Improvising Lead Guitar - Advanced

Improvising Lead Guitar Advanced Level by

Tony Skinner standard: GRADES 6

TO

8

A CIP record for this publication is available from the British Library. ISBN: 1-898466-38-6 Second Edition © 2000 & 2006 Registry Publications All rights reserved, including the right of reproduction in whole or in part in any form or by any means without the prior written permission of the copyright holders.

WARNING Photocopying of any part of this book is illegal and may result in both a civil claim for damages and criminal prosecution.

Published in Great Britain by

Registry Mews, 11-13 Wilton Road, Bexhill, Sussex, TN40 1HY, United Kingdom Typesetting by

Take Note Publishing Ltd., Lingfield, Surrey Printed in Great Britain

Contents Page 4

–

List of audio tracks

5

–

Introduction

6

–

How to improvise

9

–

Stages to improvising

12

–

Specialist techniques

15

–

Keys and modes

21

–

Guitarograph

22

–

Playing levels

23

–

Backing tracks

26

–

Scales

35

–

Arpeggios

40

–

Further study

List of audio tracks Track 1

Tuning guide

Track 2

Driving Rock

Track 3

Smooth Ballad

Track 4

Funky Groove

Track 5

Cool Rock

Track 6

Blues Changes

Track 7

Cool Jazz

Track 8

Lydian Ballad

Track 9

Slow Groove

Track 10

Five-time Changes

Track 11

Melodic Blues

Improvising Lead Guitar – Advanced Level © Copyright 2010 Registry Publications – COPYING OF THIS LESSON IS ILLEGAL www.RGT.org

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Introduction T

he purpose of this book is to help you develop your lead guitar improvisation skills to an advanced level. It will teach you how to use modal scales and how to improvise over chord progressions containing key changes and modulations. An extensive range of scales and arpeggios is shown, together with essential practical information about how and where to use them. The accompanying audio tracks provides a full band backing track for all the chord progressions shown within this book. A wide range of musical styles are covered. By playing along with the audio tracks you'll be able to hear exactly how your lead guitar improvisation sounds in a real band setting.

get tuned Before you start playing you'll need to get your guitar in tune. The tuning guide on Track l gives you the pitch of each string, starting with low E.

Although you could use an electronic tuner to help you check the notes, it's a good idea to use the tuning guide as often as you can as this will ensure that you maintain your sense of pitch.

get graded

This book is structured in line with the Registry Of Guitar Tutors’ electric guitar examination syllabus – that is administered by London College of Music Examinations (one of the world’s longest established music examination boards) and certificated by Thames Valley University. All the scales, arpeggios and chord progressions

shown have been chosen to reflect the exact requirements of the Lead Guitar sections of the Grade Six, Seven and Eight RGT electric guitar examinations. The book therefore provides an ideal study aid for those preparing to take any of the Registry of Guitar Tutors’ electric guitar examinations from Grade Six to Eight. However, the book is designed so that it can be used effectively by all guitar players – whether intending to take an examination or not.

If you wish to obtain a FREE electric guitar examination information pack, contact: Registry of Guitar Tutors, Registry Mews, 11-13 Wilton Road, Bexhill, Sussex, TN40 1HY United Kingdom. 01424 22 22 22 www.RGT.org


5

How to improvise I

mprovising on the guitar is often defined as 'making up a lead solo on the spot'. This gives the impression that improvisation is spontaneous and unprepared. This is partly true, but in reality there's also a lot of background work and knowledge underpinning this. Advanced improvisation requires a thorough knowledge of scales and keys, but improvisation is not simply about playing scales up and down. Neither is it about instantly creating melodic lines without reference to scales. The truth lies somewhere between the two, and the ideal mix needs the addition of other important ingredients such as the use of phrasing, stylistic interpretation and specialist techniques. Below is a brief summary of the main elements of advanced improvisation. Later on in the book all these topics will be covered in greater detail.

know your scales “Memorising scales provides the soundest foundation for improvisation.” To solo over any chord sequence you'll need to know the correct scale (or scales) to use, as it's the scale which defines the notes that will fit with the backing chords in any particular key. Therefore, before you start any improvisation you should play through the appropriate scales (shown later in the book) several times until you are totally familiar with them. When practising scales, concentrate on trying to become totally familiar with the 'sound' of each one, rather than just perfecting the mechanics of the fingering. You should know your scales so well (aurally, visually and physically) that you can relax whilst playing them – leaving yourself free to

focus on using them creatively to make an interesting solo.

trust your ear “Rely not just on your scales, but also on your aural awareness.” All the notes of the correct scale will fit over all of the backing chords from the same key – although some will sound more harmonically resolved than others over particular chords. These fully resolved notes will normally be the chord tones themselves (i.e. the notes which constitute the accompanying chord). If you hit a note that sounds too unresolved for your liking, simply move smoothly and deliberately onto the next note (above or below) in the scale and this will normally sound resolved. You shouldn't be afraid to 'lean' on some of the


6

unresolved notes (nonchord tones) as this will create a musical tension which can be quite effective, particularly once you release the tension by resolving to a chord tone. This interplay between tension and release is a commonly used improvising tool. It adds harmonic interest to a solo and prevents the performance sounding too plain. However, you should never become 'overly' concerned with such technicalities. Sometimes concentrating too much on technical factors, such as which notes are chord tones and which are not, can impede your ears in guiding you as to what sounds best.

use arpeggios “Providing you play them in the right place, arpeggios are foolproof.” An arpeggio is simply the notes of a chord played sequentially, rather than all at once. Because each arpeggio contains exactly the same notes as its related chord, you can never play a wrong note if you use an

arpeggio correctly – although you will need to change arpeggio every time the backing chord changes. In most rock and pop styles, guitarists rarely use arpeggios throughout a whole solo, as the lack of non-chord tones would result in a rather bland sound. Instead, arpeggios are generally used only occasionally to enhance the sound of the key scales, and to bring a sense of resolution and stability to the performance. Practising arpeggios is very useful, as it helps you identify the notes contained within each chord. You can then use this knowledge to target certain chord tones whilst improvising. This technique can help you reflect and enhance the harmonic content and movement of the accompaniment. Alternatively, you could use your knowledge of arpeggios to deliberately avoid chord tones (particularly at the start of a bar) and so create a sense of musical tension, that you could then release by reverting to a chord tone.

add chromaticism “Make your playing more inventive, by going beyond standard scales and arpeggios.” Once you are familiar with the main scales and arpeggios you can begin to use notes outside them. Using notes that are not in either the chords or the key of the backing is called chromaticism. Adding these 'outside' notes to your playing can really add colour to your improvisation. Using chromaticism every now and then is a good way to make your solos less predictable and more individual.

develop phrasing “Leave spaces to allow the music room to breathe.” Once you have learnt the scales and arpeggios that you need, the aim is to use them in a melodically


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inventive and creative way. You don't need to play all the notes of any scale, nor in any particular order (and certainly not in the set scale order). Instead, try to invent short memorable phrases or flowing melodic lines. Avoid playing a continuous flurry of notes by not being scared to leave gaps in your improvisation. The spaces between notes can play as important a rhythmic function as the notes themselves. You can avoid sounding too scale-like by singing, or thinking up phrases in your mind, and then trying to reproduce them on the guitar. Using your imagination to develop phrases will create a more natural feel to your lead playing than the mechanical approach of just allowing your fingers to lead the way. Even if you are unable to reproduce the exact melody of what you had in mind, you should at least be able to reproduce the rhythm of your phrase reasonably accurately. This method will put you on the right path towards true (i.e. non-scale led)

improvisation. Trying to 'busk' well known tunes by ear will also help you develop a reliable link between ears and fingers.

match the style “Make sure your solo relates to the musical style.” The ability to interact effectively with the melodic lines and rhythms of other instrumentalists and vocalists is a core skill of any good lead guitarist. When improvising you should always pay attention to the overall musical style and listen carefully to what is being played on other instruments. Most genres of music have stylistic traditions which broadly define the borders between one style of music and another. For example, the content and structure of a solo in a mellow jazz style would normally be different to that in a heavy metal context. However, there are no definitive rules about what sort of thing you can or cannot play in a particular style of music. In fact, it is often

the pushing of boundaries and the fusion of styles that enables music to continually develop. Careful experimentation, with a monitoring of musical appropriateness, is recommended. Above all, trust your own musical taste to guide you. After all, it's YOU who is making music NOW. Whilst it's useful to listen to what good players did in the past, there's no need to slavishly copy their styles.

use techniques “Use specialist techniques to create a stunning guitar solo.” In order to sound really effective, guitar solos often need a few 'finishing touches'. Using string bends, slides, vibrato, slurs, damping and other techniques can help make your improvisation sound more distinctive and personal. All these techniques are covered later in the book. You should practise them until they become second nature, then you'll be able to incorporate them into your improvisations with ease.


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Stages to improvising Stage

1

get in key

it in a melodically inventive and creative way. Always remember that the scale only defines the range of notes which you can play in a particular key. Simply playing the scale up and down is not enough to make a good solo.

“Choose the right scale before you begin to play” Stage Before you play any lead you need to identify the initial key of the song and work out whether it changes key. In order to do this you'll need a knowledge of basic harmony – particularly an awareness of the chords which occur in each key. (See the chapter entitled 'Keys and modes' for more detailed information). It doesn't matter how fast and flashy your lead playing is; if you use the wrong scale then you’re certain to hit notes that will clash with the backing chords. It's essential to have a good understanding of how to identify the key(s) of a song, so that you can then choose the correct scale(s) with which to improvise. Once you're sure which scale to use, start by simply playing the scale up and down over the relevant backing track chords so that you can begin to hear the overall sound and tonality of the key. Keep practising the scale until you are totally familiar with the sound of it, then you should progress to using

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now phrase it “Create memorable phrases to give your solo structure.” By repeating a series of notes you will begin to establish licks or phrases which will become memorable to the listener. Once you have created a phrase you like, try and vary it slightly when you repeat it – that way it will sound fresh, whilst still giving the listener something recognisable to latch onto. By repeating clusters of notes you can start to develop melodic phrasing and structure. Try to leave gaps between your phrases, so that the music has shape and space to breathe. Remember that it's not always necessary to play turbo speed licks to make a great


9

guitar solo – the choice of just a few carefully selected and well-executed notes can often have far greater emotional impact. Sometimes the saying 'less is more' gives the best clue to establishing the right feel for a piece of music. Occasionally though, some music calls for an insistent and continuous driving rhythm. It all depends on the type of music over which you are soloing. It’s up to you to listen carefully to the accompaniment and use your own musical judgement to decide upon the best form of stylistic interpretation. z Experiment by playing phrases of different lengths and listen carefully to your playing to hear which ones best suit the musical style. z Avoid making your phrasing sound too predictable by not always starting phrases on the first beat of the bar. Instead, try playing a few 'lead-in' notes before the start of the first bar. z Ensure that you use a wide variety of note lengths. Play some notes quickly and allow others to ring on.

The important thing is to let your ears and intuition, rather than your fingers, guide you as to what is best. Always listen carefully to the overall sound of the track, and try to relate your improvisation to the track's main musical features and style. For inspiration, spend some time listening to recordings by well-known musicians (not just guitarists) in a wide range of musical styles and, whenever you can, attend live performances so that you can hear the theory in action!

Stage

3

target arpeggios “Learning arpeggios will help you identify chord tones.” If you play the notes of a chord sequentially you end up with an arpeggio. You can then swap these notes around, or repeat some, to make up a more interesting musical phrase – just as you would when improvising with a scale. Because the arpeggio contains exactly the same notes as the chord, whatever notes you play from the arpeggio will always fit well with the chord. The downside of this is that you have to change the arpeggio every time the chord changes. However, you don't need to play a solo consisting entirely of arpeggios – instead use them sparingly to add structure and solidity to your improvisation. Practising arpeggios will also help you learn the names of the notes contained within each chord. Use this knowledge to target chord tones (notes from the chord being played) whilst improvising. For example (whilst using the A major scale in a sequence in A major), over the chord of F#m9 you could emphasise the G# (the 9th) from this chord. Alternatively, you could deliberately avoid chord tones to create a mood of musical friction or suspense.


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Stage

4

go chromatic “Add colour and excitement by playing notes outside the standard scales.”

The possibilities with chromatic playing are endless, and it is an area that is well worth experimenting with. To get the most out of chromaticism, it's important to develop your knowledge of scales and arpeggios so that you'll know which notes are 'inside' and which are 'outside'. It's also essential to use your aural awareness to judge when and where (e.g. in which musical styles) chromaticism works best.

Chromaticism involves playing notes from outside the chords and key. This can create a real sense of musical tension. The easiest way to use chromaticism at first is to use these 'outside' notes as 'passing notes'. z For example, when using the A pentatonic minor scale over an A minor chord, rather than moving straight from an A note to a C, insert a B b and Bn between the two chord tones. In this example, we begin on a resolved note, then create tension by passing through two non-chord/scale tones, before releasing the tension with the final note.

Chromatic notes do not always have to be placed between chord tones. Another method is to use them as auxiliary notes – i.e. moving to chord tones from a note above or below. z For example, using the same A minor scale and chord as above, you could begin on G# before playing the key note A. The G# note is outside both the scale and the chord. The longer you hold it the greater the sense of dissonance and tension you will create, and the more dramatic the release will be when you resolve it to the A note.

Stage

5

bend it shake it “Use 'tricks of the trade' to turn your improvisation into a true guitar solo.” Using bends and other specialist techniques gives improvisation a real guitar feel, and can add character and style to a solo which might otherwise be a little plain. Try bending some notes up in pitch, or get a vibrato effect by wavering the pitch of some notes slightly. You could also slur some notes by, for instance, hammering some notes on, rather than picking every note with the plectrum. Double stopping, i.e. playing two notes at once, will add strength to your playing, whilst string damping will give you greater tonal variety. Explanations of these and other techniques are given in the following 'Specialist Techniques' chapter.


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Specialist techniques Slurs

F inger -tapping inger-tapping

Slurring can make your playing both awesomely fast and super smooth. It comprises two main techniques: hammering-on and pulling-off. Each of these techniques allows you to sound two or more notes for each pick of a string.

slurs can also be produced by reaching across to tap on the fretboard with a picking hand finger. To tap a note clearly you will need to land firmly by the fretwire with the very tip of the finger. Once a note has been tapped it can then be pulled-off using the same finger. The second finger is the easiest to use for tapping, as you can keep hold of the plectrum between the thumb and first finger.

To hammer hammer-- on a note: instead of picking the string again as normal, rapidly hammer the tip of your fretting finger onto the note that you want. Providing you hammer-on right next to the fretwire, the note should come out as clearly as if you had picked it normally.

To pulloff a note: pull-off first fret a note and pick the string, then pull your fretting finger lightly downwards until it plucks the string and the lower note is sounded. If the lower note is fretted (rather than an open string) then you need to have another finger in position fretting this note before executing the pull-off, and you should also ensure that it is held with firm pressure so that the pulling finger doesn't cause it to move and alter pitch.

Multi-slurs once you've mastered the basic techniques you can try slurring more than one note. For example, play the note of A, then hammer-on B and then hammer-on C – or play these three notes in reverse using pull-offs. You can combine hammer-ons and pull-offs to make a trill by repeatedly slurring between two notes. There are literally hundreds of possible combinations and the only limit is your imagination. The trick is to experiment with as many different slurs as possible.

Using finger-tapping combined with standard left hand fretting, or slurring, opens up the possibility of slurring across a wide range of intervals that simply couldn't be reached using just the normal fretting hand. By combining these techniques, riffs and melodic runs can be played along single strings (either with one hand slurring in a static position, or with both hands moving in either the same or opposite directions). Well-crafted use of these techniques can give the effect of great virtuosity.

Slides You can slide to a note from a few frets below (or above) and as long as you don't linger on the initial note, it doesn't matter where you start from. Alternatively, you can play and hold a lower note in a scale before sliding slowly to a higher note in that scale – allowing any intervening passing notes to sound and create a chromatic effect. When sliding up the fingerboard make sure that you move the whole hand including the thumb, rather than just the fretting finger.


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Vibrato By repeatedly varying the pitch of a note very slightly you can achieve an effect known as vibrato. This can add sustain to your playing. On steel strings, you can get a vibrato effect by repeatedly waggling the tip of your fretting finger vertically up and down very slightly whilst holding a note. On nylon strings you can get a similar effect by moving the finger horizontally. If you are fretting the note with your first finger then you can use 'wrist vibrato' – where the pitch of the note is altered by the rotation of the wrist, whilst the first finger holds down the note. Used with variety, vibrato can be a very expressive technique which can add considerably to the emotional impact of a solo.

Damping Muting notes by damping the strings is an essential electric guitar technique. It allows you to control the sustain of each note and to introduce staccato and accent effects. There are two methods that can be used: P icking hand damping: the side of the picking hand presses against the strings near the bridge and mutes the strings. Use this muted sound to contrast with your normal sound. By varying the amount of pressure that is applied, you can achieve a wide variety of sounds. Experiment by releasing the damping slightly on certain notes so that they sound louder and clearer than the others.

Fretting hand damping: a note is fretted normally, but as the string is picked the pressure of the fretting finger is released slightly. The fretting finger doesn't actually come off the string, it just allows the string to come far enough away from the fretwire so that the note is muted and becomes what is known as a 'ghost' note. Experiment by alternating between ghost notes and normal notes. By using a continuous picking action, whilst only allowing certain notes to ring clearly, you can create a real sense of movement and energy without the melody becoming too busy. This is a good way of establishing rhythmic accents within your phrasing.

Tonal changes Lead guitar isn't all about scales and techniques. First and foremost, it's the sound of your guitar that people listen to. Spend some time working on tone production: z try picking near to the bridge and then close to the fingerboard, to create different tonal textures. z create some 'light and shade' by using different amounts of attack when you pick the strings. z experiment with different tone settings on your guitar and amp, and try selecting a different pick-up for different sections of a solo.

Double stops Playing two notes at once can create a very powerful effect. A good starting point is to begin by playing in octaves. This means that every time you play a note you simultaneously play the same note an octave higher. The octave note can always be found two strings above, two or three frets higher.


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Another possibility is to harmonise a phrase by simultaneously playing another interval from the same scale. This is most commonly done by adding a note a third higher in the scale. For example, in A major, play A with C#, and B with D. Harmonisation using thirds creates a very sweet sound. Double stops can also be played with other intervals such as 5ths and 4ths. These give a more strident effect.

String bends You can string bend (i.e. change the pitch of a note without altering string or fingerboard position) by fretting a note and pushing the string upwards whilst you pick it. String bends are a great way of adding expression to your playing. Nearly all rock and blues guitarists use string bending as an integral part of their technique, and as a way of expressing emotion through their playing. How to bend To physically bend a note all you have to do is fret it normally and then push it skywards with your fingers. If you're executing the bend with the third or fourth finger, it's important that you use the remaining fingers as well, on the same string, to give added strength and control when bending. You can bend any note in any scale providing that it reaches another note in that scale. You should push the string upwards until it reaches exactly the pitch you require. It's a good idea to practise fretting the higher note first, and then sing that note aloud, whilst bending the note into tune with your voice.

Practise string bending in different keys. This is important as the amount of pressure that will be needed will vary depending upon the fingerboard position. For instance, bending a note at the third fret of the G sting will require more strength than bending at the seventh fret of the same string.

Top ten bends n Rising bend bend.. Repeatedly pick the string whilst bending it up very slowly until you hear the note gradually bend into tune. o Choke bend bend.. Bend the note, then quickly choke the sound by letting the picking hand touch the strings. This gives the staccato sound much favoured by blues players. p Teasing bend bend.. Use several very small bends before fully bending the note into tune. This creates a very communicative, almost speaking effect. q Hold bend bend.. Bend the note slowly until it's in tune – then just hold it there. This is a favourite technique of guitarists who prefer a long sustained tone. r Release bend bend.. Bend the note up without picking it – then pick it and slowly release it. This is a way of making a note go down in pitch. s Up down bend bend.. Bend the note up and, without re-picking it, let it down again. That way you get two notes for the price of one! t Double bend bend.. Bend the note up, let it down, and then bend it up again – but only pick the string the first time. u Waver bend bend.. Bend the note up and then repeatedly lower and raise it very slightly – so that you are adding vibrato to the bent note. v Unison bend bend.. Whilst bending to a note, fret and play the same note on the next string. For example, simultaneously play D fretted on the 1st string, and C (being bent up to D) on the 2nd string. It also sounds good to alternate between the two. w Harmony bend bend.. Bend a note whilst playing and holding a different note higher in the scale.


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Keys and modes T

he aim of this chapter is to explain the basic harmony behind key centres. Knowing which chords occur in each key, should enable you to identify key centres. This in turn should enable you to decide which are the most suitable scales to use over any given chord sequence.

major theory Each major key has seven basic chords that are built from the notes of the key scale. MAJOR KEYS CHORD NO.

BASIC TRIAD

BASIC EXTENSIONS

OTHER COMMON EXTENSIONS

MAJOR MINOR MINOR MAJOR MAJOR MINOR DIMINISHED

MAJOR 7th MINOR 7th MINOR 7th MAJOR 7th DOMINANT 7th MINOR 7th MINOR 7thb5

major 6th, major 9th minor 6th, minor 9th minor 7th#5, minor 11th major 6th, major 9th dominant 9th, dominant 13th minor 7th# 5, minor 9th minor 7thb5b9

or position in the key

I II III IV V VI VII

Here is an example of the chords that are built from the C major scale: Scale degrees:

I

II

III

IV

V

VI

VII

Scale notes:

C

D

E

F

G

A

B

Basic triads:

C

Dm

Em

F

G

Am

Bdim

Cmaj7

Dm7

Em7

Fmaj7

G7

Am7

Extended chords:

Bm7b 5

All other key types can be analysed in comparison to this major key formula.

relative minor keys Natural (relative) minor keys contain the same chords as major keys, but with the chord formula starting on what was the VI chord in the major key.


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MINOR KEYS CHORD NO.

BASIC TRIAD

BASIC EXTENSIONS

OTHER COMMON EXTENSIONS

MINOR DIMINISHED MAJOR MINOR MINOR MAJOR MAJOR

MINOR 7th MINOR 7thb5 MAJOR 7th MINOR 7th MINOR 7th MAJOR 7th DOMINANT 7th

minor 9th minor 7th b5b9 major 9th minor 9th minor 11th major 9th dominant 9th

or position in the key

I II III IV V VI VII

Here is an example of the chords that are built from the A natural minor scale: Scale degrees:

I

II

III

IV

V

VI

VII

Scale notes:

A

B

C

D

E

F

G

Basic triads:

Am

Bdim

C

Dm

Em

F

G

Extended chords:

Am7

Cmaj7

Dm7

Em7

Fmaj7

G7

Bm7b 5

modes Although modal scales all have difficult sounding names, they are no more difficult to understand or play than other types of scales. Whilst you'll find that some players attempt to use a different mode for each chord, this approach can often lead to a very mechanical performance with little emphasis on the development of melodic lines and phrases across bars. Often the 'feel' for the music is lost in an unnecessary attempt at over-technicality. In certain forms of jazz music this approach can work well, if the performer is suitable prepared and highly skilled, but for rock and popular music my advice is to view each modal scale as having a key centre in its own right (with its own group of chords) – just as we do with the major and natural minor scales. (In fact, both these scales are modes themselves – the Ionian and the Aeolian.) The most commonly used modal key centres are explained below:

Dorian minor keys Dorian minor keys contain the same chords as major keys, but with the chord formula starting on chord II of the major key. I

II

III

IV

V

min 7

min 7

maj 7

dom 7

min 7

VI

min 7b5

VII maj 7


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L ydian major kkeys eys Lydian major keys contain the same chords as standard major keys, but with the chord formula starting on chord IV of the standard major key. I

II

III

maj 7

dom 7

min 7

IV

min 7b5

V

VI

VII

maj 7

min 7

min 7

Mixolydian keys Mixolydian keys contain the same chords as standard major keys, but with the chord formula starting on chord V of the standard major key. I

II

dom 7

min 7

III

min 7b5

IV

V

VI

VII

maj 7

min 7

min 7

maj 7

blues The harmony used in blues-based music falls outside standard musical harmony. The mainstay of blues based improvisation is the blues scale – which is a variation on a pentatonic minor scale. However, the chords used to accompany this scale are normally dominant 7ths – which are extensions of major triads. It is the unique clash and dissonance between the major and minor that gives blues music its distinctive sound. Blues keys can be recognised by their reliance on dominant 7th chords (or their extensions) on the 1st, 4th and 5th degrees of the scale. Other chords built mainly from the scale tones may also occur. For example, C blues scale would fit over C7, F7, G7, Bb and E b.

scale choice The most reliable method of deciding which scale to use over a chord sequence is to first analyse the chords to assess from which key they stem. Begin by assuming that the first chord is the key centre chord. (Refer to the diagrams on page 20 if you are unsure which chords occur 'naturally' in each key). On the following page are some examples of chord sequence analysis:


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| Cmaj7 | Dm7 | Cmaj7 | G7 | Analysis: i.

The sequence starts with Cmajor7 – implying a major key. There are only two types of major keys – standard major and Lydian. So this narrows the scale choice to either C major scale or C Lydian modal scale.

ii. The next chord, Dm7, only occurs in C major – on the 2nd degree of the scale. As C Lydian modal scale contains an F# note, the D chord that occurs in C Lydian would be major (i.e. D or D7) rather than minor. iii. The appearance of G7 in the sequence confirms the key of C major. (G7 occurs on the 5th degree of the C major scale. As C Lydian modal scale contains an F# note, the G chord that occurs in C Lydian would be Gmaj7,rather than G7.)

| Cmaj7 | Am7 | Bm7 | D7 | Analysis: i.

The sequence starts with Cmajor7, thus implying a major key and narrowing the scale choice down to either C major scale or C Lydian modal scale.

ii. The next chord, Am7, occurs in both C major and C Lydian – so this leaves us no further forward in identifying the overall key of the sequence. iii. The appearance of Bm7 and D7 in the sequence means that C Lydian modal scale would be the best choice – as both these chords occur in the C Lydian key centre, whilst neither occur in the key of C major (which contains Bm7 b 5 and Dm7 instead). The crucial difference is the F# (rather than C major's F natural) that occurs in C Lydian modal scale and in both Bm7 and D7.

| Cm7 | Dm7 | Cm9 | F9 | Analysis: i.

The sequence starts with Cm7, thus implying a minor key and narrowing the scale choice down to either C natural minor scale or C Dorian modal scale. (Other, less common, minor scale possibilities do exist, but are outside the scope of this book).

ii. The next chord, Dm7, occurs only in C Dorian. C natural minor contains an Ab note – whereas both C Dorian and Dm7 contain A natural.

iii. The appearance of F9 at the end of the sequence confirms C Dorian modal scale as the best choice – as this chord also occurs in the C Dorian key centre, and not in the key of C natural minor.

| C7 | Am7 . B b maj7 . | C13 | Am7 b 9 . B b maj9 . |

Analysis: i.

The sequence starts with C7, thus implying a dominant key centre and narrowing the scale choice down to either C blues or C Mixolydian modal scale.

ii. The next two chords, Am7 and Bb maj7, both occur in C Mixolydian and not in C blues.

iii. The final three chords, C13, Am7 b 9 and Bb maj9, are merely extensions of the first three chords and so do not alter our scale choice of C Mixolydian modal scale.


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modulations As with modal key centres, modulations can be analysed in a variety of ways. The most straightforward method is to try to identify clusters of chords which fit into the same key centre. This way, the same scale, and the one that best reflects the tonality of that particular section of the sequence, can be used throughout that key centre. This stability will allow you to concentrate on the important musical aspects of improvisation, such as phrasing, interpretation and the development of melodic lines. There is no need to analyse modal sequences in relation to the 'home' major keys from which they have stemmed, instead each mode can be viewed as having its own key centre and tonality. z Begin by identifying the starting key, then look at each bar in turn to check that each chord fits into the initial key. z When you come across a chord that is no longer in the first key, then this is where the change of key occurs. From this point onwards, follow exactly the same procedure as before to identify the new key centre. z Do not be misled by mere chord extensions and variations or passing chords – the key will only have changed if a group of two or more chords establish a new key.

| Cmaj7 | Bm7 |Bb maj7 |Am7 |A bmaj7 |Gm7 #5 . G7 # 5 . |

Analysis: i.

C Lydian modal scale will work well over the first two chords. (The C major scale wouldn't fit as the key of C major creates Bm7b 5 rather than Bm7.)

ii. The appearance of Bb maj7 in bar 3 means that the key has changed (as C Lydian modal scale does not contain a B b note). In fact, the first two chords have simply been repeated a tone lower, and so a scale a tone lower, Bb Lydian modal scale, should now be used. iii. The appearance of A b maj7 and Gm7#5 indicates another shift a tone lower. The last chord, G7#5, does not indicate a change of key. It is merely a variation on Gm7 #5, which can be created from the Ab Lydian modal scale. The chord has merely been altered, from minor to dominant, in order to create a stronger cadence when repeating back to the starting chord of Cmaj7. An arpeggio could be used to good effect here.

Analysis: i.

| Cm7 | F7 | Bb7 | A b maj7 |

C Dorian modal scale will work well over the first two chords. (The C natural minor scale wouldn't fit as it creates Fm7 rather than F7.)

ii. The appearance of Bb 7 in bar 3 means that the key has changed (as C Dorian modal scale would create Bb major 7th, rather than Bb dominant 7th.)

iii. The last two chords can both be built from Bb Mixolydian modal scale and so this is the scale that could be used over the final two bars.


19

Comparing modes Chords and scales built from the C major scale Scale/position: Major Dorian Lydian Mixolydian Natural minor

I

II

III

IV

V

VI

VII

Cmaj7 Dm7 Fmaj7 G7

Dm7 Em7 G7 Am7

Em7 Fmaj7 Am7 Bm7b5

Fmaj7 G7 Bm7b 5 Cmaj7

G7 Am7 Cmaj7 Dm7

Am7 Bm7b 5 Dm Em7

Bm7b 5 Cmaj7 Em7 Fmaj7

Dm7

Em7

Fmaj7

G7

Am7

Bm7b 5

Cmaj7

Chords and scales compared to the C major scale Scale/position: Major Dorian Lydian Mixolydian Natural minor

I

II

III

IV

V

VI

VII

Cmaj7 Cm7 Cmaj7 C7

Dm7 Dm7 D7 Dm7

Em7 Eb maj7 Em7 Em7b5

Fmaj7 F7 F#m7b 5 Fmaj7

G7 Gm7 Gmaj7 Gm7

Am7 Am7b 5 Am7 Am7

Fm7

Gm7

Bm7b 5 Bb maj7 Bm7 Bb maj7

Cm7

Dm7b 5

Eb maj7

Abmaj7

Bb 7

naming modes There are different ways of naming the modal scales amongst musicians. i.

All modes can be seen to stem from the major scale. For instance, if you play the exact notes of C major scale but starting on D you will get a Dorian mode. Hence some players call this scale 'the Dorian of C' (and sometimes 'C's Dorian') because it is derived from C major. However, other players call this same scale 'D Dorian' – because it starts on D.

ii.

To avoid such potential confusion, the clearest method is to refer to each mode as a scale in its own right. Therefore a scale that starts on D and follows the interval sequence for a Dorian mode is referred to in this book as 'D Dorian modal scale'. ('Dorian modal scale starting on D' is also an effective way of making the meaning clear).


20

Guitarograph A

ll the scales and arpeggios within this book are illustrated using the Registry Of Guitar Tutors' unique Guitarograph system. This incorporates tablature, standard musical notation, interval formula and fingerboard information all in one diagram. As the guitarograph illustrates the same information in this unique combination of four different systems there should be no doubt how to play any scale or arpeggio. C 1

D 2

E 3

F 4

G 5

A 6

B 7

C 8

Tablatur e : The tablature is shown on the left of the guitarograph, with horizontal ablature lines representing the strings (with the high E string being string 1), and the numbers on the string lines referring to the frets. Musical notation notation: The middle section of each guitarograph illustrates the scale in standard musical notation. Fingerboard diagram diagram: The fingerboard diagram is on the right of the guitarograph with horizontal lines representing the strings. Vertical lines represent the frets; with fret numbers shown in Roman numerals. Numbers on the horizontal lines show the recommended fingering. All the scales and arpeggios within this book are 'transpositional' – i.e. they use moveable patterns which you can shift up or down the fingerboard to any key. The fingerings which have been chosen are those which are likely to be the most effective for the widest range of players at this level. However alternative fingerings and fingerboard positions could be used and you should feel free to explore any systematic fingerings that produce a good musical result. Inter val formula Interval formula: Above each guitarograph is an interval formula that lists the pitch of the notes together with their interval numbers (shown in comparison to the major scale with the same starting note). The interval formulae are designed to help you identify the differences in construction between the various scales and arpeggios and to help you learn the names of the notes that you are playing. Spending time memorising the notes within each scale and arpeggio, and where they occur on the fingerboard, will prove a worthwhile investment. You shouldn't just rely on remembering the fingerboard box shapes – as this will limit your ability to identify chord tones when improvising. Improvising Lead Guitar – Advanced Level © Copyright 2010 Registry Publications – COPYING OF THIS LESSON IS ILLEGAL www.RGT.org

21

Playing levels O

n the following pages you'll find the chord sequences which are featured on the accompanying CD. Below each sequence you'll find some improvising suggestions – i.e. possible scales and arpeggios which you could use for your solo over the backing track. These suggestions are just one approach to improvising over the sequences and are designed to be the most straightforward to learn. For most sequences, there are numerous other approaches to improvisation which could be used and you should feel free to explore them. So that you learn in a progressive and structured way, the sequences are listed according to playing level – starting at Grade 6 level and progressing through to Grade 8. It is recommended that you play along with the Grade 6 level backing tracks several times before attempting the higher grade levels.

Grade 6 performance level: z These sequences do not change key. z For the major and natural minor key sequences you should try to use up to five fingerboard positions for each scale. Develop fluency in moving between the different scale positions by thinking up phrases that start in one position and end in another. This can help make your playing far less repetitive than it might become if you simply played in just one position.

so that you can focus on the sound of the mode. z Try to incorporate string bends, vibrato and other specialist techniques into your soloing as these will enhance the performance.

Grade 7 performance level: z These sequences feature a shift in key, whereby the first part of the chord sequence is usually repeated in a new key. z Begin by using one fingerboard position for each scale, but in the long term aim to use two or more fingerboard positions for each scale. This will make it easier to change from one key to another smoothly, as it means you won't be reliant upon just one scale position. Consequently, awkward fingerboard jumps, when the key changes, can be avoided. z Aim to 'lead' the key change, rather than follow behind it, by playing some notes from the new key either exactly as the key shifts, or just before it does so. z Try to develop ease and confidence in the use of arpeggios and specialist techniques.

Grade 8 performance level: z These sequences feature modulations. z Before improvising, listen carefully to each backing track in order to hear where the key changes occur. Try to be pro-active in 'leading' the key changes, rather than reacting to them after they have occurred. z So that your playing doesn't become too scalic, invent melodic lines and phrases that go across bars and combine keys.

z Experiment using scales harmonised in 3rds or octaves.

z Experiment using chromaticism to add colour and variety to your playing.

z For the modal sequences, begin by just concentrating on one fingerboard position

z Make sure that your soloing is sensitive to the musical style of each backing track.


22

Backing tracks B

elow are all the chord sequences for the backing tracks featured on the CD. This is where you can put all the improvisation theory into practice. All the scales and arpeggios that you need are shown on pages 26 to 39. Before you begin to improvise over any sequence, practise the scales and arpeggios you’ll need and listen to at least one sequence of the backing track – that way you'll be able to get a feel for the musical style and structure of the sequence. Now it's time to get playing. Enjoy yourself…

Track 2 – Driving Rock

P er formance level:

Grade Six

Improvisation suggestion:

G natural minor scale

Track 3 – Smooth Ballad


Grade Six


A major scale

Track 4 – Funky Groove


Grade Six


D Dorian modal scale


23

Track 5 – Cool Rock


Grade Six


A Mixolydian modal scale

Track 6 – Blues Changes

P er formance level: Improvisation suggestion:

Grade Seven

G blues scale for first four bars, then change to B b blues scale. Use arpeggios over the 7#9 chords.

Track 7 – Cool Jazz


Grade Seven


C Dorian modal scale for the first four bars, then change to D Dorian modal scale. An arpeggio or whole tone scale could be used over the final chord.

Track 8 – Lydian Ballad


Grade Seven


E Lydian modal scale for the first four bars, then change to D Lydian modal scale for the last four bars.


24

Track 9 – Slow Groove


Grade Eight


Use arpeggios for the first 4 bars, then use E Dorian modal scale for 2 bars, change to F Dorian modal scale for 2 bars, then return to E Dorian modal scale. An arpeggio or whole tone scale could be used over the final chord.

Track 10 – Five-time Changes


Grade Eight


Use A natural minor scale for the first four bars. Use C Dorian modal scale for the next three bars, and an arpeggio for the #9 chord. Then use A Lydian modal scale, changing to a whole tone scale over the final chord.

Track 11 – Melodic blues


Grade Eight


Use C blues scale for the first six bars, then switch to C pentatonic major scale for four bars, before returning to C blues. Arpeggios could be used over the E b m7 passing chord and the 7#5 pivot chord. Chord tones could be added to the basic blues scale throughout.


25

Scales T

he most useful scales for Advanced Level improvisation are illustrated on the following pages. These same scales are also required for the Registry Of Guitar Tutors electric guitar examinations – Grades Six to Eight. If you find these scales very difficult to play you should review the previous books in this series before proceeding. So that all the scales can be used for improvising in contexts other than with the backing tracks provided, all are shown in the same key – i.e. with a starting note of A (a common and central key for guitarists). Showing all the scales in the same key should aid ease of comparison between the scales. All the scale patterns shown are transpositional and can be easily played in any key by simply replicating the fingering starting on the relevant tonic note. (Some of the scale shapes can be played using open strings or transposed an octave if required for certain keys).

A natural minor scale – 1 octave (5 fingerboard positions) A 1

B 2

C

b3

D 4

E 5

F

b6

G

b7

A 8


26

A natural minor scale – 3 octaves A 1

B 2

C

b3

D 4

E 5

F

b6

G

b7

A 8

A natural minor scale in octaves – 1 octave


27

A major scale – 1 octave (5 fingerboard positions) A 1

B 2

C# 3

D 4

E 5

F# 6

G# 7

A 8


28

A 1

B 2

A major scale – 3 octaves C# 3

D 4

E 5

F# 6

G# 7

A 8

A major scale in octaves – 1 octave

A C#

A major scale in 3rds – 1 octave B

C#

D

E

F#

G#

A

D

E

F#

G#

A

B

C#


29

A Dorian modal scale – 2 octaves (2 fingerboard positions) A 1

B 2

C

b3

D 4

E 5

F# 6

G

b7

A 8

A Dorian modal scale – 1 octave (3 fingerboard positions)


30

A Mixolydian modal scale – 2 octaves (2 fingerboard positions) A 1

B 2

C# 3

D 4

E 5

F# 6

G

b7

A 8

A Mixolydian modal scale – 1 octave (3 fingerboard positions)


31

A blues scale – 1 octave (5 fingerboard positions) A C D Eb E G A b3 b5 b7 1 4 5 8


32

A blues scale – 3 octaves C D Eb E G b3 b5 b7 4 5

A 1

A 8

A whole-tone scale – 2 octaves A 1

B 2

C# 3

D# #4

F

G

b6

A 8

b7

A Lydian modal scale – 1 octave (2 fingerboard positions) A 1

B 2

C# 3

D# #4

E 5

F# 6

G# 7

A 8


33

A pentatonic major scale – 1 octave (5 fingerboard positions) A 1

B 2

C# 3

E 5

F# 6

A 8


34

Arpeggios The most useful arpeggios for Advanced Level improvisation are illustrated on the following pages. These arpeggios are also required for the Registry Of Guitar Tutors electric guitar examinations – Grades Six to Eight. So that all the arpeggios can be used for improvising in contexts other than with the backing tracks provided, and as an aid to comparison between arpeggios, all are shown with a starting note of C. All the arpeggio patterns shown are transpositional and can be played at a different pitch by simply replicating the fingering starting on the new root note required. (Some of the arpeggio shapes can be played using open strings, or transposed an octave, if required for certain pitches).

C minor 7th arpeggio – 1 octave (2 fingerboard positions) C Eb G Bb C b3 b7 1 5 8

C major 7th arpeggio – 1 octave (2 fingerboard positions) C 1

E 3

G 5

B 7

C 8


35

C dominant 7th arpeggio – 1 octave (2 fingerboard positions) C E G Bb C b7 1 3 5 8


E 3

G 5

A 6

C 8

C minor 9th arpeggio – 1 octave (2 fingerboard positions) C Eb G Bb D b3 b7 5 9 1


36


E 3

G 5

B 7

D 9

C dominant 9th arpeggio – 1 octave (2 fingerboard positions) C E G Bb D b 1 3 5 7 9

C dominant 11th arpeggio – 1 octave C E G Bb D F b 7 9 11 1 3 5


37

C dominant 13th arpeggio – 1 octave C E G Bb D F A b7 1 3 5 9 11 13

Altered arpeggios Below is illustrated a minor 9th arpeggio with the b5, #5 & b9 also indicated. By using the table of chord formulae below all variations can be found.

Cm7b5

1 C

Cm7#5

1 C

Cm7b9

1 C

Cm7b5b9 Cm7#5b9 Cm9b5 Cm9#5

1 C 1 C 1 C 1 C

b3 Eb

b3 Eb

b5 Gb #5 G#

b3 Eb

5 G

b3 Eb

#5 G#

b3 Eb b3 Eb

b3 Eb

b5 Gb b5 Gb #5 G#

b7 Bb

b7 Bb b7 Bb

b9 Db

b7 Bb

b9 Db

b7 Bb b7 Bb

b7 Bb

b9 Db

9 D 9 D


38

Below is illustrated a dominant 9th arpeggio with the b5, #5, b9 & #9 also indicated. By using the table of chord formulae below all variations can be found.

C7 b5

1 C

3 E

b5 Gb

C7#5

1 C

3 E

#5 G#

1 C

3 E

5 G

1 C

3 E

5 G

1 C

3 E

b5 Gb

1 C

3 E

C7#5 b9

b5 Gb

1 C

3 E

#5 G#

C7#5#9

1 C

3 E

#5 G#

1 C

3 E

b5 Gb

1 C

3 E

#5 G#

C7 b9 C7#9 C7 b5b9 C7 b5#9

C9 b5 C9#5

b7 Bb

b7 Bb b7 Bb b7 Bb

b7 Bb

b7 Bb

b7 Bb

b7 Bb b7 Bb

b7 Bb

b9 Db #9 D# b9 Db #9 D# b9 Db #9 D# 9 D 9 D


39

Further study Electric Guitar Playing (Grade Eight) by TTony ony Skinner Can you make the top grade? Find out by reading this book! If you learn to play all the things contained within this book you will be able to gain an internationally recognised qualification in electric guitar playing. It covers all the areas of guitar playing and musical knowledge that you need to pass your RGT Grade Eight examination. Even if you’re not interested in exams, the handbook will help you to become a much improved guitarist and fully rounded musician.

Rhythm Guitar Playing (Book Three) by Chaz Hart Is your rhythm playing as good as your lead? If not, this is the book for you! It contains over 30 chord sequences for you to practise, and gives plenty of advice and tips on how to improve your rhythm playing. All the chords required for the RGT Grades Six, Seven and Eight examinations are fully covered in this book.

You can order these books from www .BooksF orGuitar .com www.BooksF .BooksForGuitar orGuitar.com

Registry Mews, 11-13 Wilton Road, Bexhill, Sussex, TN40 1HY, United Kingdom. Tel: 01424 222222 Fax: 01424 213221 Website: www.RGT.org


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Improvising Lead Guitar - Advanced

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