you have only learned the first exercise in thebook, play it four times consecutively, and with a focused mind. Then you will benefit. You will notget anywhere if you start and stop, and meander through the book, not committing yourself tomastering even one exercise.

There is no end to the patterns & scales that you or I could think up. The most important thing is toget your touch on your axe happening every day. You will benefit as much from the first exercise asfrom the last.

5. Imagine the fatness of tone in a walking bassline on a blues, and play exercises with that typeof "big" tone.

Also play the exercises a little staccatto, so there is a tiny space between each note.

Have you ever picked a string and pushed down with a left hand finger at the exact same time? It'sdifferent from holding the note down first and then plucking.

Do the exercises the first way - so that both hands "play" the note at the same time. Then there should

7

be a little release of the left hand pressure. This way you are actually practicing going into and out ofthe note with each note that you play. You don't have to think about it in such detail as you are doingit, though, just put a little silence after each note - that will make you do what I'm talking about.

6. Restrict yourself to alternate picking, starting each exercise with a down stroke. You would beamazed at how tricky it is at first! I do everything here in this book every day with strict alternatepicking. It's great training. Alternate picking is a tool you need as a guitar player and with theseexercises you'll have to deal with all sorts of string crossing combinations. Pick however you wantwhen you are playing music, but for the exercises do this.

Bebop guitar playing kicks alternate picking in the butt, and requires that you play down strokes onwhat seem to be upbeats - so that the accents sound right. ( Refer to Dizzy Gillespie's Song "HeBeeped When He Should Have Bopped") this subject could have a book on it's own.

Always remember that when you are playing in a real life situation, your practicing must “go out thewindow”.

Ultimately, the restriction of strict altenate picking will force you to iron out a weakness, so pleasestick to it for the exercise. (Refer back to the definition of discipline!)

7. Never use the same left hand finger for two consecutive notes. Don't "smush" with the samefinger when you have to play two notes in the same fret, on adjacent strings. Why? Because the firstnote will ring while you are playing the second one. Think of a pianist, always using a new finger forthe next note. Use different fingers, in the same fret, just as you would do as if the notes were indifferent frets!! This will help you immensely and will make all your fingerings more consistent!

8. Why all the fingerings in the book? To focus your energy. While it may seem that there are lotsof complicated fingerings here, they are actually based on a few very, very simple concepts:

a. Never use the same finger for 2 notes in a row

b. For the Hanon exercises you may use the notes in the locations on the fingerboard specified on the 7 Positions page (3 notes per string) Review the positions before learning the exercises so you don’t learn them wrong.

c. Stick to alternate picking (down up down up)

There are 2 basic sections to the book - Hanon Exercises and Moody scales. Each has a very simplefingering concept that I want you to stick to. Again, we don't want to be aiming at something differentevery day so it is good to have a system that you work within. Naturally, you will learn from alimitation and eventually break out of it and learn something else. But for now don't resist thelimitation - embrace it!

9. Practice these with your amp! By practicing without an amp, you'll probably play too hard. Themain purpose of the exercises is to develop your "touch" and your "tone". Overplaying (digging in toohard) is the main cause of sluggishness in many people’s playing.

It is my sincere hope that the material in this book helps you play the music that you want to play.

Adam Rafferty

8

9

Chapter 1: The 7 Positions of the ScalesEvery key can be broken into 7 Positions of scales on the guitar neck if it is played 3 notes per string.

By examining these 7 Positions, you will uncover every possible location that a key can live on theguitar fingerboard.

Most guitar players only learn the first position, which would mean that they play the scale with thelowest note as the root. For example, playing a G major scale starting on a low G at the 3rd fret on the6th string. Sort of a “barre chord” approach to playing scales. That’s fine, but it is just the beginning.

Why 3 notes a string? I see it as physics. It’s there to be learned, and it fits comfortably under thehand. Plus, you’ll uncover all of the possibilities of playing a key anywhere on the neck and see howone position of a key relates to the other. In real music making, I never stick to or even think of 7Positions, but for practice sake, I impose them on myself, and now onto you, the student.

Question:Aren’t the 7 Positions Just the modes?

Answer:Good Question.

No. The Positions are not modes, even though they seem to be, and could be. Here’s why.

Please burn this next piece of information into your mind:

The best definition for a key or tonality is a central tone around which the others revolve.

Many people simply think of a key as “the notes of the scale”, but there’s more to it.

If we are playing in the key of C, all the notes will behave a certain way, in relation to C as the center.You’ll need to forget about the guitar for a minute to understand this.

Play or sing a C major scale up to and stopping on B. Notice how the B is pulling up to the next C.Once the center is established, all the notes serve the center and behave / revolve around it in a certainway. Think of the central tone as you would think of the sun, and the other notes are the planetsrevolving around it, and being ruled by its gravitational force.

Most students think of scales as “staircases” of notes that can only start on the root. That does describewhat a scale looks like, but does not really address the phenomena of a “key” that a piece of music isin. Just remember, a key or tonality is a central tone around which the others revolve.

In D Dorian (the same notes as C major) the central tone is D, not C even though the notes are thesame. The sound and behavior of the notes is completely different. “So What” by Miles Davis and“Impressions” buy John Coltrane are not in the key of C! They are in D minor . D Dorian has thesame notes as C major but the behavior of the notes is completely different.

10

Now imagine that our central tone is C and that the other tones are revolving around C. The musicdoes not care what fret the guitarist is at. A higher law of musical physics has taken over. The tonesare experiencing a behavior. It is for this reason that I want you to be fluent in any key, anywhere onthe neck.

The 7 Positions will teach you how. Once you have tackled each position, there’s nothing left. You’veuncovered every possibility of where to play a scale and key on the guitar fingerboard.

So, it is with that in mind that I hear Positions 1 - 7 as belonging to one key or tonal center. Not onlythat, but what would we start calling the modes of the minor scales?

Question:I still don’t get why Position 2 would be different from Dorian, Position 3 from Aeolian, etc.

Answer:To the eye, it is the same. In fact you are learning the fingerings to the modes as you do this.However, to the ear, each of the 7 modes is completely different. So, if you do Position 1 and establishthe sound of F major in your ears, then Position 2,3,4,5,6 and 7 will simply sound like a continuationof the sound of F major.

If you can only play a key starting with the bottom note of the scale being the root, you are at atremendous disadvantage. By studying the 7 Positions and doing all your exercises in each position,you will be able to tap into the “behavior” of a key more spontaneously, and never be lost anywhere onthe neck.

Not only that, but switching keys when you are soloing will become easier too.

Question:Since C major (ionian) and D dorian are the same notes, couldn’t I solo on a C major tune using Ddorian and couldn’t I solo in a D dorian situation using a C major scale?

Answer:Yes. That technique is called polymodality - the use of many modes in a musical situation. Ipersonally use this technique, but all too often people use it as a crutch.

For example, some players get very good at soloing in the Dorian mode. Instead of learning how tosolo in Major they might just think “To solo in C major, I just play in A minor” which would mean thatto solo in C major they would have play A minor, not C major.

That’s an excuse for not wanting to do the homework of learning how to solo and play in C major.Yes, the notes will be the same and not sound wrong neccesarily and you can play valid music doingthat, but sooner or later the crutch will give out.

My gospel is to know how to play in the key that the music is actually in. Once you can do that, thenyou can experiment with polymodality.

About the fingerings on the Positions:They are a starting point. Please understand that when I refer to a fingering I mean the actual lefthand finger that is shown above the note. By location I mean where the note is played, on which

11

string and at what fret, regardless of the finger.

I discovered that the exercises “revealed themselves” when I stuck to playing the notes in the locationsthat the Positions yeilded. 9 times out of 10, the best fingering would be the basic ones shown on the7 Position pages.

Please don’t let this confuse you. Follow this example.

When you are attempt Hanon Exercise 1 Position 1 for the first time -

1. Review Position 1 of F major on the 7 Positions page.

2. Look at how it lays on the fingerboard, where the 3 notes are laying on each string.

3. The Hanon exercise will scramble those notes up, and you will play them in the same locations thatyou just played, just not in the same order, and will use the fingers specified above the notes.

Many of the fingerings will correspond to the 7 Positions section. Some won’t - but that’s the bestplace to start for comfortable fingerings.

Left Hand fingers are:

1 index2 middle3 ring4 pinky

I have left out string numbers in the exercises intentionally. They would simply confuse rather thanclarify. Keep referring back to the 7 Positions section as much as you need to.

Some fingerings will seem very strange at first. As you do the exercises it will become clear why Ichose the fingerings. If, after checking them out, you find fingerings that feel better to you, by allmeans use yours.

Nothing would make me happier than you developing your own concept! Take the ball and runwith it!

I hope you now understand why I have put all of the exercises in the book in 7 Positions for Major,Harmonic Minor, and Melodic Minor.

1

1

1

1

1

1

1

6th String 5th String 4th String 3rd String 2nd String 1st String

Pos 1

Pos 2

Pos 3

Pos 4

Pos 5

Pos 6

Pos 7

1 1 1 1 1

1 1 1 11

1 1 1 1 1

1

1 1 1 1 11

1 1 1 1 1

1

1 1 1 1

1 1

1 1 11

1 1

Stick to these fingerings religiously throughout all of Exercise 1

1

1

7 Positions of the Major Scale

2 4 2 4 2 4 2 4 2 43 4

3 4 2 4 2 4 2 4 4 4

2 4 3 4 3 4 2 4 2 42 4

2 42 4 2 4 3 4 3 4

2 4

2 4 2 4 2 42 4

2 43 4

3 4 3 4 2 4 2 42 4 2 4

2 4 2 4 3 4 3 42 4

2 4

2 2

12

For Hanon Exercise 1 stick to these fingerings (almost) religiously. These fingerings will workperfectly for many diatonic patterns as well. As with any “rules” there are always exceptions.Use these fingerings as a starting point when figuring out new patterns. Stick to the locationsreligiously.

By breaking all your scales up into 7 positions of 3 notes per string, you will master all keysin all parts of the neck.

3

13

1

1

1

1

1

1

1


Pos 1

Pos 2

Pos 3

Pos 4

Pos 5

Pos 6

Pos 7

1 1 1 1 1

1 1 1 11

1 1 1 1 1 1

1 1 1 1 1

1

1 1 1 1 1

1

1 1 1 1 1

1

1 1 1 1

1 1

1

1

7 Positions of the Harmonic Minor Scale

3 4 3 4 2 4 2 4 3 43 4

2 4 2 4 3 4 3 4 2 4 2 4

2 4 3 4 2 4 2 4 3 43 4

3 4 2 4 2 4 3 4 2 42 4

2 4 3 4 3 42 4

2 43 4

3 4 2 4 2 4 3 43 4 2 4

2 4 2 4 3 4 2 42 4

3 4

Here is the same concept for Harmonic minor.

2

14

1

1

1

1

1

1

1


Pos 1

Pos 2

Pos 3

Pos 4

Pos 5

Pos 6

Pos 7

1 1 1 1 1

1 1 1 11

1 11 1 1

1

1 1 1 1 11

1 1 1 1 1

1

1 1 1 1 1

1

1 1 11

1 1

1

1

7 Positions of the Melodic Minor Scale

3 4 2 4 2 4 2 4 3 43 4

2 4 2 4 3 4 2 4 2 43 4

2 4 3 4 2 4 2 4 3 42 4

2 4 2 4 2 4 3 4 3 42 4

2 4 3 4 3 4 2 42 4

3 4

3 4 2 4 2 4 3 42 4 2 4

2 4 2 4 3 42 4

2 43 4

Here is the same concept for Melodic minor.

2

2

2

15

Chapter 2: Hanon Exercise 1

For the first Hanon Exercise, spend a good amount of time on Position 1 of the exercise (on thefollowing page). Once you feel comfortable with that, start learning the other positions. You’ll seethat as you tackle new Positions of Exercise 1, the fingerings start to repeat themselves and you’ll beable to learn all the positions pretty quickly.

Learn them in the given key, F major. I chose F major for the book since the lowest fretted note on theguitar is F.

Once you are comfortable doing the 7 Positions in in F major, start do them in other major keys.Remember to start on the lowest note possible. For example, if you were doing the exercises in Ab,you could start on the low F on the first fret. That would be position 6 of Ab major.

Before attacking the exercise on the next page, review Position 1 of the F major scale:

Make sure that every string you are playing in the exercises to follow gets 3 different notes eventhough the notes get scrambled up in the exercises.

For example, note how the notes A, Bb, and C all fall on the 3rd string. Anytime those notes come upin the exercise, play them in those locations.

Which string do I start the exercises on?The descending Moody Scale exercises start on the 4th string. All others (Hanon, Ascending MoodyScales, and Diatonic Triad and 7th chord arpeggios) start on the 6th string.

Good Luck. Your technique will improve, as if by magic, if you do these exercises every day.

1

Pos 1

1 1 1 1 1 1

2 4 2 4 2 4 2 4 2 43 4

1

5

9

13

16

19

23

Start on the 6th string, 1st finger. Refer to the page "7 Positions of the Major Scale" if neccesary.Stick to the L.H. finerings on that page no matter what. Pay particular attention to the switches at the 2nd and 3rd string.

Notice how the scale fingering in the previous section solves a problem.

Once this excersise ins mastered, go right into the next one without stopping.

Hanon Exercise 1 Position 1

1 4 1 2 4 2 1 4 2 1 2 4 1 4 2 1 4 2 4 1 2 1 4 2 1 4 1 2 4 2 1 4

2 1 2 4 1 4 2 1 4 2 4 1 2 1 4 2 1 4 1 24 2

1 42

12 4 1 4 2 1

4 24 1 3 1 4 2 1 4 1 3 4 3 1 4 2 1 3 4 1 4 3 1 4 3 4 1 3 1 4 3

1 4 1 3 4 4 1 4 3 1 3 4 1 34 3 1 3 1 3 4

13 1 4 2 4 1 3 4 1 4 2 1 2

4 1 3 42 1 4 1

2 4

1 2 1 4 2 4 1 24 1 4 2 1 2 4 1 2 4 2 1 4 1 2 4 1 2 1 4 2 4 1 2

4 1 4 2 1 2 4 1 2 4 2 1 4 1 2 4 1 2 1 4 2 4 1 2 4 1 4 2 1

16

I have included left hand fingerings - if you are familiar with the 7 Positions of the F major scale theywill make sense to you. Start this and all exercises with a downstroke and alternate pick all the waythrough. Remember, I do these slowly but precisely - don’t try and do these fast.


Once this exercise is mastered, go right on to the next one without stopping.

1

5

9

13

16

19

23

Once this excersise is mastered, see if you can play positions 1 and 2 back to back. Be easy on yourself, it will take time.


1 4 1 2 4 2 1 4 3 1 2 4 1 4 2 1 4 2 4 1 2 1 4 2 1 4 1 2 4 2 1 4

2 1 2 4 1 4 2 1 4 2 4 1 2 1 4 2 1 4 1 2 4 2 1 4 2 1 2 4 1 4 2 1

4 2 4 1 2 1 4 2 1 4 1 2 4 2 1 4 2 1 24 1 4 2 1 3 2 4 1 2 1 4 2

1 4 1 2 4 4 1 4 2 1 2 41 2

4 2 1 3 1 24

1 2 1 4 2 4 1 2 4 1 4 2 1 2 4 1 2 4 2 1 4 1 2 4

1 2 1 4 2 4 1 2 4 1 4 2 1 2 4 12 4 2 1 4 1 2 4 1 2

1 4 2 4 1 2

4 1 4 2 1 2 4 12 4 2 1 4 1 2 4 1 3 1 4 3 4 1 2 4 1 4 3 1

17

From practicing these every day, the left hand fingers will all be equally accurate and agile.


Once you have mastered this exercise, see if you can play Positions 1 & 2 back to back withoutmistakes.

1

5

9

13

16

19

23


1 4 1 3 4 3 1 4 2 1 3 4 1 4 3 1 4 3 4 1 3 1 4 3 1 4 1 3 4 3 1 4

3 1 3 4 1 4 3 1 4 3 4 13 1 4 3 1 4 1 2 4 2 1 4 3 1 2 4 1 4 2 1

4 2 4 1 3 1 4 2 1 4 1 2 4 2 1 4 2 1 24 1 4 2 1 4 2 4 1 2 1 4 2

1 4 1 24 4 1 4

2 1 2 4 1 2 4 2 1 4 1 24

13 1 4 2 4 1 2 4 1 4 2 1 2 4 1 3 4 2 1 4 1 2 4

13 1 4 3 4 1 2 4 1 4 3 1 3 4 1 3 4 3 1 4 1 3 4 1 3 1 4 3 4 1 3

4 1 4 3 1 3 4 1 3 4 3 1 4 1 3 4 1 3 1 4 2 4 1 3 4 1 4 2 1

18

Remember to play the notes slightly staccatto, so that there is a tiny space between the notes.


1

5

9

13

16

19

23


1 4 1 2 4 2 1 4 2 1 2 4 1 4 2 1 4 2 4 1 2 1 4 2 1 4 1 2 4 2 1 4

2 1 2 4 1 4 2 1 4 2 4 1 3 1 4 2 1 4 1 3 4 2 1 4 2 1 3 4 1 4 3 1

4 3 4 1 3 1 4 3 1 4 1 3 4 3 1 4 2 1 24 1 4 3 1 3 4 1 3 1 4 3

1 4 1 2 4 4 1 4 3 1 3 4 1 3 4 3 1 3 1 3 4

13 1 3 2 4 1 3 4 1 4 3 1 3 4 1 3 4 3 1 4 1 3 4

1 3 1 4 2 4 1 3 4 1 4 2 1 2 4 1 3 4 2 1 4 1 2 4 1 2 1 4 2 4 1 2

4 1 4 2 1 2 4 1 2 4 2 1 4 1 2 4 1 2 1 4 2 4 1 2 4 1 4 2 1

2

19

To continually progress, you will need to do the excersises that you have mastered every day, and alsoattack new exercises.


Once this exercise is mastered, go back and see if you can play Positions 1-4 without stopping. Takenote of trouble spots, if any, and iron them out.

1

5

9

13

16

19

23


1 4 1 2 4 2 1 4 2 1 2 4 1 4 2 1 4 2 4 1 2 1 4 2 1 4 1 2 4 2 1 4

2 1 2 4 1 4 2 1 4 2 4 1 2 1 4 2 1 4 1 2 4 2 1 4 2 1 2 4 1 4 2 1

4 2 4 1 2 1 4 2 1 4 1 2 4 2 1 4 2 1 24 1 4 2 1 3 2 4 1 3 1 4 2

1 4 1 3 4 4 1 4 2 1 2 4 1 34 2 1 3 1 2 4

12 1 4 2 4 1 2 4 1 4 2 1 2 4 1 2 4 2 1 4 1 2 4

1 2 1 4 2 4 1 2 4 1 4 2 1 2 4 1 2 4 2 1 4 1 2 4 1 2 1 4 2 4 1 2

4 1 4 2 1 2 4 1 2 4 2 1 4 1 2 4 12 1 4 2 4 1 2 4 1 4 2 1

20

By practicing these exercises daily, your tone and touch will become even across the instrument.


1

5

9

13

16

19

23


1 4 1 3 4 3 1 4 3 1 3 4 1 4 3 1 4 3 4 1 3 1 4 3 1 4 1 2 4 2 1 4

3 1 2 4 1 4 2 1 4 2 4 1 2 1 4 2 1 4 1 2 4 2 1 4 2 1 2 4 1 4 2 1

4 2 4 1 3 1 4 2 1 4 1 2 4 2 1 4 2 1 24 1 4 2 1 4 2 4 1 2 1 4 2

1 4 1 2 4 4 1 42 1 2 4 1 2 4 2 1 4 1 2

4

12 1 4 2 4 1 2 4 1 4 2 1 2 4 1 3 4 2 1 4 1 2 4

1 2 1 4 2 4 1 2 4 1 4 2 1 2 4 1 2 4 2 1 4 1 2 4 1 3 1 4 3 4 1 2

4 14 3 1 3 4 1 3 4 3 1 4 1 3 4

1 3 1 4 3 4 1 3 4 1 4 3 1

21

Hanon Exercise 1 Position 6Listen to your tone on the very high notes. Is it thin and brittle, or round and bell like?

1

5

9

13

16

19

23


1 4 1 24 2 1 4 2 1 2 4 1 4 2 1 4 2 4 1 3 1 4 2 1 4 1 3 4 3 1 4

2 1 3 4 1 4 3 1 4 3 4 1 3 1 4 3 1 4 1 3 4 3 1 4 3 1 3 4 1 4 3 1

4 3 4 1 3 1 4 3 1 4 1 2 4 2 1 3 2 1 24 1 4 2 1 3 2 4 1 2 1 4 2

1 4 1 2 4 4 1 42 1 2 4 1 2 4 2 1 3 1 2

4

13 1 3 2 3 1 2 4 1 4 3 1 3 4 1 3 4 3 1 4 1 3 4

1 3 1 4 3 4 1 3 4 1 4 3 1 3 4 1 3 4 3 1 4 1 3 4 1 3 1 4 2 4 1 3

4 1 4 2 1 2 4 1 3 4 2 1 4 1 2 4 12

1 4 2 4 1 2 4 1 4 2 1

22

Congratulations on getting this far. Before going on to Hanon Exercise 2, you should be able to doall 7 Positions of Exercise 1 consecutively without stopping. You will only get the benefits of thisexercise if you can do these without stopping. A certain amount of mastery that comes from mindfulrepetition.


23

Chapter 3: Tremolo Picking and Speed

Tremolo PickingA very important part of developing speed is tremolo picking. A "tremolo" is actually a very fastrepetition of the same note, giving the illusion of one long sustained note. Mandolin players use thistechnique to play lyrical melodies.

Your goal should be to have a very fast, relaxed alternate picking tremolo that causes you nodiscomfort and does not tire you out. I can pick up the guitar and play a relaxed tremolo without tiringout at anytime. Of course, that’s after years of training, but I’d like that to be one of your goals if youcan’t do it.

It will cure a whole host of potential problems - digging in too hard, getting "stuck" on upstrokes, andyou will see first hand that when you play really fast you need to lighten up your touch. You’ll findout what your potential for speed on the guitar is as you develop this aspect of technique.

Raw Speed and Controlled SpeedBasically, the tremolo will be you "raw" speed. The exercises in the book will then train your hands tocoordinate and work together so that you can actually hook up jazz lines with the speed you have fromtremolo picking. Many guitar players have figured out how to do a pretty good tremolo but are notwilling to take the time to learn how to hook up their left hand fingerings to their tremolo. Despitepopular belief, playing fast is way more than just "right hand technique".

You’ll get more speed from working on your "controlled" speed, because working in a controlled waymakes things easier to play. So if you want to get something up to a really fast tempo you need toalways do it in a controlled way for a little, then try it at top speed for a while, then at a controlledtempo again, etc.

Locking It InPlaying anything in rhythm is the best way to get good at any technique. When I say rhythm I meanmore than a "1 2 3 4" metronome style counting approach (which I never advocate) - I mean a realgroove, where you have a real sense of "bottom" in the time. This is pretty hard for me to explain in abook to you, I can only describe it. Locking into this when you play helps your technique actually relaxand helps your chops because your notes are played with the utmost of precision - a precision that yourconscious, counting mind can’t figure out. Always play with a groove and with “your” tone even whenyou are doing scales and exercises.

Imagine playing an F-7 (or any other) chord to a funk groove where you are strumming down - updown - up, etc. on the 16th notes, locking in with the high hat. If you can’t do that’s ok, but you’dbetter check it out - it’s a very important part of playing guitar. Play with a good drummer if youcan!! If there are no musicians around, jam with a good funk CD. (Even though I’m a jazz playermainly I discovered a lot about technique from playing with a funk band) Pick up you guitar now andget into that kind of groove for the next few minutes. Play with a loose wrist.

Good! Now that you have done that, play the same type of groove on a single string, maybe a little 2or 3 note pattern or riff. The most important thing is not to tense up because you are only playing onestring - keep the looseness of the strumming that you have in your wrist from the strummin you’vebeen doing and let that be your guide.

24

Once you can do that, just imagine that instead of the 2 or 3 note pattern you are actually improvising amelody. My first succesful jazz / funk solos were built like this.

Lock in to the groove with a few notes & stay loose!Play it a lot - variations will occur naturallyIt will grow into more interesting stuff

Many Guitar books describe picking technique in a way that seems wrong to me:

WRONG WAY (for me):

1. Lock your wrist2. Move from the elbow3. Move your forearm parallel to the top of the guitar

RIGHT WAY (according to me, but judge for yourself)THIS IS NOT DOGMA IT’S JUST A DESCRIPTION

TRY THIS:Hold your right hand at about your head level.Fingers point to the ceiling, elbow down, forearm is straight up and down.Let your wrist go limp, hand flops forward.Curl in your r.h. fingers a little bitTouch the pad of you thumb to the side of your index finger where the last joint is bent. This is you holding the pick.Rotate your forearm so that it stays straight, but so the hand shakes from side to side.

Hopefully now you can feel what my picking motion feels like. It’s a motion that I could do a lotwithout tiring. Many other great players use a different technique, so check out what you think willwork best for you.

Picks and Strings:The heavier the strings and the heavier the pick, your tone will sound fuller and your sound will getdarker. You’ll need to find what sounds and feels right for you in the spectrum of light to dark. As ajazz player I love a dark, strong sound with just the right amount of sparkle, but the problem is that itfeels harder to play. Obviously lighter strings and thinner picks make it easier to play fast. Also inloud situations, a little more brightness than the usual is needed so that the sound cuts through.

I used to play a Gibson ES 175 with D’Addario 12 flatwounds and medium fender picks. I was able toburn all over the axe, but since then I’ve worked on fattening my tone.

Now I’m playing a Dale Unger 7 String Archtop. Currently I use D’Addario 13 FlatwoundsSometimes with a 14 on the high E and an 18 on the B string with my own medium size teardrop ExtraHeavy pick. This setup makes it a little harder to play fast, but it’s much better sounding!! I get moredepth in the tone from the string heaviness and from a more resonant guitar.

The funny thing is that no matter how you change your setup, you’ll always sound like YOU!

25

Chapter 4: Hanon Exercise 2

This Hanon Exercise presents a really interesting guitar problem. Each 8 note figure has the leap of a4th between the 2nd and 3rd note, which is a difficult melodic leap on guitar. This exercise confrontsthis difficulty by using different fingers in the same fret as opposed to "smushing" one finger across 2strings simultaneously .

This exercise does not lend itself to sticking to the exact fingerings laid out on the 7 positions pagealthough the locations of the notes are exact. Hopefully when you need to play a tricky line in a soloor a bebop head, you'll have some new ideas about fingerings after playing this exercise every day.

1 1 4 3 2 1 2 1 4

6 string------------ 5 string-------- 6 string------------

One method of practice that might help you when you are learning a difficult exercise such as this nextone is to play each measure 4 times before going on to the next one, in order to burn the newfingerings into your mind.

You’ll see that by doing this what seems almost impossible can become completely natural!

1

4

7

10

13

16

19

22

25


1 4 3 2 1 2 1 4 3 1 2 4 2 4 2 1 4 2 3 1 4 1 4 2

1 4 3 2 1 2 1 4 3 2 1 4 2 4 2 1 4 2 3 1 4 1 4 2

1 4 3 2 1 2 1 4 2 1 2 4 2 4 2 1 4 2 4 2 4 2 4 2

1 3 4 3 1 3 1 3 1 2 1 4 3 4 3 1 1 4 1 4 3

1 4 3 2 1 3 1 4 3 4 1 3 4 3 4 1 4 3 2 1 3 1 3 4

1 2 1 3 1 3 1 34 3 1 2 4 2 4 1 4 2 4 1 2 1 2 4

2 1 2 4 1 4 1 2 3 4 1 2 4 2 4 1 3 2 4 1 2 1 2 4

1 2 3 4 1 4 1 2 3 4 1 2 4 2 4 1 3 2 4 1 2 1 2 4

2 1 2 4 1 4 1 2 3 4 1 2 4

2 3 4

26

If these seem tricky, try playing each measure slowly 4 times before preceeding to the next one. Onceyou get the feel for this first one, the others will come more easily.


1

4

7

10

13

16

19

22

25


1 3 4 2 1 3 1 4 3 2 1 4 2 4 2 1 4 2 3 1 4 1 4 2

1 4 3 2 1 3 1 4 3 2 1 4 2 4 2 1 4 2 3 1 4 1 4 2

1 4 3 2 1 2 1 4 2 1 2 4 2 4 2 1 4 2 3 2 4 2 4 2

1 3 4 2 1 2 1 3 1 2 1 4 2 4 2 1 3 23 1 4 1 4 2

1 4 3 2 1 2 1 43

4 1 2 4 2 4 13

2 3 1 2 1 2 4

1 2 1 3 1 3 1 24 3 1 2 4 2 4 1 3 2 4 1 2 1 2 4

2 1 2 4 1 4 1 2 34 1 2 4 2 4 1 3

2 4 1 2 1 2 4

1 2 3 4 1 4 1 2 3 4 1 2 4 2 4 1 3 2 3 1 2 1 2 4

1 2 3 4 1 4 1 2 4 3 1 3 4

27

Not only are you improving your technique - but also you ear! You will find that by doing theexercises daily, in different keys, that you can identify notes and intervals more easily.


Once you have a firm handle on these 2 positions, see if you can play Positions 1 & 2 back to back,without stopping.

1

4

7

10

13

16

19

22

25


1 4 3 2 1 3 1 4 3 2 1 4 3 4 3 1 4 2 3 1 4 1 4 3

1 4 3 2 1 3 1 4 3 2 1 4 3 4 3 1 4 2 3 1 4 1 4 3

1 3 4 2 1 3 1 4 3 1 2 4 2 4 2 1 4 2 3 1 4 1 4 2

1 3 4 2 1 3 1 4 2 3 1 4 2 4 2 1 3 23 1 4 1 4 2

1 4 3 2 1 2 1 43

4 1 2 4 2 4 13

2 3 1 2 1 2 4

1 2 3 4 1 4 1 24 3 1 2 4 2 4 1 3 2 3 1 2 1 2 4

2 1 3 4 1 4 1 2 43 1 3 4 3 4 1 4 3 4 1 3 1 3 4

1 2 3 4 1 4 12 3

4 1 3 4 3 4 1 4 3 4 1 3 1 3 4

1 2 3 4 1 4 1 23 4 1 2 4

28


Make sure your touch is not too heavy - keep it a little light and you’ll see that playing becomes easier.

1

4

7

10

13

16

19

22

25


1 4 3 2 1 2 1 4 3 2 1 4 2 4 2 1 4 2 3 1 4 1 4 2

1 4 3 2 1 2 1 4 3 2 1 4 3 4 2 1 4 2 3 1 4 1 4 2

1 4 3 2 1 3 1 4 2 1 2 4 3 4 3 1 4 2 3 1 4 1 4 3

1 3 4 3 1 3 1 4 3 2 1 4 3 4 3 1 2 34

1 4 1 4 3

14

3 2 1 3 1 3 34

1 3 4 3 4 14

3 2 1 3 1 3 4

12 3 4 1 4 1 2

4 31 2 4 2 4 1 4 3 4 1 3 1 3 4

2 1 2 4 1 4 1 2 34

1 24 2 4 1 3 2 4 1 2 1 2 4

1 2 3 4 1 4 12 3

4 1 2 4 2 4 1 3 2 4 1 2 1 2 4

1 2 3 4 1 4 1 2 3 4 1 2 4

29


Once Position 4 is mastered, go back and play Positions 1-4 without stopping.

1

4

7

10

13

16

19

22

25


1 4 3 2 1 2 1 4 3 2 1 4 2 4 2 1 4 2 3 1 4 1 4 2

1 4 3 2 1 2 1 4 3 1 2 4 2 4 2 1 4 2 3 1 4 1 4 2

1 4 3 2 1 2 1 4 2 1 2 4 2 4 2 1 4 2 3 2 4 2 4 2

1 34 2 1 2 1 3 1 2

1 4 2 4 2 1 3 23 1 4 1 4 2

14

3 2 1 3 1 4 43

1 2 4 2 4 13

2 3 1 2 1 2 4

12 1 3 1 4 1 2 4

3 1 2 4 2 4 1 3 2 4 1 2 1 2 4

2 1 2 4 1 4 1 2 34

1 24 2 4 1 3 2 4 1

2 1 2 4

2 1 2 4 1 4 12 3

4 1 2 4 2 4 1 3 2 4 1 2 1 2 4

1 2 3 4 1 4 1 2 3 4 1 2 4

30


1

4

7

10

13

16

19

22

25


1 4 3 2 1 1 4 3 2 1 4 3 4 3 1 4 2 3 1 4 1 4 3

1 3 4 2 1 3 1 4 3 2 1 4 2 4 2 1 4 2 3 1 4 1 4 2

1 4 3 2 1 2 1 4 1 2 4 2 4 2 1 4 2 3 1 4 1 4 2

1 3 4 2 1 3 1 4 2 12 4 2 4 2 1 3 2

3 1 4 1 4 2

14

3 2 1 2 1 4 43

1 2 4 2 4 1 32 3 1 2 1 2 4

21 2 4 1 4 1 2

4 31 2 4 2 4 1 3 2

4 1 2 1 2 4

2 1 2 4 1 4 1 2 34 1 2 4 2 4 1 3 2 1 2 1 2 4

1 2 3 4 1 4 1 2 4 3 1 3 4 3 4 1 1 3 1 3 4

1 2 3 4 1 4 1 2 3 4 1 3 4

3

3

3

4 3 4

31


1

4

7

10

13

16

19

22

25


1 4 3 2 1 2 1 4 3 2 1 4 2 4 2 1 4 2 3 1 4 1 4 2

1 4 3 2 1 3 1 4 3 2 1 4 3 4 3 1 4 2 3 1 4 1 4 3

1 4 3 2 1 3 1 43

1 2 4 3 4 3 1 4 2 3 1 3 1 4 3

1 2 4 2 1 3 1 4 3 21 4 2 4 2 1

1 4 1 4 2

14

3 2 1 2 1 4 43

1 2 4 2 4 14

3 2 1 2 1 2 4

12 3 4 1 4 1 2 4

3 1 3 4 3 4 1 43 3 1 3 1 3 4

21 3 4 1 4 1 2 3

4 1 3 4 3 4 1 4 3 4 1 3 1 3 4

1 2 3 4 1 4 1 2 3 4 1 2 4 2 4 1 3 2 4 1 2 1 2 4

1 2 3 4 1 4 1 2 34 1 2 4

3 23

32

Congratulations! Before preceeding to the next section you should be able to play all of Hanon 1 andHanon 2 in all 7 Positions without stopping.


33

Chapter 5: The “Moody” Scales

As it turns out, these exercises can be found in Hanon’s Book 2, but I learned about them via the greatsaxophonist James Moody.

The goal of the Moody Scales exercises is to see, hear, and experience a key all over the neck, not justin one "position" at a time. When I started learning some piano I could see a key all over thekeyboard - for example notes belonging to C major are all the white keys. Change the B natural to Bband you are looking at the notes belonging to the key of F! I got inspired to figure out how to get thisvision happening on guitar.

Here's how the fingerings work. In this exercise you are playing 8 note scale figures, all in the key ofF. The first figure will be an F major scale starting on a low F up to F an octave up, the second figureis back down to a low G , play the notes of the F major scale up to G, and so on.

You will need to play 8 notes in each measure. Play the first 2 notes on whichever string seems right.The next 3 notes are up on the next string. Then the last 3 notes will be up on the next string after that.Every 8 note scale figure will span 3 strings - it fits well under the left hand. Which fret you are on isnot so important. Just keep climbing up (or down) the neck, and if you start running out of room onthe neck, start the scale figures on the next string up.

For the descending scales play 2 notes, come down to the next string and play 3, then come down tothe next string and play 3. Basically it’s the same thing in reverse.

This will take practice, but you will be able to feel at home in any key, anywhere on he neck, afterdigesting this exercise. It forces you out of “position” thinking.

I have not included positions since you will be jumping all over the neck, but everything is fingered soyou should have some ease in finding your way for each 8 note figure.

When you are learning the Moody scales, you might want to try playing each measure four times tohelp “burn” the fingerings into your mind. Once you know the fingerings well enough, play theexercises as written.

1 2 4 0 2 4 0 3 4

6th string---------------- 5th string--- 4th string------

1 2 1 4 2 1 4 2 1

3 1 2

4th string --------------- 5th string--- 6th string--

1

3

6

9

12

15

18

Moody Scales - Major Ascending

Here's the fingering concept: Each scale figure is 8 notes long. For any group of 8 notes (ascending or descending)play the first 2 notes on one string, the next 3 notes on the next string, then the next 3 up on the next string.Always think 2, 3, 3. Shift up or down to new sets of strings when you run out of room on the neck.

The first measure would be F&G on the 6th string, A, Bb, C on the 5th string, and D, E, F, on the 4th string.

2 4 0 2 4 0 3 4 2 4 1 2 4 1 2 4

3 4 1 2 4 1 2 4 2 4 1 3 4 1 3 42 4 1 2 4 1 2 4

2 4 1 2 41

2 4 3 4 1 3 4 1 2 4 2 4 1 2 4 1 3 4

2 4 1 2 4 1 2 4 3 4 1 2 4 1 24

2 4 1 3 4 1 3 4

1 3

Start each measure on 3rd string

1 2 4 1 2 4

2 4 1 2 41 2 4

2 3 1 3 4 1 2 4

1 3 1 24 1 3 4 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

- - - - - - - - - - - - - - - - - - - |

2 41 2 4 1 2 4 2 3

1 2 4 1 2 4

1 3 1 2 4 1 3 4

2 3 1 3 4 1 2 4

34

Moody Scales - Major Ascending

Each measure has 8 notes. For any group of 8 notes (ascending or descending Moody scales) play thefirst 2 notes on one string, the next 3 notes on the next string up, then the last three on the next stringup after that. Always think 2, 3, 3. Each scale figure will span across 3 strings.

21

24

27

30

33

Shift to new groups of strings wherever you want. Example: The first note of the ascending scale has just moved up to a new string because you began running out of room on the neck.

You don't always need to switch in the same places.

The most important thing is that the fingerings for the 8-note ascending groups remain consistentwhen you play this in other keys.

Also - don't forget to start in the lowest register possible no matter what the key. This means that you might not be starting on the root. For example, if you were playing the execrcise in Db major,to do a 2 - 3 - 3 fingering, you would start the exercise on a low Gb. (F would not allow the fingering)

Master the Moody scales in F, then do them in other keys. I do my Hanon and Moody scales every day only in one key, but I do a different key every day.

You'll notice that most of the fingerings for each 8 note group will work on all sets of strings, but some will have obvious options and exceptions. For example, if you play measure 12 of this exercise starting on the 4th string the first2 notes would be played with fingers 2 and 4 of the left hand.

Try to understand why I've fingered all the exercises the way I have as opposed to just learning what I've laid outfor you.

2 4 1 2 4 1 2 41 3 1 2 4 1 2 4

2 4 1 3 4 1 3 4

2 3 1 2 4 1 2 4 2 4 1 2 4 1 2 42 4 1 2 4 1 3 4

3 4 1 3 4 1 2 4 2 4 1 2 4 1 2 4 2 4 1 2 4 12 4

2 4 1 3 4 1 3 43 4 1 2 4 1 2 4

2 4 1 2 4 1 2 4

2 4 0 1 2 0 3 4

Start each measure on 4th string

35

When you start to feel comfortable with this one, go on to the next exercise.

1

3

6

9

12

15

18

21

Moody Scales - Major Descending

Play the first 2 notes on the 4th string, the next 3 on the 5th string, and then the next 3 on the 6th string

Stick to the 2 -3 - 3 fingerings for each measure, this time descending.

Continue that type of fingering even as you shift to new sets of strings

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

- - - - - - - - - - - - - - - - - - - - - - - - -

2 1 4 2 1 4 2 1 3 1 4 2 1 4 3 1

3 1 4 3 1 4 2 12 1 4 2 1 4 2 1 3 1

4 2 1 4 2 1

3 14 3 1 4 3 1 3 1 4 2

1 4 2 1 2 1 4 21 4 2 1

3 1 4 2 1 43 1

3 1 4 3 1 4 2 1 2 1 4 2 1 4 2 1

3 1 4 2 1 4 2 1

3 1 4 3 1 4 3 1

3 1 4 2 1 4 2 1

2 1 4 2 1 4 2 1 3 1 4 2 1 4 3 13 1 4 3 1 4

2 1

3 1 4 2 1 4 3 1

2 1 4 2 1 4 2 1

3 1 4 2 1 4 2 1

3 1 4 3 1 4 3 1

3 1 4 2 1 4 2 12 1 4 2 1 4 2 1

36

Moody Scales - Major Descending

24

27

30

33

3 1 4 3 1 42 1 3 1 4 2 1 4 3 1 2 1 4 2 1 4 2 1

3 1 4 2 1 4 2 1 3 14 3 1 4 3 1 3 1 4 2 1 4 2 1

2 1 4 2 1 4 2 13 1 4 3 1 4 2 1

3 1 4 2 1 4 3 1

2 1 4 2 1 4 2 1

37

Once you have mastered the Moody Scales Ascending & Descending in Major, play them in otherkeys. You will learn much by playing them in all keys.

1

3

6

9

12

15

18

Moody Scales - Harmonic Minor Ascending

In order to follow the 2 - 3 -3 note fingering system, you must start on the second note of the F minor scale.Remember - we are still in the key of F minor even though we are starting on G.

3 4 1 3 4 1 2 4 2 4 1 2 4 1 3 4

2 4 1 3 4 1 2 42 3 1 2 4 1 2 4 2 4 1 3 4 1 3 4

3 4 1 2 4 1 2 4 2 4 1 3 4 1 3 43 4

1 3 4 1 2 4

2 41 2 4 1 3 4

2 4 1 3 4 1 2 41 2 1 2 4 1 2 4

1 4


1 3 4 1 3 4

2 3 1 2 4 1 2 4

2 4 1 2 4 1 3 4

2 31 3 4 1 2 4

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

1 31 2 4 1 3 4

2 31 2 4 1 2 4

2 3 1 2 4 12 4

1 4 1 3 4 1 3 4


2 4 1 24 1 3 4

38

Moody Scales - Harmonic Minor Ascending

21

24

27

30

1 2 1 2 4 1 2 4

2 4 1 3 4 1 2 4 2 41 2 4 1 3 4

3 4 1 3 4 1 2 4 2 4 1 2 4 1 3 4 3 4 1 24 1 2 4

2 4 1 3 4 1 3 42 3 1 2 4 1

2 42 4 1 3 4 1 2 4

2 4 1 2 4 1 3 43 4 1 3 4 1 2 4 2


39

1

3

6

9

12

15

18

21

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

MoodyScales - Harmonic Minor Descending

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

2 1 4 3 1 4 3 1 3 1 4 2 1 4 2 1

2 1 4 3 1 4 2 13 1 4 2 1 4 3 1

3 1 4 31 4 2 1

2 14 2 1 4 3 1 4 1 4 2 1 4 2 1 2 1 4 3

1 4 3 1

3 1 4 21 4 2 1 2 1 4 3 1 4 2 1

3 1 4 2 1 4 3 1

3 1 4 3 1 4 2 1

2 1 4 2 1 4 3 1

4 1 4 2 1 4 2 1

2 1 4 3 1 4 3 1 3 1 4 21 4 2 1 2 1 4 3 1 4 2 1

3 1 4 21 4 2 1

2 1 4 3 1 4 3 1

4 1 4 2 1 4 2 1

2 1 4 2 1 4 3 1

3 1 4 3 1 4 2 13 1 4 2 1 4 3 1

I have left out the shifts to tell you which string groups to start on. Shift where you like and explorethe guitar, but stick to the 2 -3 - 3 fingerings.

40

Moody Scales - Harmonic Minor Descending

24

27

30

33

21 4 3 1 4 2 1

3 1 4 21 4 2 1 2 1 4 3

1 4 3 1

4 1 4 21 4 2 1 2 1 4 2 1 4

3 13 1 4 3 1 4 2 1

3 1 4 2 1 4 3 12 1 4 3 1 4 2 1

3 1 4 2 1 4 2 1

2 1 4 3 1 4 3 1

41

1

3

6

9

12

15

18

Moody Scales - Melodic Minor Ascending

In order to follow the 2 - 3 -3 note fingering system, you must start on the second note of the F minor scale.Remember - we are still in the key of F minor even though we are starting on G.

3 4 1 2 4 1 2 4 2 4 1 2 4 1 3 4

2 4 1 3 4 1 2 42 4 1 2 4 1 2 4 2 4 1 3 4 1 2 4

3 4 1 2 4 1 2 4 2 4 1 24 1 3 4 2 3

1 2 4 1 2 4

2 41 2 4 1 3 4

2 4 1 3 4 1 2 41 3 1 2 4 1 2 4

2 4


1 3 4 1 2 4

2 3 1 2 4 1 2 4

2 4 1 2 4 1 3 4

2 31 2 4 1 2 4

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

1 31 2 4 1 3 4

2 31 2 4 1 2 4

2 3 1 2 4 1 2 4

2 4 1 3 4 1 2 4

2 4 1 24 1 3 4

42

Moody Scales - Melodic Minor Ascending

21

24

27

30

1 3 1 2 4 1 2 4

2 4 1 3 4 1 2 4 2 41 2 4 1 3 4

2 3 1 2 4 1 2 4 2 4 1 24 1 3 4 3 4 1 2

4 1 2 4

2 4 1 3 4 12 4 2 4 1 2 4 1

2 42 4 1 3 4 1 2 4

2 4 1 2 4 1 3 43 4 1 2 4 1 2 4 2

43

1

3

6

9

12

15

18

21

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

MoodyScales - Melodic Minor Descending

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

2 1 4 2 1 4 3 1 3 1 4 2 1 4 2 1

2 1 4 3 1 4 2 13 1 4 2 1 4 2 1 3 1 4 3 1 4 2 1

3 14 2 1 4 3 1 3 1 4 2 1 4 2 1 2 1 4 2 1 4 3 1

3 1 4 2 1 42 1 2 1 4 3 1 4

2 13 1 4 2 1 4 2 1

3 1 4 3 1 4 2 1

3 1 4 2 1 4 3 1

3 1 4 2 1 4 2 1

2 1 4 2 1 4 3 1 3 1 4 2 1 42 1

2 1 4 3 1 42 1

3 1 4 2 1 4 2 1

2 1 4 2 1 4 3 1

3 1 4 2 1 4 2 1

3 1 4 2 1 4 3 1

3 1 4 3 1 4 2 13 1 4 2 1 4 2 1

44

Moody Scales - Melodic Minor Descending

24

27

30

33

21 4 3 1 4

2 1 3 1 4 2 1 4 2 1 2 1 4 21 4 3 1

3 1 4 21 4 2 1 3 1

4 2 1 43 1 3 1 4 3 1 4 2 1

3 1 4 2 1 4 2 12 1 4 3 1 4 2 1

3 1 4 2 1 4 2 1

2 1 4 2 1 4 3 1

45

Congratulations!

If you can play the Moody Scales Ascending and Descending in Major, Harmonic Minor, and MelodicMinor, you have worked hard. Bravo.

I play all the Moody Scales in one key every day, but I do a different key every day, just to stay on mytoes. Make sure that you play these exercises in all keys.

Now go on to the next section.

47

Chapter 6: Diatonic Triads in 7 Positions

I love this exercise. I have heard many great jazz solos which have phrases that hint at arpeggiationsof diatonic triads. I wanted to get that sound into my playing, so I decided to break it down into anexercise that I could do every day. It’s a very pretty sound, and the minor keys are especiallyinteresting.

It is a great ear training study, as well as a technical study. It is beyond the scope of this book toexplain in full detail what the Diatonic triads actually are. Basically they are triads built on eachdegree of the scale, using only notes from the scale. In the exercise you will arpeggiate one up, thenone down, and so on. Each scale will yield different triads. (For a complete explanation of musictheory for jazz musicians and Diatonic triads and 7th chords I recommend Mike Longo’s “Theoryand Musicianship for the Creative Jazz Improviser”)

You will use the 7 Positions that you used for the Hanon exercises. Remember - any (traditional 7note ) scale can be played in 7 Positions. Refer back to the 7 Positions section if you need to.

Theoretically these exercises are very potent, so you are responsible for learning them in Major,Melodic Minor, and Harmonic Minor, in all 7 Positions.

You are not required to stick to the fingerings exactly. I have given you what I have found to be themost comfortable, logical fingerings.

Any time that I practice these I always do Major, Harmonic Minor and Melodic Minor in one key,and I do different keys on different days. It’s the same practice plan as for the Moody Scales in thepreceding section.

1

1

Triads - key of C major

C D- E- F G A- Bdim C

Arpeggios - one up, one down

As you do these in different keys you might find different fingerings that feel good. Due to the fretsgetting smaller you’ll find that (for example ) Position 7 in F and Position 7 In Ab are very different.Please use my fingerings as a starting point - but feel free to try your own fingerings - always go forease of playing and accuracy. Once you find what works for you, write it down and use it!

48

Major Scale Diatonic Triads - Position 1

1 4 2 4 1 21 4 2 1 2 4 1 2 1 4 1 2 4 1 4 2 4 1 2

4 2 1 3 4 15 2 1 4 1 3 4 1 4 3 4 1 3 4 13 1 4 3 1 3 4 2 1 4

3 4 1 4 2 1104 1 2 1 4 2 1 2 4 2 1 4 2 4 1 4 2 1 4 1 2 1


1 4 2 4 1 212 1 2 4 13 2 1 4 1 2 4 1 4 2 4 1 2

4 2 1 4 152 2 1 4 1 2 3 1 4 4 12

2 4 1 1 422 1 4 2 1 42

4 1 4 2 1102 4 1 2 1 4 2 1 2 4 2 1 4 4 32 4 1 1 4 1 2 1

49


1 4 4 1 21 3 1 4 14 3 3 1 4 143 3 1 4 2 4 1 3

2 1 4 1453 2 1 4 1 3 4 1 4 4 12 2 4 1 1 42 2 1 4 2 1 43

4 1 2 1210 4 4 1 2 1 4 3

1 3 4 3 1 4 3 4 1 4 3 1 4 1 2 1


1 4 2 4 1 21 4 2 1 2 4 1 2 1 4 1 2 4 1 4 1 23 4

4 2 1 3 4 15 2 1 4 1 3 4 1 4 4 122 4 1 1 4 32 1 3 4 2 1 4

3 4 1 4 2 110 4 1 2 1 4 3 1 2 42 1 4 2 4 1 4 2 1 4 1 2 1

50



1 4 2 4 1 21 4 2 1 2 4 12 1 4 1 2 4 1 4 2 4 1 2

4 2 1 3 4 15 2 1 4 1 42 1 4

3 4 1 2 4 11 4 32 1

4 2 1 42

4 1 4 2 1102 4 1 2 1 4 2 1 2 4 2 1 4 2 4 1 4 2 1 4 1 2 1

1 4 4 13 311

4 14 3

3 1 4 1433 1 4 2 4 1 2

4 2 1 4 13

52 1 4 1

2 3 1 44 12

24

1 1 422 1

4 2 1 42

4 1 4 2 1210

4 1 2 1 4 2 3 31 4 1 4 4 32 4 1

134 1 1

51


1 4 2 4 1 21 4 2 1 4 13 2 1 4 1

43 1 4 1334

4 2 1 4 13

52 1 4 1

2 3 14

4 122

4 11 4

22 1

4 2 1 43

4 1 4 2 1310

4 1 1 43 331

4 2 1 4 3 4 1 4 2 14 1 2 1

Bravo!

Now do Positions 1-7 in a few different Major keys before attacking the next section.

52

Harmonic Minor Scale Diatonic Triads - Position 1

1 4 4 13 31 4 2 1 2 4 1 1 4 143 3 1 4 2 4 1 2

4 2 1 3 4 15 2 1 4 1 3 4 1 4 4 1 32 4 1

3 1 4 2 1 3 4 2 1 4

3 4 1 4 2 1104 1 2 1 4 2 3 31 4 1 4 3 4 1 4 2 1 3 31 1


1 4 2 4 1 21 4 2 1 4 13

2 1 4 143 1 4 4 13

3

4 2 1 4 125 2 1 4 1 34 1 4 4 12

2 4 1 1 422 1 34 2 1 4

4 1 4 2 1210

4 1 1 43 3 31 4 2 1 4 3 4 1 4 2 1 4 1 2 1

53


1 4 4 1 231 41 2 4 13 1 4 1 2 43 1 4 2 4 1 2

4 2 1 3 4 15 2 1 4 1 3 4 1 4 3 4 1 3 4 13 1 4 3 1 3 4 2 1 4

3 4 1 4 2 1104 1 2 1 4 2 31 2 4 1 4 32 4 1 4 1 4 1 2 1


1 4 2 4 1 212 1 2 4 13 2 1 4 1 2 4

1 4 4 1 23

4 2 1 4 152

2 1 4 1 2 3 1 4 4 12 2 4 11 42

2 14 2 1 42

4 1 4 2 1102 4 1 2 1 4 3 1 2 4

2 1 44 3

2 4 1 1 4 1 2 1

54


1 4 2 1 23

1 4 2 1 4 13

1 4 1 2 43 1 4 1 22 4

2 1 4 13

352 1 4 1 3 4 1

4 3 4 1 24 1

1 4 32 14 2 1 43

4 1 2 13 310 4 1 2 1 4 2 31 2 2 1 4

3 4 1 4 2 1 4 1 2 1


1 4 2 4 1 31 4 2 1 2 4 1 2 1 4 1 2 4 1 4 1 22 3

4 2 1 3 4 15

2 1 4 1 3 2 1 4 4 122 4 1 1 4 3

2 3 4 2 1 42

3 4 1 4 2 110

4 1 2 14 2 1 2 4 2 1 4 2 4 1

4 2 1 34 1 1

55


1 4 2 4 1 21 4 2 1 4 13 2 1 4 1

43 1 4 1 32 4

4 2 1 4 13

52 1 4 1

2 3 14 12 3

24 1

1 42

2 14 2 1 42

4 1 4 2 1210

4 1 1 43 231

4 2 1 4 3 4 1 4 2 14 1 2 1

56

Melodic Minor Scale Diatonic Triads - Position 1

1 4 4 1 321 4 2 1 2 4 1 1 4 142 2 1 4 2 4 1 2

4 2 1 3 4 1

2 1 4 1 3 46 1 4 4 1 3

2 4 13 1 4 2 1 3 4 2 1 4

3 4 1 4 2 1104 1 2 1 4 2 321 4 1 4 2 4 1 4 2 1 34 1 1


1 4 2 4 1 212 1 2 4 14 1 4 1 2 43 1 4 2 4 1 3

4 2 1 4 152 2 1 4 1 3 4 1 4 4 12

2 4 1 1 422 1 4 2 1 43

4 1 4 2 1102 4 1 1 4

32 1 2 4 2 1 4 4 32 4 1 1 4 1 2 1

57


1 4 4 1 231 41 2 4 13 1 4 1 2 43 1 4 2 4 1 2

4 2 1 3 4 15 2 1 4 1 3 4 1 4 4 122 4 1

3 1 4 3 1 3 4 2 1 4

3 4 1 4 2 110 4 1 2 1 4 331 2 4 1 4 32 4 1 4 1 4 1 2 1


1 4 2 4 1 212 1 2 4 14 2 1 4 1 2 4

1 4 4 1 23

4 2 1 4 152

2 1 4 1 2 3 1 4 4 12 2 4 11 4

32 1

4 2 1 42

4 1 4 2 1102 4 1 2 1 4 3 1 2 4

2 1 4 4 32 4 11 4 1 2 1

58


1 4 2 1 231 4 2 1 4 1

31 4 1 23 3 1 4 1 22 4

2 1 4 13

452 1 4 1 2 3 1

4 3 4 1 24 1

1 4 32 14 2 1 42

4 1 2 12

410 4 1 2 1 4 2 4 31 2 1 42 4 1 4 2 1 34 1 1


1 4 2 4 1 31 4 2 14 13 2 1 4 1

43 1 4 122

3

4 2 1 3 4 15

2 1 4 13

2 1 4 4 122 4 1 1 42

23 2 1 421

4 1 4 2 1210

4 1 1 43 2 314 2 1 4 2 4 1

4 2 1 34 1 1

59


1 4 2 4 1 21 4 2 1 4 13 2 1 4 1

43

4

1 4 1 32 4

4 2 1 4 13

52 1 4 1 4

3 14 1 3

2 3 11 4

23 1

4 2 1 43

4 1 4 2 1210

4 1 1 43 231

4 2 1 4 3 4 1 4 2 14 1 2 1

61

Chapter 7: Diatonic Seventh Chords in 7 Positions

This is very similar to the last chapter, and it should lay pretty easily.

The fingerings might appear to be strange at first, but give them a try. If you would like to change afingering, by all means - go ahead. I suggest penciling in your ideas so that a) you remember them b)if you change your mind - you can erase it. Sometimes it takes days to decide which fingering is best.Just remember it’s okay to be undecided for a while.

Much of your sound as a musician will come from developing your own concept for fingerings.

As with the previous section, any time that I practice these I always do Major, Harmonic Minor andMelodic Minor in one key, and I do different keys on different days.

1

1

7th Chords - key of C major

Cmaj7 D-7 E-7 Fmaj7 G7 A-7 Bdim7 Cmaj7

Arpeggios - one up, one down

62

Major Scale Diatonic 7th Chords - Position 1

1 4 2 1 2 4 1 21 4 2 1 4 1 2 4 1 2 1 4 2 4 1 2 4

1 4 2 13 4 1 24 4 2 1 4 1 3 4 1

1

2 1 4 3 4 1 34

42 1 4 3

1 3 4 1 4 2 1 48 3 4 1 2

1 4 2 4 1 2 4 2 1 4 2 1 2 4 1 4 2 1 4

2 4 1 2 1 4 2 1122


1 4 1 2 4 13 31 4 2 1 4 1 2 4 1 2 1 4 2 4 1 2 4

1 4 2 1 4 1 224 4 2 1 4 1 4 1

1

2 2 1 44 12 4

4 2 1 422

14 1 4 2 1 428 4 1 2 1 4 22

4 1 2 4 2 1 4 2 1 2 4 1 4 1 43

2 4 1 1 4 13 312 4

63


1 4 1 4 1 23 31 4 1 4 1 4 13 3 1 4 2 4 1 43 3

1 4 21 3 4 1 34 4 2 1 4 1 3 4 1

1

2 1 44 1 3

2 44

2 1 42

1 3 4 1 4 2 1 48 3 4 1 1 4 2

34 1 4

1 43

3 3 1 4 1 4 1 43 3

4 1 2 1 4 13 312 4

1 4 2 1 2 4 1 21 4 2 1 4 1 2 4 1 2 1 4 4 1 2 43

1 4 21 3 4 1 24 4 2 1 4 1 3 4 1

1

2 1 44

1 3

2 44

2 1 4 3

1 3 4 1 4 2 1 48 3 4 1 2

1 4 2 4 1 2 4 2 1 4 3 1 2 4 1 4 2 1 4

2 4 1 2 1 4 2 1124

Major Scale Diatonic 7th Chord - Position 4

64


1 4 2 1 2 4 1 21 4 2 1 4 1 2 4 1 2 1 4 2 4 1 2 4

1 4 2 1 4 1 22

4 4 21 4 1

4 1

1

22 1 4 3 4 14

4 2 1 4 32

14

1 4 2 1 428 4

1 2 1 4 22 4 1 2 4 2 1 4 2 1 2 4 1 4 2 1 4

2 4 1 2 1 4 2 112

4


1 4 1 4 13 33

1 4 2 1 4 1 4 13

1 4 2 4 1 43 3

1 4 2 1 3 4 1 24 4 21 4 1

4 1

1

22 1

44 12 4

4 2 1 422

14 1 4 2 1 42

83 4 1 2 1 4 2 4 1 4 1 4 2

3 3 1 4 1 4 1 43 3

2 4 1 1 4 13 312

4

65


1 4 2 14 1 2

31 4 2 1 4 1 4 1

32 1 4 4 1 4

3 3

1 4 21 3 4 1 3

44 2 1 4 1 3 4 1

1

2 1 44 12 4

2 1 42 32

1 3 4 1 4 2 1 4

8

3 4 1 1 4 23 4 1 4 2 1 433 1 4 1 4 2 1 43

4 1 21 4 2 13

122

66

Harmonic Minor Diatonic 7th Chords - Position 1

1 4 2 1 2 4 1 21 4 2 1 4 1 4 13

1 4 2 4 1 433

1 4 2 13 4 1 24 4 2 1 4 1 3 4 1

2 1 44 1 3

2 44

2 1 43

1 3 4 1 4 2 1 48 3 4 1 2

1 4 2 1 4 14 1 4 23 3

1 2 4 1 4 2 1 411 2 4 1 1 4 2 12

2


1 4 2 1 2 4 1 21 4 2 1 4 1 2 4 1 2 1 4 4 1 2 43

1 4 2 1 3 4 1 34 4 2 1 4 1 3 4 1

1

2 1 44 1 3

2 44 2 1 4 2

1 3 4 1 4 2 1 48 4 1 1 4 22 3

4 1 2 4 2 1 43

1 2 4 1 4 2 1 4

2 4 1 2 1 4 2 1124

67


1 4 1 2 4 1 231 4 1 4 1 2 4 12 1 4 2 4 1 2 43

1 4 21 3 4 1 24 4 2 1 4 1 3 4 1

2 1 4 3 4 1 34

42 1 4 3

1 3 4 1 4 2 1 48 3 4 1 2 1 4 2 1 4 1 2 4 1 4 2

2

1 2 4 1 41 43

11 2 4 1 2 1 4 13 4


1 4 1 2 4 1 2312 1 4 1 2 4 13 2 1 4 4 1 2 4

3

1 4 2 1 3 4 1 24 4 2 1 4 1 3 4 1

1

2 1 442 4

4 2 1 41 3 2

1 3 4 1 4 2 1 48 4 1 1 4 22 3 4 1 2 4 2 1 4 3 1 2 4 1 2 1 43

2 4 1 2 1 4 13124

68


1 4 2 1 4 1 23

1 4 2 1 41 4 13 1 4 2 4 1 4

33

1 4 2 1 3 4 124

21 4 1 3

4 13 2 1 4 3 4 1 34

4 2 1 4 3

1 3 4 1 2 1 43

83 4 1 2 1 4 2 1 4 1 4 1 43 3 2

4 14 2 1 4

1 2114 1 2 1 4 2 13 4


1 4 2 1 2 4 1 31 4 2 1 4 1 2 4 1 2 1 4 2 1 2 43

1 4 21 3 4 1 24 4 2

1 4 1 34 1 2 1 4

4 12 4

2 1 4 32 3

3 4 1 4 2 1 42

83 4 1 2

1 4 2 1 4 1 2 4 2 1 4 2

1 2 4 1 4 2 1 411

2 4 1 1 4 2 13 4

69


1 4 2 14 1 2

31 4 2 1 4 1

4 13

2 1 4 2 4 1 43

1 4 21 4 1

33

2

44 2 1

4 14 1

1

2

2

2 1 4 12 3 44 2 1 42

2

14 1 4 2 1 4

84 1 1 4 2

3 4 1 4 2 1 4 23 1 4 1 4 2 1 43

4 1 21 4 2 13

124

70

Melodic Minor Diatonic 7th Chords - Position 1

1 4 2 1 2 4 1 31 4 2 1 4 1 2 4 1 2 1 4 2 4 1 2 4

1 4 2 13 4 1 24 4 2 1 4 1 3 4 1 2 1 4 3 4 4

4 2 1 4 31 3

1 3 4 1 4 2 1 48 3 4 1 2

1 4 2 1 4 1 2 4 2 1 4 2

1 2 4 1 4 2 1 411 2 4 1 1 4 2 12

2


1 4 1 2 4 1 231 4 1 4 1 4 13 22 1 4 2 4 1 2 4

1 4 2 1 3 4 1 24 4 2 1 4 1 3 4 12 1 4 3 4 4

42 1 41 3

2

1 3 4 1 4 2 1 48 4 1 2 1 4 2

12 4 1 2 4 2 1 4 3

1 2 4 1 4 1 4311 2 4 1 2 1 4 13 4

71


1 4 1 2 4 1 231 4 1 4 1 2 4 13 1 4 2 4 1 2 43

1 4 2 1 3 4 1 24 4 2 1 4 1 3 4 12 1 4

42 44

2 1 4 31 3

1 3 4 1 4 2 1 48 3 4 1 2 1 4 2 1 4 1 2 4

1 4 23

1 2 4 1 4 1 4311 2 4 1 2 1 4 13 4


1 4 2 1 2 4 1 21 4 2 1 4 1 2 4 1 2 1 4 4 1 2 43

1 4 2 1 3 4 1 24 4 2 14 1 3 4 1 2 1 4

42 4

2 1 4 3132

1 3 4 1 4 2 1 48 4

1 2 1 4 2 12 4 1 2 4 2 1 43

1 2 4 14 2 1 4

112 4 1 2 1 4 2 1 4

72


1 4 2 1 4 1 23

1 4 2 1 41 2 4 1 1 4 2 4 1 43

3

1 4 2 1 3 4 124 4 2

1 4 1 3 4 1 2 1 43 4 4

4 2 1 4 31 3

1 3 4 1 4 2 1 48

3 4 1 2 1 4 2 1 4 1 4 1 4 233

14 1

4 2 1 4311

4 1 1 4 2 133 4


1 4 2 1 4 133

1 4 2 1 4 1 4 13

2 1 4 2 1 43 3

1 4 21 3 4 1 24 4 2

1 4 1 34 1 2 1 4 3 4 4

2 1 41 2 32

1 3 4 1 4 2 1 48

3 4 1 1 4 2 13

4 1 4 2 1 4 23

14 1 4 2 1 43

114 1 1 4 2 1

33 4

73

Melodic Minor Diatonic 7th Chords - Position 71 4 2 4 1 2

31 4 2 1 4 1

4 13

2 1 4 2 4 1 43

1 4 21 3 4 1 3

44 2 1

4 1 3 4 1 2 1 4 1 32 3 4

4 2 1 4 2

1 3 4 1 4 2 1 4

8

3 4 1 1 4 21

3 4 1 4 2 1 4 23

1 4 1 4 2 1 4311 4 1 2

1 4 2 13 4

75

Where to Go Next ? Other Ideas

The possibilities of patterns and new things to practice is endless. Don’t be daunted by the vastness ofit, though. Take a look at the youthful look in older musicians’ eyes. According to them, alwaystackling new things will keep you young and enthusiastic!

Be InventiveHave you noticed that the last 2 exercises (Diatoic Triads, Diatoinic 7th Chords) had one voicingarpeggiated upward, the one down. What if you did one down, then one up? Both up? Both down.

Be creative - invent your own exercises & explore different sounds. Hopefully now you have aframework in which to work and create. You could do all the exercises in this book with exotic scales,or scales from the Lydian Chromatic System, for example. Think of all the interesting melodies thatyou will dig up.

Why All This Diatonic Stuff, What About “Outside Improvisation?”Diatonic harmony, in general, is more difficult to master than intervallic harmony because there is adefinite right and wrong. As you experiment with new ideas, try intervallic stuff on your own. Forexample, you could play arpeggios of minor 7 voicings in whole steps. Since that is a pattern based onintervals and not on a “key” nothing is actually wrong.

Outside playing is a vast topic and could fill another book - so for now, learn the “inside” soundingmaterial presented here. Listen to John Coltrane’s “A Love Supreme” if you are interested in hearingintervallic and modal playing.

Follow ThroughThe important thing is to see an idea through to its completion and not just do it for one Position, oncein a while. You’ll really benefit from concentrating on one exercise as opposed to trying to do to manyat once. Set goals like “This week I will tackle Diatonic Seventh Chords” and do some every day asopposed to a lot on one day, then forgetting about it, etc.

Each of these exercises will have a “life cycle” - you’ll learn it, and eventually you’ll know it cold.That’s when it’s time to start searching for new material to keep your routine interesting. It will keepyou from getting bored. That way, you’ll keep your mind engaged and you’ll keep developing yourtouch while digesting new harmonic and melodic ideas. Many great players practice like this daily.

Here Are Some Books That I Highly Recommend For Single Line Ideas and TechniqueIt’s great to have stuff that you can just put up on your music stand to stay fresh and be challenged.Here are some books that have been invaluable to me. I reccomend picking them up for yourself.

By the way - I never learn transcriptions. I’ve transcribed solos off of recordings and studied solos, butnever learned them on guitar. I know that this might seem sacreligious to some, but I don’t think thatyou’ll benefit that much from learning them. Study hard, and transcribe solos that you like off ofrecords, to get your ears together, but play your own solos.

Here are some great books for single line stuff which I mentioned before:

Hanon - The Virtuoso Pianist (there are more exercies that you can adapt for guitar)Bach - Sonatas and Partitas for Solo ViolinSlonimsky’s Thesaurus of Scales and Patterns (More Intervallic in Nature)Johnny Smith’s Aids to Technique - A very similar concept to mine, but with different exercises

Here’s My Warmup:

Without Fail:Hanon Exercise 1 in 7 PositionsHanon Exercise 2 in 7 PositionsMoody ScalesJohnny Smith Arpeggios & Scales

Frequently:Diatonic Triads & Seventh ChordsIntervallic Patterns (4ths, Pentatonics, New Stuff etc.)

After warming up, I practice by playing tunes and being in an unbroken melodic flow.

I sincerely hope that this book has shed some light on practicing for you. For many years I wasunaware that this type of practicing even existed!

Please remember, play slowly but accurately, NO METRONOME, and let it happen as though theguitar is practicing itself. Just put in the time, pay attention, and you will see some amazing thingshappen.

Remember this Hanon and other Scale Stuff is only a portion of practicing. More books are on theway from me to teach you more about the secrets of Jazz Guitar!

Good luck, and throw this out the window when the downbeat hits!

Warmest Regards,

Adam Rafferty

About the Author

Adam Rafferty started playing fingerstyle bluesguitar at the age of 6 under the instruction ofWoody Mann. After playing rock for several yearsas a teenager, he went on to study classical guitarand composition at S.U.N.Y. Purchase. Eventuallyhe went on to study jazz piano, guitar, andcomposition with the long-appreniced pianist andmusical director to Dizzy Gillespie, Mike Longo.

Rafferty has two albums out as a leader, BloodSweat and Bebop and First Impressions, (on theCAP record label) and both CD’s have recievedrave reviews from Just Jazz Guitar, Jazz Times,Guitar Player, 20th Century Guitar, and Cadence.Active on the New York Jazz Scene, he can be

heard at many of the well-known jazz venues around town. Rafferty has toured Europe several timeswith his own trio and can also be heard playing live and on CD with Mike Longo’s New York State ofthe Art Jazz Ensemble. Other well known musicians and acts he has performed with are The DizzyGillespie Big Band, Buster Williams, Bob Cranshaw, Benny Golson, Lou Donaldson, and Harlem’sown Jimmy “Preacher” Robbins.

Rafferty teaches from his own studio and is a sought after clinician in the states and in Europe.Currently he is living on Manhattan’s Upper West Side with his wife Fulvia and his four cats, Balthus,Brina, Abe, and Gualtiero.

Want To Boost Your Chops Even More??

Order any two items and receive “20 of the Hippest ii - v - i Lines for Guitar” specialmini lesson as a FREE BONUS - comes complete with fingerings, easy to read notation,

and practice progressions. Only available through this special offer.A complete Jazz Guitar Lover’s Package! Order NOW!

Limited time offer

CD’s:First Impressions CAP 905 Adam Rafferty - Guitar, Mike Longo - Piano, Paul West - Bass, Ray Mosca - DrumsRed Top, My Funny Valentine, Impressions, I Got It Bad, Giant Steps, Round Midnight, Anthropology, Savannah Calling,Chega De Saudade

Reinventing ten challenging standards, guitarist Adam Rafferty proves his entrenchement in the Tradition. With pianistMike Longo, bassist Paul West, drumer Ray Mosca, Rafferty transforms Coltrane’s “Impressions” and “Giant Steps,”remolds Gene Ammons’“Red Top” and Monk’s “‘Round Midnight” and seven more classics. Rafferty’s mature ideas, fluidphrasing and lines, accomplished technique and delicate lyricism belie that he’s still in his 20’s. A dramatic debut recording.- Nancy Ann Lee, Jazz Times $14.95

Blood, Sweat, and Bebop CAP 937 Adam Rafferty - Guitar, Mike Longo - Piano, Bob Cranshaw - Bass, Ray Mosca - DrumsBubu, Triste, Allegro in Bb7, Fulvia, Birk’s Works, Central Park West, I’ll Remember April, Samba For You, Cherokee, LushLife

This guy has monster chops! His single note playing is clean and precise. His octave playing is outstanding. He knows allthe licks. His chord melody is clean and smooth. There is a broad range of tunes that showcase Adam’s ability to cover adiversity of styles and he is well supported by a great trio. - Randall S. Closson, Just Jazz Guitar

$14.95

Other Home Study Courses By Adam Rafferty

The Blues BookLearn Blues guitar quickly and easily! Perfect for beginners and ideal for anyone who teaches guitar to beginners. 22simple blues riffs over 12 bar blues in E. Big easy to read notation - learn sightreading and have fun playing blues at thesame time! By the end of the book, students can improvise over E blues with all the ideas they’ve learned. $14.95

All items come with a 30 day 100% money back guarantee

To Order Direct Call 1-800-BEBOP-YO 1-800-232-6796 24hrsor order online at

http://www.adamrafferty.comPick Up The Phone and Call Now!

Download - Adam Rafferty PDF

Top Related