It should be noted that by changing the F∂ to an F natural the tonality becomes C major.Later, for convenience, we will take advantage of this alternative.

Now, go back and play exercises 1 through 5 with an F natural rather than an F∂.

Notes:

12· · · · · ·

Melodic Playing in the Thumb Position

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3 1 2 ©

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2 1 3

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2

Exercise 4

Exercise 5

Examples from Bars 3 and 4

Notice that the target note is not necessarily played first. On bars 2, 4, 6 and 8 continueprevious patterns from the earlier bars.

Notes:

24· · · · · ·

Melodic Playing in the Thumb Position

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œ œ œn œbœb œ

B –7 E7 Bb–7 Eb72 3 1 2 2 3 1 2

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2 2

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&

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2 2

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&

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˙ ˙b

2 2

A –7 D7 Ab–7 Db7

&

œ#œ

œ#œ œ#

œnœb

œn

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˙ ˙b

2 2

A –7 D7 Ab–7 Db7

C# position

C# position

C# position

C# position C position B position Bb position

Bb position

Bb position

Bb position

C position

C position

C position

B position

B position

B position

A Dream – Solo Example

Now, create your own solo by hitting the targets.

25 · · · · · ·

Part I

Track 2

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1 © 1 2

∑

q = 160B position C position

B position C position

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2

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2

w

Eb7

2

orw

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2 2

‘

Lazy Frog – Solo Example

Notice in bars 3, 4 and 5, the G position is targetted on the D string. Now, create yourown solo an Lazy Frog using the target positions.

33 · · · · · ·

Part I

Track 6

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q = 208

B position D position G position

B position Bb position

B position D position G position, target on D string

B position Bb position

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2

A –7 D7

w

2

C –7 F7

w

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The Harmonic Minor Scale

Until now all the modes we have played have been derived from the major scale. Wehave seen that when there is a I, VI, II, V, I, in a major key, the one major scale will

sound good throughout the progression.

We will now employ the harmonic minor scale. This scale functions in a minor key justas the major scale does in a major key. For instance, in a I–, VIø, IIø, V+7, I–, the one har-monic minor scale will work throughout the progression. Before moving on, practiceplaying the harmonic minor scale in all the keys. The scale is constructed like this:

1, 2, ∑3, 4, 5, ∑6, ∏7, 1.

The B Position HM

We now go back to the B position to incorporate the harmonic minor scales acrossthe strings in the thumb position – the target finger again will be the second fin-

ger on the B natural above the G harmonic on the G string. The first finger will be overan A and the thumb will now be over a G∂. The third finger will again be on the C natu-ral one half step above the B natural. As we cross to the D string however, the secondfinger will play an F natural. The G∂ to the F natural is the interval which gives us theharmonic minor tonality.

Now we will study the complete A harmonic minor scale in the B position.

The Notes in the B Position (A Harmonic Minor Scale)

34· · · · · ·

Melodic Playing in the Thumb Position

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w

3

w

2

w

1

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2

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2

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1

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G string D string A string E string

Target

3

Now, improvise your own solo on Now Here by hitting the targets and giving specialattention to the A hamonic minor portion of the tune.

Notes:

40· · · · · ·

Melodic Playing in the Thumb Position

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c w

G∆

2

w

2

w

Bb–7

2

w

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2

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2

w

2

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w

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2

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2

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2

Harmonic minor

In this next example, we see at first looks like I, VI, II, V, I, in the key of G. However, theVI chord is a dominant seventh with a ∑9. This is a very common progression andshould be studied carefully. For the last two beats of bar one, we use the A harmonicminor scale by targetting the B natural on the G string. The next sequence is II-V, in thekey of G major. So, we are still targetting the B natural, but return to the G major tonal-ity. The same thing occurs again in bar three.

Altered Rhythm Changes in G Major

Now, transpose this exercise to as many keys as possible.

Notes:

43 · · · · · ·

Part I

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Db7

B position B position HM B position B position HM

B position B position with F natural D position

C# position C position B position Bb position

q = 160

Track 10

The C Position HM

The Notes in the C Position (B∑ Harmonic Minor)

44· · · · · ·

Melodic Playing in the Thumb Position

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Target

Exercise 1

Exercise 2

Hosts and Guests – Solo Example (Bridge)

50· · · · · ·

Melodic Playing in the Thumb Position

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q = 184

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C# position B position HM

B position A position HM

D# position C# position HM

C# position B position HM

B position A position HM

Track 11

The Melodic Minor Scale Used Over a Minor/Major Chord

This melodic minor scale can be used over any of the inherent modes found within thescale. The first we’ll examine is the minor /major seventh chord, formed from the root ofthe melodic minor scale.

A minor/major chord is used quite frequently as a I chord in a minor song or cadence.Many times it is used at the discretion of the piano or guitar player (Ex: C minor/majorchord over the first five bars of Invitation vs. a C–7). There are also songs that use thischord particularly and specifically. One of these is Nica’s Dream, a famous jazz standardby Horace Silver.

The first six measures of the following example specifically call for the melodic minorscales of B∑ and A∑. Target the major 7th of each minor/major chord, in this case the Anatural and G natural, respectively.

Nica - Solo Example

74· · · · · ·

Melodic Playing in the Thumb Position

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©

Track 16

Here is another example of a blues chorus in B∑, using these melodic minor modes.

84· · · · · ·

Melodic Playing in the Thumb Position

Track 22

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Chili Dogs at MidnightMichael Moore

Transcribed by Robert Sabin

96· · · · · ·

Melodic Playing in the Thumb Position

Track 27

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