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EasyiiVIVocabulary
EasyandEssentialiiVILinesandConceptsWrittenBy:MatthewWarnockPublishedBy:GuitarforLifeLLCCopyright2018GuitarforLifeLLC
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TableofContentsHowtoUseThiseBookMajoriiVIVariationsMinoriiVIVariationsCharlieParkeriiVIVocabularySonnyRollinsiiVIVocabularyJohnColtraneiiVIVocabularyWyntonKellyiiVIVocabularyMcCoyTyneriiVIVocabularyMilesDavisiiVIVocabularyFreddieHubbardiiVIVocabularyWesMontgomeryiiVIVocabularyJoePassiiVIVocabularyPatMartinoiiVIVocabularyMikeSternAutumnLeavesSoloHankMobleyIRememberYouSoloPatMethenyAlltheThingsYouAreSoloAbouttheAuthor
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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.
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WorkingtheLicksEachchapterinthiseBookanalyzestwoclassiclicksbyfamousjazzmusicians.TheselicksareplayedovermajorandminoriiVI’s,variationsofthosechords,orindividualchordsfromthoseprogressions.Thefirstgoalineachchapteristoplaythelicksaswrittentogetthemintoyourearandhearthevocabularyincontext.Ifyoufeelready,youcanworkthelicksinotherkeysandaddthemtoyoursolosoverbackingtracksorfulljazztunes.Onceyouplaythroughthelick,moveontotheanalysisofeachvocabularyconceptandexercisesbelowthatphrase.
ExpandingonVocabularyConceptsOnceyouplaythroughthefeaturedlick,you’rereadytomoveontolearningaboutthevocabularyconceptswithinthatline.Eachlinebreaksdown2-3piecesofvocabularythatyoucanlearnandapplytoyourownjazzguitarsolos.There’satheoryexplanationfollowedbyseveralexercisesforeachvocabularyconcept.Makesuretoworktheseexerciseswithametronomeandbysoloingwiththemoverthebackingtracks.Thisbuildsyourknowledgeandpreparesyoutoaddtheseconceptstoyoursoloswhenready.
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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.
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Ifyouwriteoutsolosorlinesandplaythemexactlyaswritteninajamsession,you’renotgettingthemostoutofthisexercise.
JazzStandardSoloingStudiesAttheendoftheeBooktherearelongersolosbasedonvocabularyfromthreemorejazzlegends.Asonebookcanonlycoversomanyplayers,Iincludedthesesolosforyoutolearn,butalsotoanalyzeandexpanduponinyourstudies.Learnthesolosaswritten,thenextractanylinesyoulike,analyzethem,andbuildexercisesaroundthoseconceptinyourstudies.Thiswayyoulearnfunsolostoplayandgetthebenefitsofstudyingthoselinesintheprocess.Ok,enoughtalk;timetolearnsomejazzvocabulary!
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MajoriiVIVariationsBeforeyoudiveintothematerialinthiseBook,takeaminutetolookatthemajorchordprogressionsthatyoucanusetoworkeveryexercise.Theseprogressionsprepareyoutosolooveranyjazzstandardwithmajorkeycenterswithconfidence.Youdon’thavetoworkalloftheseprogressionsrightaway,butmakeitagoaltotryeachoneoutasyouworkthroughthismaterial.Havefunexploringthesedifferentprogressions,they’reallcloselyrelated,butprovidedifferentchallengesinyoursolos.
iiV
ThefirstprogressionyoucanstudyistheiiVprogression.Thisprogressiondoesn’tresolvetoatonicmaj7chord,andit’softenusedinsequenceswhenfoundinjazzstandards.Becauseofthis,it’sworthworkingthisprogressioninasmanykeysasyoucan,asyouencounteritnon-stopwhenplayingjazztunes.Here’sanexampleofthisprogressioninthekeyofCmajor.
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Here’stheshort,1-barversionoftheiiVprogression.
iiVI
ThenextprogressiontopracticeisthefulliiVIprogression.Asthisisthemostpopularprogressioninjazz,it’sthebestplacetospendyourtime.So,iftimeisshortinthepracticeroom,workthevocabularyinthiseBookoverthisprogressionfirst.Then,ifyouhavesomeextratimeyoucanworkontheiiVIvariationsbelowandabove.
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Here’sanexampleofthisprogressioninthekeyofCmajor.
Here’stheshort,2-barversionoftheiiVIprogression.
iiVIIV
YoualsoworkontheiiVIIVvariationinthiseBook,whichyoucanhearinthefirstsectionofFlyMetotheMoon,amongothertunes.TheIVmaj7chordisinterestingasitusesamaj7#11soundwhenyouapplytheLydianmodetothatchord.
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ThisgivesyouachancetoworkonLydiansoundsinyourstudieswhileworkingonthevocabularyinthiseBook.Hereareexamplesofthisprogressiongetanideaofhowitsoundsandsitsonthefretboard.
Here’stheshort,2-barversionoftheiiVIIVprogression.
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iiVIVI
ThelastprogressionthatyouworkonistheiiVIVI,whichfeaturesa7b9chordinthelastbarorlasthalfbaroftheprogression.Herearetwoexamples,oneshortandonelong,ofaiiVIVIprogressioninthekeyofCmajor.NoticethattheA7b9chordisn’tfromthekeyofCmajor;normallythatchordwouldbeAm7.Injazz,weliketocreatetensionandresolutioninourlinesandchords.Becauseofthis,mostVIchordsareplayedasVI7b9,especiallyifthenextchordisiim7,asitishere.A7b9istheV7b9ofDm7,theiim7chord,soitcreatestensionandthenastrongresolutioninthisprogression.Makesuretoworkthisprogressioninyourstudies,inmultiplekeys,asyoufindthisprogressioninmanyjazzstandards.
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Here’stheshort,2-barversionoftheiiVIVIprogression.
BackingTrackProgressionsinEveryKeyTherearebackingtracksprovidedinall12keysforthemajoriiVIvariationswiththiseBook.Tohelpyouquicklyfigureoutwhatchordsareusedineachprogression,andoneachtrack,theretheyare.
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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
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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
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MinoriiVIVariationsThereareanumberofminoriiVIvariationsthatyoucanusetolearnandpracticethevocabularyyoulearninthiseBook.Thesevariationsarefoundinmanyjazzstandards,andthereforeareessentiallearningsoyou’repreparedtojamonanyjazztune.Tobegin,here’sanintrotoeachofthoseprogressions.MakesuretoworkthevocabularyinthiseBookovereachofthesevariationsindifferentkeysinyourstudies.
MinoriiVShortandLong
ThefirstvariationoftheminoriiVIthatyouworkoninthiseBookistheiiV.Thisprogressionisfoundinmanyjazzstandards,andit’softenusedoveronebar,thoughtwo-barversionsareusedaswell.Here’sanexampleofaminoriiVprogressioninCmtoplay,getintoyourearsandfingers,andusetostudythevocabularyinthiseBook.
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Here’sthelongversionoftheminoriiVprogressionthatyoucantryoutandworkwitheachexerciseyoulearninthiseBook.
MinoriiVIShortandLong
YoualsoworkonaddingthetonicminorchordtoformthefullminoriiVIprogressioninyourstudies.Asyoudiscoverthroughexperience,thetonicminorchordisoftenwrittenasm7,butyouplayitasm6,m6/9,mMaj7,etc.InthisexampleyouhavetheIm6/9variationinthelastbaroftheprogression.Giveitatry,getthesechordsintoyourfingersandears,thenworkanyexerciseyoulearninthiseBookoverthisprogression.
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Here’sthelongversionoftheminoriiVIprogressiontocheckout,playthrough,andgetintoyourearsandfingers.
MinoriiVIbIIIShortandLong
YoucanalsoaddthebIIImaj7chordattheendoftheprogression,especiallyinaturnaroundsituation.ThebIIImaj7chordistherelativemajorchord,soit’sdirectlyrelatedtothetonicminorchordandminorkeyyou’rein.TrythisshortexampleouttogetthesoundofthisminoriiVIvariationinyourearsandunderyourfingers.
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Here’sthelongversionoftheiiVIbIIIminorprogression.TakeaminutetoplaythroughthesechordsandgetthemintoyourearsandfingerstoprepareyourforthisprogressioninthiseBook.
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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
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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
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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.
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Ifyouworktheseexercises,notwitheverychapterbuthiteachexerciseovertime,yougiveyourselfarecipeforsuccess.NowthatyouknowaboutBird’ssoloingstyleandhowtopracticethismaterial,nowcomesthefunpart,playingthemonyourguitar!
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Maj7VocabularyYoubeginyourstudiesbylearningamaj7lineinthestyleofCharlieParker,hereinthekeyofF.Beforeyouworkonthevocabularyfoundinthisline,hereareexercisestogetthemostoutofthisphraseinyourplaying.
Ø Playthelinewithametronomefrom40bpmtoyourmax.Ø Playthelinein12keysaroundthefretboard.Ø Singalongwhileyouplaythelineonyourguitar.Ø Singthelinewhilecompingthechordsonguitar,oroveratrack.Ø Write3-5variationsofthelinetoaddtoyourownsolos.
Nowthatyouknowhowtopracticethislick,it’stimetotakeittothefretboard.HavefunlearningthisCharlieParkermaj7lineandtheexercisesbuiltonthevocabularyfoundwithinthisfun-to-playphrase.AudioExample1
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MajorBebopScale
Thefirstvocabularyconcepttakenfromthislineisthemajorbebopscale,whichisusedtobringcolortomaj7chordsinyoursolos.Themajorbebopscaleisbuiltbyaddinga#5/b6intervaltothemajorscale.Youcanseethishere,wherethefirstbarisaCmajorscaleandthelasttwobarsaretheCmajorbebopscale.Playbothtocomparehowtheysoundandsitontheguitar,thenheaddowntotheexerciseforthisscalebelow.AudioExample2
Nowthatyouknowwhatthemajorbebopscaleis,timetotakeittothefretboard.Here’sanexampleofaCmaj7arpeggioupandbebopscaleonthewaydowntoworkinyourstudies.Practicethisexerciseindifferentkeys,thenaddittoyoursolosoverImaj7chordsorIVmaj7chordswhenready.
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AudioExample3
Younowworkthisexerciseinsecondposition,bothwithametronomeandinyoursolosoverbackingtracks.Whenthispositioniscomfortable,mixitwiththefirstpositiontocovermoreofthefretboardwiththemajorbebopscale.AudioExample4
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OctaveDisplacement
Thenextconceptiscalledoctavedisplacement,andit’soneoftheeasiestwaystobringvocabularyintoyourjazzsolos.Tocreateoctavedisplacement,playdownascale,theninsteadofcontinuing,youjumpupanoctaveandplaydownthescalefromthere.Thisallowsyoutorunscalesinnoteorderbutnotsoundboringorpredictableinyourlines.Here’sanexamplewherethefirstbarsareascalegoingdown,thenthe3rdand4thbarsusesoctavedisplacement.AudioExample5
YoucannowtakethisconcepttothefretboardasyouaddittoaCmajorscale.Hereyouplaydownthescalestartingoneachnotetogetusedtoresettingyourselftothetopofthescale.AfteryoucanplaythisexerciseinC,takeittootherkeys.Then,applythisconcepttootherscalesasyouexpandupontheoctavedisplacementtechniqueinyourstudies.
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AudioExample6
Enclosures
Thenextvocabularyconceptiscalledanenclosure,andit’sbuiltbyplayingonefretabove,onefretbelow,thenyourtargetnote.Here’showthatlookswithaGtargetnote.Youcanuseenclosuresoveranychordorscalenoteinyoursolos,sothesky’sthelimitwhenexperimentingwiththisvocabularyinyourstudies.
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AudioExample7
Nowthatyouknowhowtobuildthisenclosure,it’stimetotakeittothefretboard.Here’sanexercisewhereyouapplyenclosurestoeachnoteinaCmaj7arpeggioshape.AfteryoucanplaythisexerciseoverCmaj7,workitinotherkeysandaddittoyoursolosovermaj7chords.Then,addenclosurestootherchords,includingm7b5,m7,7,and7altchordstogetthemostoutofthisconceptinyourstudies.
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AudioExample8
Here’sasecondpositionforthisexercisethatyoucanworkindifferentkeysandaddtoyoursoloswhenready.Makesuretoworkenclosuresoverotherchordsaswell,including7th,m7,m7b5,and7altarpeggioshapes.
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AudioExample9
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MinoriiVIVocabularyYounowmoveontolearningaminoriiVIlineinthestyleofCharlieParker,hereinthekeyofFm.Beforeyouworkonthevocabularywithinthisline,hereare5exercisesyoucandotogetthemostoutofthislineinyourplaying.
Ø Playthelinewithametronomeatdifferenttempos.Ø Playthelineindifferentkeys,12ifpossible.Ø Singalongwhileyouplaytheline.Ø Singthelinewhileplayingthechordsonguitar.Ø Write2-3variationsofthelinebychangingrhythmsandnotes.
Nowthatyouknowhowtopracticethisline,timetotakeittothefretboard.HavefunlearningthisCharlieParkerminoriiVIlineanddiggingintothevocabularyfoundwithinthiscool-soundingphrase.AudioExample10
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3tob9Arpeggios
Thefirstconceptfromthislineistheuseof3tob9arpeggiosover7altchords.Thisconceptisbuiltbyplayinganarpeggiothatoutlinesthe3-5-b7-b9intervalsoverany7altchordinyoursolos.Whendoingso,youplayadim7arpeggiofromthe3rdofany7altchord.Here’showthatworksoveraC7altchordsoyoucanseehowwhenyouremovetherootofC7b9you’releftwithEdim7.Playthisexampleandthenmoveontotheexercisesbelowwhenyoufeelready.AudioExample11
Armedwiththeknowledgeofwhata3tob9arpeggiois,you’rereadytotakethisconcepttothefretboard.Here’sanexercisewhereyouplaythe3tob9arpeggioupandthePhrygiandominantscaledown,whichyoulearnaboutbelow.Workthisexerciseindifferentkeysandmakesuretosolowithitoverbackingtrackstogetthemostoutofthisexercise.
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AudioExample12
Younowworkthisexercisefromthe5thstringrootoftheEdim7chord,the3tob9overC7alt.Afteryoucanplaythisexerciseinafewkeys,workitoverbackingtracksandfulljazztunes.Fromthere,mixitwiththepreviouspositiontocovermoreofthefretboardwiththisconceptinyourplaying.
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AudioExample13
PhrygianDominant/TonicHarmonicMinor
Oneofthemostpopularscalesinjazz,thePhrygiandominantscaleisusedtooutlinetheV7altchordinminoriiVIchanges.Whendoingso,youplaythetonicharmonicminorscaleovertheV7altchordtocreatethePhrygiandominantsound.Here’showthatlookssoyoucanseeandhearthatCPhrygiandominantandFharmonicminorarethesamenotes.Thisallowsyoutoquicklygrabthisscaleinyoursolos,aswhenyouseeaminoriiVIyouplaythetonicHMscaleovertheV7altchord.
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Nothinkingneededbeyondknowingwhatkeyyou’reinandusingthecorrectscalefingering.Afteryouplaythroughthisexample,moveontotheexercisesbelowasyouexpandonthisconceptinyourstudies.AudioExample14
Nowthatyouknowwhatthisconceptis,it’stimetotakeittothefretboard.Here’sanexercisewhereyouplaytonicHMovertheV7altchord,C7althere,andthetonicnaturalminorscaleovertheIm7chord,Fm7.Startbyplayingthisexerciseaswritten,thentakingittootherkeyswhenFmiscomfortable.Alwaysmakesuretoworktheseexerciseswithametronomeandinyoursolosoverbackingtracks.Thatwayyoubuildyourchopsandsoloingvocabularyatthesametime.
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AudioExample15
Youcanalsoworkthisexercisestartingonthe5th-stringrootforthefirstscale.Afteryoucanplaythisexerciseaswritten,takeittootherkeysthenaddittoyoursoloingworkoutoverbackingtracksorfulljazztunes.Fromthere,mixbothpositionstogetherasyouexpandonthisconceptaroundthefretboard.
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AudioExample16
NaturalMinorScale
ThelastconceptinthissectionistheuseofthenaturalminorscaleoverIm7chords.NormallyinjazzyouwoulduseDorianormelodicminoroverm7chords.But,asyousawintheParkerline,youcanalsousethenaturalminorscaleovertonicminorchords.Whendoingso,youcreatea“darker”soundcomparedtoDorianandmelodicminor,asnaturalminorhasboththeb6andb7intervals.
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Togetyoustarted,here’sanFnaturalminorscalewiththeintervalswrittenunderneath.Playthroughthisscalefirst,thenwhenreadymoveontothetwoexercisesbelow.AudioExample17
Nowthatyouknowwhatthenaturalminorscaleisandhowtouseit,it’stimetotakeittothefretboard.InthisexerciseyouplayupanFm7arpeggiothendownanFnaturalminorscale.Afteryoucanplaythisexerciseaswritten,takeitotherkeysandmakesuretoaddittoyoursoloingworkoutoverbackingtrackswhenready.
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AudioExample18
Here’sasecondpositionforthisexercisethatyoucanlearn,workindifferentkeys,andaddtoyoursoloswhenready.Afteryou’recomfortablewiththisposition,mixitwiththefirstpositiontocovermoreofthefretboardwiththisexercise.
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AudioExample19
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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
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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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