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EasyiiVIVocabulary

EasyandEssentialiiVILinesandConceptsWrittenBy:MatthewWarnockPublishedBy:GuitarforLifeLLCCopyright2018GuitarforLifeLLC


TableofContentsHowtoUseThiseBookMajoriiVIVariationsMinoriiVIVariationsCharlieParkeriiVIVocabularySonnyRollinsiiVIVocabularyJohnColtraneiiVIVocabularyWyntonKellyiiVIVocabularyMcCoyTyneriiVIVocabularyMilesDavisiiVIVocabularyFreddieHubbardiiVIVocabularyWesMontgomeryiiVIVocabularyJoePassiiVIVocabularyPatMartinoiiVIVocabularyMikeSternAutumnLeavesSoloHankMobleyIRememberYouSoloPatMethenyAlltheThingsYouAreSoloAbouttheAuthor


HowtoUseThiseBookWelcometotheEasyiiVIVocabularyeBook,greattohaveyouhere!Beforedivingintothematerialbelow,takeaminutetolearnhowthiseBookworksandhowtogetthemostoutofthismaterial.Thatwayyoucandigintoeachandeverylick,concept,pieceofvocabulary,andsolothemostefficientwayinyourstudies.HavefunwiththiseBook,andhavefunbuildingarock-solidjazzguitarvocabularyalongtheway.

BackingTracksWhenyoudownloadedthiseBook,youalsodownloadedalltheaudioexamplesandsongbackingtracksyouneedforthiseBook.TherewasalsoaseparatelinkforthemajorandminoriiVI,andvariations,backingtracks.Thisisbecausemanyplayerscreatetheirownbackingtracksthesedays,oryoumayhavealreadydownloadedthesewithanothereBook.Becausethefilesaresolarge,IputthemasaseparatelinkintheemailyoureceivedwhenbuyingthiseBook.Ifyouwanttodownloadthebackingtracksatalaterdate,oryoumissedthemintheemail,here’sthelinkforthosefiles.Justcopyandpastethislinkintoyourbrowser,downloadthefiles,andyou’reallset.


WorkingtheLicksEachchapterinthiseBookanalyzestwoclassiclicksbyfamousjazzmusicians.TheselicksareplayedovermajorandminoriiVI’s,variationsofthosechords,orindividualchordsfromthoseprogressions.Thefirstgoalineachchapteristoplaythelicksaswrittentogetthemintoyourearandhearthevocabularyincontext.Ifyoufeelready,youcanworkthelicksinotherkeysandaddthemtoyoursolosoverbackingtracksorfulljazztunes.Onceyouplaythroughthelick,moveontotheanalysisofeachvocabularyconceptandexercisesbelowthatphrase.

ExpandingonVocabularyConceptsOnceyouplaythroughthefeaturedlick,you’rereadytomoveontolearningaboutthevocabularyconceptswithinthatline.Eachlinebreaksdown2-3piecesofvocabularythatyoucanlearnandapplytoyourownjazzguitarsolos.There’satheoryexplanationfollowedbyseveralexercisesforeachvocabularyconcept.Makesuretoworktheseexerciseswithametronomeandbysoloingwiththemoverthebackingtracks.Thisbuildsyourknowledgeandpreparesyoutoaddtheseconceptstoyoursoloswhenready.


ChapterSolosAttheendofeachchapterisasolowritteninthestyleofthatparticularmusician.Thesesolosusevocabularyfromthatchapter,buttheyalsoaddnewvocabularytocheckoutinyourstudies.Ifyouseeanewvocabularyconceptinasolo,takeitoutofcontext,analyzeit,andcreateexercisesaroundthatconcept.ThatwayyoutrainyourselftorepeatthisprocessonyourownwithothersolosandlicksyoulearnoutsideofthiseBook.Aswell,thefirstfewsoloshavemyanalysisundereachbar,butafterawhiletheanalysisisleftblank.ThisissoyoucanseehowIgoaboutanalyzingsolos,andthenyoucangiveitatrywiththesoloslateroninthebook.

WritingLicksandSolosAfteryoulearnthelick,theconcepts,andthechaptersolos,youcanwritelicksandsolosofyourownwiththatvocabulary.Writingoutlicksandsolosislikeimprovisingwithaneraser.Itteachesyouhowtousethevocabulary,butyoucangoslow,correctmistakes,andlearnhowyouwanttoapplyvocabularytoyoursolos.Overtimeyoubecomefasterwiththisprocess,andeventuallyyoucandoitinrealtimeinyourimprovisedsolos.Aslongaswritingoutlinesandsolosisameanstoanend,andyouwanttoeventuallyimprovise,it’sfine.


Ifyouwriteoutsolosorlinesandplaythemexactlyaswritteninajamsession,you’renotgettingthemostoutofthisexercise.

JazzStandardSoloingStudiesAttheendoftheeBooktherearelongersolosbasedonvocabularyfromthreemorejazzlegends.Asonebookcanonlycoversomanyplayers,Iincludedthesesolosforyoutolearn,butalsotoanalyzeandexpanduponinyourstudies.Learnthesolosaswritten,thenextractanylinesyoulike,analyzethem,andbuildexercisesaroundthoseconceptinyourstudies.Thiswayyoulearnfunsolostoplayandgetthebenefitsofstudyingthoselinesintheprocess.Ok,enoughtalk;timetolearnsomejazzvocabulary!


MajoriiVIVariationsBeforeyoudiveintothematerialinthiseBook,takeaminutetolookatthemajorchordprogressionsthatyoucanusetoworkeveryexercise.Theseprogressionsprepareyoutosolooveranyjazzstandardwithmajorkeycenterswithconfidence.Youdon’thavetoworkalloftheseprogressionsrightaway,butmakeitagoaltotryeachoneoutasyouworkthroughthismaterial.Havefunexploringthesedifferentprogressions,they’reallcloselyrelated,butprovidedifferentchallengesinyoursolos.

iiV

ThefirstprogressionyoucanstudyistheiiVprogression.Thisprogressiondoesn’tresolvetoatonicmaj7chord,andit’softenusedinsequenceswhenfoundinjazzstandards.Becauseofthis,it’sworthworkingthisprogressioninasmanykeysasyoucan,asyouencounteritnon-stopwhenplayingjazztunes.Here’sanexampleofthisprogressioninthekeyofCmajor.


Here’stheshort,1-barversionoftheiiVprogression.

iiVI

ThenextprogressiontopracticeisthefulliiVIprogression.Asthisisthemostpopularprogressioninjazz,it’sthebestplacetospendyourtime.So,iftimeisshortinthepracticeroom,workthevocabularyinthiseBookoverthisprogressionfirst.Then,ifyouhavesomeextratimeyoucanworkontheiiVIvariationsbelowandabove.


Here’sanexampleofthisprogressioninthekeyofCmajor.

Here’stheshort,2-barversionoftheiiVIprogression.

iiVIIV

YoualsoworkontheiiVIIVvariationinthiseBook,whichyoucanhearinthefirstsectionofFlyMetotheMoon,amongothertunes.TheIVmaj7chordisinterestingasitusesamaj7#11soundwhenyouapplytheLydianmodetothatchord.


ThisgivesyouachancetoworkonLydiansoundsinyourstudieswhileworkingonthevocabularyinthiseBook.Hereareexamplesofthisprogressiongetanideaofhowitsoundsandsitsonthefretboard.

Here’stheshort,2-barversionoftheiiVIIVprogression.


iiVIVI

ThelastprogressionthatyouworkonistheiiVIVI,whichfeaturesa7b9chordinthelastbarorlasthalfbaroftheprogression.Herearetwoexamples,oneshortandonelong,ofaiiVIVIprogressioninthekeyofCmajor.NoticethattheA7b9chordisn’tfromthekeyofCmajor;normallythatchordwouldbeAm7.Injazz,weliketocreatetensionandresolutioninourlinesandchords.Becauseofthis,mostVIchordsareplayedasVI7b9,especiallyifthenextchordisiim7,asitishere.A7b9istheV7b9ofDm7,theiim7chord,soitcreatestensionandthenastrongresolutioninthisprogression.Makesuretoworkthisprogressioninyourstudies,inmultiplekeys,asyoufindthisprogressioninmanyjazzstandards.


Here’stheshort,2-barversionoftheiiVIVIprogression.

BackingTrackProgressionsinEveryKeyTherearebackingtracksprovidedinall12keysforthemajoriiVIvariationswiththiseBook.Tohelpyouquicklyfigureoutwhatchordsareusedineachprogression,andoneachtrack,theretheyare.


MajoriiVBackingTrackChords

HerearethechordchangesusedforthelongiiVbackingtracksincludedinthiseBookforyoutopracticewith.

Ø CMajor=Dm7G7Ø DbMajor=Ebm7Ab7Ø DMajor=Em7A7Ø EbMajor=Fm7Bb7Ø EMajor=F#m7B7Ø FMajor=Gm7C7Ø GbMajor=Abm7Db7Ø GMajor=Am7D7Ø AbMajor=Bbm7Eb7Ø AMajor=Bm7E7Ø BbMajor=Cm7F7Ø BMajor=C#m7F#

MajoriiVIBackingTrackChords

HerearethechordchangesusedfortheiiVIbackingtracks,bothshortandlong,includedinthiseBookforyoutopracticewith.

Ø CMajor=Dm7G7Cmaj7Ø DbMajor=Ebm7Ab7Dbmaj7Ø DMajor=Em7A7Dmaj7Ø EbMajor=Fm7Bb7Ebmaj7Ø EMajor=F#m7B7Emaj7Ø FMajor=Gm7C7Fmaj7Ø GbMajor=Abm7Db7Gbmaj7Ø GMajor=Am7D7Gmaj7Ø AbMajor=Bbm7Eb7Abmaj7Ø AMajor=Bm7E7Amaj7Ø BbMajor=Cm7F7Bbmaj7Ø BMajor=C#m7F#7Bmaj7


MajoriiVIIVBackingTrackChords

HerearethechordchangesusedforthelongiiVIIVbackingtracksincludedinthiseBookforyoutopracticewith.

Ø CMajor=Dm7G7Cmaj7Fmaj7Ø DbMajor=Ebm7Ab7Dbmaj7Gbmaj7Ø DMajor=Em7A7Dmaj7Gmaj7Ø EbMajor=Fm7Bb7Ebmaj7Abmaj7Ø EMajor=F#m7B7Emaj7Amaj7Ø FMajor=Gm7C7Fmaj7Bbmaj7Ø GbMajor=Abm7Db7Gbmaj7Bmaj7Ø GMajor=Am7D7Gmaj7Cmaj7Ø AbMajor=Bbm7Eb7Abmaj7Dbmaj7Ø AMajor=Bm7E7Amaj7Dmaj7Ø BbMajor=Cm7F7Bbmaj7Ebmaj7Ø BMajor=C#m7F#7Bmaj7Emaj7

MajoriiVIVIBackingTrackChords

HerearethechordchangesusedforthelongiiVIVIbackingtracksincludedinthiseBookforyoutopracticewith.

Ø CMajor=Dm7G7Cmaj7A7b9Ø DbMajor=Ebm7Ab7Dbmaj7Bb7b9Ø DMajor=Em7A7Dmaj7B7b9Ø EbMajor=Fm7Bb7Ebmaj7C7b9Ø EMajor=F#m7B7Emaj7C#7b9Ø FMajor=Gm7C7Fmaj7D7b9Ø GbMajor=Abm7Db7Gbmaj7Eb7b9Ø GMajor=Am7D7Gmaj7E7b9Ø AbMajor=Bbm7Eb7Abmaj7F7b9Ø AMajor=Bm7E7Amaj7F#7b9Ø BbMajor=Cm7F7Bbmaj7G7b9Ø BMajor=C#m7F#7Bmaj7G#7b9


MinoriiVIVariationsThereareanumberofminoriiVIvariationsthatyoucanusetolearnandpracticethevocabularyyoulearninthiseBook.Thesevariationsarefoundinmanyjazzstandards,andthereforeareessentiallearningsoyou’repreparedtojamonanyjazztune.Tobegin,here’sanintrotoeachofthoseprogressions.MakesuretoworkthevocabularyinthiseBookovereachofthesevariationsindifferentkeysinyourstudies.

MinoriiVShortandLong

ThefirstvariationoftheminoriiVIthatyouworkoninthiseBookistheiiV.Thisprogressionisfoundinmanyjazzstandards,andit’softenusedoveronebar,thoughtwo-barversionsareusedaswell.Here’sanexampleofaminoriiVprogressioninCmtoplay,getintoyourearsandfingers,andusetostudythevocabularyinthiseBook.


Here’sthelongversionoftheminoriiVprogressionthatyoucantryoutandworkwitheachexerciseyoulearninthiseBook.

MinoriiVIShortandLong

YoualsoworkonaddingthetonicminorchordtoformthefullminoriiVIprogressioninyourstudies.Asyoudiscoverthroughexperience,thetonicminorchordisoftenwrittenasm7,butyouplayitasm6,m6/9,mMaj7,etc.InthisexampleyouhavetheIm6/9variationinthelastbaroftheprogression.Giveitatry,getthesechordsintoyourfingersandears,thenworkanyexerciseyoulearninthiseBookoverthisprogression.


Here’sthelongversionoftheminoriiVIprogressiontocheckout,playthrough,andgetintoyourearsandfingers.

MinoriiVIbIIIShortandLong

YoucanalsoaddthebIIImaj7chordattheendoftheprogression,especiallyinaturnaroundsituation.ThebIIImaj7chordistherelativemajorchord,soit’sdirectlyrelatedtothetonicminorchordandminorkeyyou’rein.TrythisshortexampleouttogetthesoundofthisminoriiVIvariationinyourearsandunderyourfingers.


Here’sthelongversionoftheiiVIbIIIminorprogression.TakeaminutetoplaythroughthesechordsandgetthemintoyourearsandfingerstoprepareyourforthisprogressioninthiseBook.


BackingTrackProgressionsinEveryKeyTherearebackingtracksprovidedinall12keysfortheminoriiVIvariationswiththiseBook.Tohelpyouquicklyfigureoutwhatchordsareusedineachprogression,andoneachtrack,theretheyare.

MinoriiVBackingTrackChords

HerearethechordchangesusedforthelongminoriiVbackingtracksincludedinthiseBookforyoutopracticewith.

Ø CMinor=Dm7b5G7altØ DbMinor=Ebm7b5Ab7altØ DMinor=Em7b5A7altØ EbMinor=Fm7b5Bb7altØ EMinor=F#m7b5B7altØ FMinor=Gm7b5C7altØ GbMinor=Abm7b5Db7altØ GMinor=Am7b5D7altØ AbMinor=Bbm7b5Eb7altØ AMinor=Bm7b5E7altØ BbMinor=Cm7b5F7altØ BMinor=C#m7b5F#7alt


MinoriiVIBackingTrackChords

HerearethechordchangesusedfortheminoriiVIbackingtracks,bothshortandlong,includedinthiseBookforyoutopracticewith.

Ø CMinor=Dm7b5G7altCm7Ø DbMinor=Ebm7b5Ab7altDbm7Ø DMinor=Em7b5A7altDm7Ø EbMinor=Fm7b5Bb7altEbm7Ø EMinor=F#m7b5B7altEm7Ø FMinor=Gm7b5C7altFm7Ø GbMinor=Abm7b5Db7altGbm7Ø GMinor=Am7b5D7altGm7Ø AbMinor=Bbm7b5Eb7altAbm7Ø AMinor=Bm7b5E7altAm7Ø BbMinor=Cm7b5F7altBbm7Ø BMinor=C#m7b5F#7altBm7

MinoriiVIbIIIBackingTrackChords

HerearethechordchangesusedforthelongminoriiVIbIIIbackingtracksincludedinthiseBookforyoutopracticewith.

Ø CMinor=Dm7b5G7altCm7Ebmaj7Ø DbMinor=Ebm7b5Ab7altDbm7Emaj7Ø DMinor=Em7b5A7altDm7Fmaj7Ø EbMinor=Fm7b5Bb7altEbm7Gbmaj7Ø EMinor=F#m7b5B7altEm7Gmaj7Ø FMinor=Gm7b5C7altFm7Abmaj7Ø GbMinor=Abm7b5Db7altGbm7Amaj7Ø GMinor=Am7b5D7altGm7Bbmaj7Ø AbMinor=Bbm7b5Eb7altAbm7Bmaj7Ø AMinor=Bm7b5E7altAm7Cmaj7Ø BbMinor=Cm7b5F7altBbm7Dbmaj7Ø BMinor=C#m7b5F#7altBm7Dmaj7


CharlieParkeriiVIVocabularyAsParkerhadoneofthestrongestjazzvocabulariesofanymusician,regardlessofinstrument,he’sthebestplacetostartinthiseBook.Bird,ashewasknown,mixedcutting-edgebebopvocabularywithtraditionalpatternsandastrongbluedsensibilitytocreatehissound.Becauseoftheseinfluences,hisplayingconnectswithalargeaudience,andhismusichasenduredfordecadeswithoutsoundingdated.InthissectionyoulearntwoCharlieParkerlines,oneoveraImaj7chordandoneoveraminoriiVIprogression.Theconceptscoveredintheselines,beyondthelinesthemselves,are:

Ø MajorBebopScaleØ OctaveDisplacementØ EnclosuresØ 3tob9ArpeggiosØ TonicHarmonicMinorScale/PhrygianDominantØ NaturalMinorScale

Asyouworkonthevocabularybelow,throughtwodifferentlines,hereareexercisesyoucandotogetthemostoutoftheseconcepts.

Ø Learnthelickaswrittenwithametronome.Ø Workthelickindifferentkeyswithametronome.Ø Addthelicktoyoursolosoverbackingtracks.Ø Writevariationsofthelickandrepeattheabovesteps.Ø Digintotheconceptsandexercisesbasedonthatline.Ø Learnthesoloattheendofthechapter.Ø Writeasoloofyourownusingtheconceptsfromthischapter.


Ifyouworktheseexercises,notwitheverychapterbuthiteachexerciseovertime,yougiveyourselfarecipeforsuccess.NowthatyouknowaboutBird’ssoloingstyleandhowtopracticethismaterial,nowcomesthefunpart,playingthemonyourguitar!


Maj7VocabularyYoubeginyourstudiesbylearningamaj7lineinthestyleofCharlieParker,hereinthekeyofF.Beforeyouworkonthevocabularyfoundinthisline,hereareexercisestogetthemostoutofthisphraseinyourplaying.

Ø Playthelinewithametronomefrom40bpmtoyourmax.Ø Playthelinein12keysaroundthefretboard.Ø Singalongwhileyouplaythelineonyourguitar.Ø Singthelinewhilecompingthechordsonguitar,oroveratrack.Ø Write3-5variationsofthelinetoaddtoyourownsolos.

Nowthatyouknowhowtopracticethislick,it’stimetotakeittothefretboard.HavefunlearningthisCharlieParkermaj7lineandtheexercisesbuiltonthevocabularyfoundwithinthisfun-to-playphrase.AudioExample1


MajorBebopScale

Thefirstvocabularyconcepttakenfromthislineisthemajorbebopscale,whichisusedtobringcolortomaj7chordsinyoursolos.Themajorbebopscaleisbuiltbyaddinga#5/b6intervaltothemajorscale.Youcanseethishere,wherethefirstbarisaCmajorscaleandthelasttwobarsaretheCmajorbebopscale.Playbothtocomparehowtheysoundandsitontheguitar,thenheaddowntotheexerciseforthisscalebelow.AudioExample2

Nowthatyouknowwhatthemajorbebopscaleis,timetotakeittothefretboard.Here’sanexampleofaCmaj7arpeggioupandbebopscaleonthewaydowntoworkinyourstudies.Practicethisexerciseindifferentkeys,thenaddittoyoursolosoverImaj7chordsorIVmaj7chordswhenready.


AudioExample3

Younowworkthisexerciseinsecondposition,bothwithametronomeandinyoursolosoverbackingtracks.Whenthispositioniscomfortable,mixitwiththefirstpositiontocovermoreofthefretboardwiththemajorbebopscale.AudioExample4


OctaveDisplacement

Thenextconceptiscalledoctavedisplacement,andit’soneoftheeasiestwaystobringvocabularyintoyourjazzsolos.Tocreateoctavedisplacement,playdownascale,theninsteadofcontinuing,youjumpupanoctaveandplaydownthescalefromthere.Thisallowsyoutorunscalesinnoteorderbutnotsoundboringorpredictableinyourlines.Here’sanexamplewherethefirstbarsareascalegoingdown,thenthe3rdand4thbarsusesoctavedisplacement.AudioExample5

YoucannowtakethisconcepttothefretboardasyouaddittoaCmajorscale.Hereyouplaydownthescalestartingoneachnotetogetusedtoresettingyourselftothetopofthescale.AfteryoucanplaythisexerciseinC,takeittootherkeys.Then,applythisconcepttootherscalesasyouexpandupontheoctavedisplacementtechniqueinyourstudies.


AudioExample6

Enclosures

Thenextvocabularyconceptiscalledanenclosure,andit’sbuiltbyplayingonefretabove,onefretbelow,thenyourtargetnote.Here’showthatlookswithaGtargetnote.Youcanuseenclosuresoveranychordorscalenoteinyoursolos,sothesky’sthelimitwhenexperimentingwiththisvocabularyinyourstudies.


AudioExample7

Nowthatyouknowhowtobuildthisenclosure,it’stimetotakeittothefretboard.Here’sanexercisewhereyouapplyenclosurestoeachnoteinaCmaj7arpeggioshape.AfteryoucanplaythisexerciseoverCmaj7,workitinotherkeysandaddittoyoursolosovermaj7chords.Then,addenclosurestootherchords,includingm7b5,m7,7,and7altchordstogetthemostoutofthisconceptinyourstudies.


AudioExample8

Here’sasecondpositionforthisexercisethatyoucanworkindifferentkeysandaddtoyoursoloswhenready.Makesuretoworkenclosuresoverotherchordsaswell,including7th,m7,m7b5,and7altarpeggioshapes.


AudioExample9


MinoriiVIVocabularyYounowmoveontolearningaminoriiVIlineinthestyleofCharlieParker,hereinthekeyofFm.Beforeyouworkonthevocabularywithinthisline,hereare5exercisesyoucandotogetthemostoutofthislineinyourplaying.

Ø Playthelinewithametronomeatdifferenttempos.Ø Playthelineindifferentkeys,12ifpossible.Ø Singalongwhileyouplaytheline.Ø Singthelinewhileplayingthechordsonguitar.Ø Write2-3variationsofthelinebychangingrhythmsandnotes.

Nowthatyouknowhowtopracticethisline,timetotakeittothefretboard.HavefunlearningthisCharlieParkerminoriiVIlineanddiggingintothevocabularyfoundwithinthiscool-soundingphrase.AudioExample10


3tob9Arpeggios

Thefirstconceptfromthislineistheuseof3tob9arpeggiosover7altchords.Thisconceptisbuiltbyplayinganarpeggiothatoutlinesthe3-5-b7-b9intervalsoverany7altchordinyoursolos.Whendoingso,youplayadim7arpeggiofromthe3rdofany7altchord.Here’showthatworksoveraC7altchordsoyoucanseehowwhenyouremovetherootofC7b9you’releftwithEdim7.Playthisexampleandthenmoveontotheexercisesbelowwhenyoufeelready.AudioExample11

Armedwiththeknowledgeofwhata3tob9arpeggiois,you’rereadytotakethisconcepttothefretboard.Here’sanexercisewhereyouplaythe3tob9arpeggioupandthePhrygiandominantscaledown,whichyoulearnaboutbelow.Workthisexerciseindifferentkeysandmakesuretosolowithitoverbackingtrackstogetthemostoutofthisexercise.


AudioExample12

Younowworkthisexercisefromthe5thstringrootoftheEdim7chord,the3tob9overC7alt.Afteryoucanplaythisexerciseinafewkeys,workitoverbackingtracksandfulljazztunes.Fromthere,mixitwiththepreviouspositiontocovermoreofthefretboardwiththisconceptinyourplaying.


AudioExample13

PhrygianDominant/TonicHarmonicMinor

Oneofthemostpopularscalesinjazz,thePhrygiandominantscaleisusedtooutlinetheV7altchordinminoriiVIchanges.Whendoingso,youplaythetonicharmonicminorscaleovertheV7altchordtocreatethePhrygiandominantsound.Here’showthatlookssoyoucanseeandhearthatCPhrygiandominantandFharmonicminorarethesamenotes.Thisallowsyoutoquicklygrabthisscaleinyoursolos,aswhenyouseeaminoriiVIyouplaythetonicHMscaleovertheV7altchord.


Nothinkingneededbeyondknowingwhatkeyyou’reinandusingthecorrectscalefingering.Afteryouplaythroughthisexample,moveontotheexercisesbelowasyouexpandonthisconceptinyourstudies.AudioExample14

Nowthatyouknowwhatthisconceptis,it’stimetotakeittothefretboard.Here’sanexercisewhereyouplaytonicHMovertheV7altchord,C7althere,andthetonicnaturalminorscaleovertheIm7chord,Fm7.Startbyplayingthisexerciseaswritten,thentakingittootherkeyswhenFmiscomfortable.Alwaysmakesuretoworktheseexerciseswithametronomeandinyoursolosoverbackingtracks.Thatwayyoubuildyourchopsandsoloingvocabularyatthesametime.


AudioExample15

Youcanalsoworkthisexercisestartingonthe5th-stringrootforthefirstscale.Afteryoucanplaythisexerciseaswritten,takeittootherkeysthenaddittoyoursoloingworkoutoverbackingtracksorfulljazztunes.Fromthere,mixbothpositionstogetherasyouexpandonthisconceptaroundthefretboard.


AudioExample16

NaturalMinorScale

ThelastconceptinthissectionistheuseofthenaturalminorscaleoverIm7chords.NormallyinjazzyouwoulduseDorianormelodicminoroverm7chords.But,asyousawintheParkerline,youcanalsousethenaturalminorscaleovertonicminorchords.Whendoingso,youcreatea“darker”soundcomparedtoDorianandmelodicminor,asnaturalminorhasboththeb6andb7intervals.


Togetyoustarted,here’sanFnaturalminorscalewiththeintervalswrittenunderneath.Playthroughthisscalefirst,thenwhenreadymoveontothetwoexercisesbelow.AudioExample17

Nowthatyouknowwhatthenaturalminorscaleisandhowtouseit,it’stimetotakeittothefretboard.InthisexerciseyouplayupanFm7arpeggiothendownanFnaturalminorscale.Afteryoucanplaythisexerciseaswritten,takeitotherkeysandmakesuretoaddittoyoursoloingworkoutoverbackingtrackswhenready.


AudioExample18

Here’sasecondpositionforthisexercisethatyoucanlearn,workindifferentkeys,andaddtoyoursoloswhenready.Afteryou’recomfortablewiththisposition,mixitwiththefirstpositiontocovermoreofthefretboardwiththisexercise.


AudioExample19


BlueBossaSoloStudyYounowbringtheconceptsinthischaptertogetherasyoulearnasolostudyoverthetuneBlueBossa.Bylearningfullchorusesofsolo,youworkonapplyingconceptsandlinestorealworldsituations.Thisstudyalsoactsasabridgebetweenlearninglines/conceptsandapplyingtheminrealtimetojamsandgigsituations.Writingoutandlearningsoloswithparticularconceptsisexcellentpractice,aslongasthegoalistoimprovisedowntheroad.Hereare5exercisestoworkonwhenlearningthissolotogetthemostoutoftheselinesandphrase.

Ø Learnthesolo1phraseatatime.Ø Learnanyphrasesyoulikein12keys,singalongifpossible.Ø Analyzethelinetoidentifytheconceptsinitsconstruction.Ø Usethoseconceptstowrite3-5linesofyourininthatstyle.Ø Writeasolooverthistuneusingthesameconcepts.

Nowthatyouknowhowtoworkthissolo,havefunlearningit,breakingitapart,andaddingtheselinesandconceptstoyourownsolos.AudioExample20


AbouttheAuthorIgrewuplisteningtoclassicrockandblues,andIstilllovethosestylesofmusic.But,it’ssoloingIreallylove,andthat’swhatdrewmetojazz.MyloveofjazzhastakenmefromsmalltownCanadaaroundtheglobe.Istudiedatthreeofthetopjazzprogramsintheworld,startingwithMcGillUniversity,thenWesternMichigan,andfinishingwithaDoctoratefromtheUniversityofIllinois(UIUC).I’vetaughtover6000privatejazzguitarlessons,andmystudentsrangefrombeginners,toProfessorsatNYU,andeverythinginbetween.I’vealsotaughtjazzguitar,popularmusic,andmusicbusinessatuniversitiesinCanada,theUS,theUK,Brazil,andNepal.I’veplayedover2500gigsin8countriesandsharedthestagewithRandyBrecker,StefonHarris,andSlideHampton.Someofmyfavoritegigswereat:

• LincolnCenter• InternationalAssociationforJazzEducationConference• NuJazzFestival(Brazil)• SavassiJazzFestival(Brazil)• InternationalJazzDayFestival(Nepal)

Jazzhasbeeninmylifefor20years,andeverydayI’mgladIfoundthisgreatmusic.Becauseofthis,Iwanttosharethisloveofjazzandguitarwithyou.Youneverknowwhereit’llleadyou.Forthebestfreejazzguitarlessonsontheweb,visitmattwarnockguitar.com

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