All blues soloing for jazz guitar : scales, licks, concepts & choruses

96 Pages·1999·21.47 MB·English

by  Jim Ferguson

JAIL GUITAR

scales, licks, concepts
& choruses

ee
®
Ling By Jim Ferguson
GUITAR MASTER CLASS
-—

ALL BLUES SOLOING
JAZZ GUITAR

scales, licks, concepts & choruses
CREDITS

Many thanks to Alberto Ricci (for creating SoundMaker), Howard Morgen, and
recording engineer Dave Egan.

Published by
(for information on other products, write the fallow-
Ing address):

Guitar Master Class
Box 551
Sonta Cruz, CA 95061-0651

21990 Jn sergusn
Secured i Fights Resorved, Proved in USA
ig.cconing euling. el 16 prnibt

seineliona opyrar
lnsutors0a copying. sr

Exclusively distributed by Mel Bay Publications, Inc.

ISHN 0 7866 42858

Grachies one layout by GRC
Phorography by Mell Reilsy
Hees Lay Pile
‘Cover guitar Hpipnons Joe Fass mado!
CONTENTS

Introduction +

About The Notation,
Chord Symbols
&Fingerings 5

1 12-Bar Blues Progressions—

Swing/Bebop Variations
swing/Bop Basics 6
Swing Specifics 6

Bebop Embellishments &
Voriations 8

Basic Blues Scales—
2 Organization, Tonality,
Phrasing

CAGED Formations—
Fingettaoard Organization 10

Home Posiions/Home Scales 12
alues Scales, Sounds & Choruses
Piasing 13,

The Mojor Scola 18

The Major Pentatonic Seale 17
The Blues Scale 20

The Dorian Moco 25

Ihe Mixolyion Mode 27

The Chromatic Seale 30

Scale Patteins 33

3

The Heritage Of Jazz—
Riffs & Riff Blues
Strict Rifs & Rif Stucture 36
Non-Siict Varlable Ris 40

Guide Tones 41

Blues Vocabulary—
Licks & Development

OR Licks 44

Uick Development 57

Playing Through Changes—

5 Advanced Concepts &

Choruses

The Additive Approach 62
Bebop—Changes From The Inside 66
Sub Formations 66

super arpeggios 70

Diminished Scales & Arpeggios 74

Whole-Tone Scales & The Augmented
Chord 74

Melodic Minor/Lydian Dominant
Scales & A*peggios 77

ane-Related & Parallel Concepts 81

DoubleStops 87

Glossary 9)
INTRODUCTION

Designed as a companion to All Blties For Jazz Guitar—Comping Styles, Chords
& Grooves (also distributed by Mel Bay; MB968428CD), All Blues Solaing For
Jazz Guitar—Scales, Licks, Concepts & Choruses can also be independently used
bby players with solid comping skills and a good working knowledge of chords
and voice-leading. Concentrating on the single-note improvisational side of the
jazz equation, this volume covers a wealth of material and topics—including
‘common progressions, fingerboard organization, scales and tonality, riff struc-
ture, patterns, and advanced concepts. In the process, it features 38 complete
choruses and hundreds of licks (many of which can found in the solos them-
selves).

‘Described as “the mother’s milk of jazz,” blues is a fundamental aspect of
improvisation; however, like many other fundamental subjects, ithas only been
treated superficially and sporadically in guitar instructional materials. And
while no single volume could comprehensively cover an aspect of music that
amounts to an art form with unlimited creative potential, here you'll find a
wide array of ideas—with a firm nod toward phrasing, the rhythmic aspect of
improvisation that is lacking in so many guitar books (Miles Davis once
observed that guitarists, unlike horn players, never seem to take a breath).

Overall, All Blues Sofoing takes an historical perspective, although one
that is necessarily a bit less linear than Ail Blues For Jazz Guitar, Nevertheless,
within (hese pages you'll find material that’s applicable w the spectrum of jazz
guitar styles. ‘Through a study of basic scales that are the foundation of the
jazz/blues vocabulary, you'll move on to many other hip topics that ultimately
lead to a clear understanding of the core essentials for creating your own solos.

While this book springs rom the work of the great horn players of jaz it
is dedicated to those guitarists who have digested, filtered, and synthesized that
information in terms of the instrument's six strings, including Wes
‘Montgomery, Charlie Christian, Grant Green, Kenny Burrell, Barney Kessel,
Herb Ellis, Joe Pass, Jim Hall, George Benson, lloward Roberts, and George
Barnes. Ultimately, my goal has been (o write a book I wish had been available
when I was starting out.

Jim Ferguson
Santa Cruz, California, 1999
ABOUT THE NOTATION, FINGERING &
OTHER SYMBOLS

the notation, tablature, and diagrams used in this book are generally similar to
those found in many other publications. Consequently, an overall descriptive
key is not provided, although special cases and symbols are mentioned in the
accompanying text. (Also consult the Glossary on page 91.)

Throughout, rhythms should be interpreted with a swing feel. Vherefore,
what appears as a pair of straight eighth-notes, should he played more as a
triplet quarter-note followed by a triplet eighth:

In the standard notation, a circled number that indicates the string a note
ora series of notes is to be played on is valid until a new circled number
appears. In the event that there are two or more notes to be played simultane-
ously, a circled number indicates the string on which the lowest note is to be
played, The location of the remaining notes should be obvious. All notes are
generally fingered with Arabic numerals, with only the first of a series of repeat-
ed notes receiving a number.

Individual hammer-ons and pull-oflf in the tablature are indicated with a
curved line (slur). Consecutive hammers and pulls on the same string are indi-
cated with a curved line, in which ease only the first note of the group should
be played by the right hand.

Seale diagrams (a.k.a. grids) are shown upright. Therefore, the horizontal
lines represent the frets, while the vertical lines represent the strings (the verti-
cal line to the immediate right represents the first, or high I string)

Finally, since jazz. theory and nomenclature generally do not take enhar-
monic spellings into consideration, occasional discrepancies may arise con-
cerning a note, a chord symbol, a theoretical spelling, and the descriptive text,
While many of these discrepancies, common to fake book lead sheets and jazz
scores, are unavoidable, they have been kept (o a minimum.
12-BAR BLUES PROGRESSIONS—
Swing/Bebop Variations

Forthe sake of thoroughness, clarity, and consistency: this book focuses on @ single 12-bar chord pro-
ftession, the most common in jazz. (For an overview of 12-bar progressions, see All Blues For Jaze
Guitar Comping Styles, Chords & Grooves)

Swing/Bop Basics

The follawing progression shows hasie ont movements and chord qualities (there are many possible
Intespretations and variations}. Remember that in improvisational terms, a chord sequence consti-
tutes a kind of road map that can suggest the direction and/or nature of a solo, As with all progtes-
sions, you should be mindful of the following kinds of movement:

L Ghele of fiths-type, including backeycling sequences that move counter-clockwise through the

cele
2. Chromatic movement.
3. The way in which Tlin?-V7-related sequences are employed in ight of bath chromatic and circle
ol Gly Iypes of movement

{In the following progression, which represents the most basic version ofthe swing‘ bop form used
today and serves asthe basis for most ofthe examples inthis book, bar 's VIV intiatesa series of cir
cle offrths-related chords that include to instances ofthe Iimz-V

7 Ww7 7 wr

a wz ew v7 7 ovi7 ume v7

Swing Specifics

Fo underscend current practices, itis useful to be aware of what has taken place inthe past Early
bar swing progressions typically adhered to the I-1V-V’ chords, but with some common embellish-
‘ments and variations, In this next example, notice the following: how the first four bars festure the |
chord, with 16 used for dhree measures and I7 for ane measure (a practice dhat suengthens the rransi-
fion «IV how [vine in bar 6 connects IV to 16; the use of V7 in measures 9 and 10; and the simple
16-V7 turnaround in bars 11 and 12:

7 v6 m6

v7 16 wr

F AEE ree
é

More elaborate swing forms build on the preceding scheme, suggesting wdaivional avenues for
improvisation, in this next example, notice how measures | vhrongh 4 interrupt what was three bars
af and one bar of 17 with a move (o V7 in bar 2, the inclusion of VI7 in measure t-—an important
evelopment, one that figures into al of dhe progressions to come—and the use of I? in bar 9

6 w7 6 "7 ve me

64 TS TSF Z

6 vir W7 vr 16 vr

Many of the dens seen so far ure taken to their logical conclusion in this next swing 12-bar blues vari-
ation, which implies even more detailed routes, Points of interest include the movement suggestest
by -17-1V6-IVimb-16-17 nthe fest four measures, the use of dominant chozd qualities, the use af tim?
inbar9, and a17-VI7-llm7-V? tumaround in measures 11 and 12

él cz
Bebop Embellishments & Variations

While the line between swing and bebop is often Ilurred, bebop retains the bs
siving while using more dominant chords, Tim7-V7-rclated sequences, and chromaticism. Keeping,
the frst exaraple ofthis chapter in mind, the following progression show he most common embell-
ishments and variations used in bebop,

This rst progression fealures some extremely common root movements andl avenues, Observe
the Vin7-17-1V7 sequence in bars 4 and 5 (his can also be thoughtof as a im7-V7 of 17, the move-
‘ment of V7 (017 via #IVéim? In dar 6, and the chromatic approach to VI7 in measure 0

root movements of

” wr v var ir WT 4vaim7
4 y = :
t z 7.
7 byu7 viz m7 vw 7 VIT7) mz v7
Zz Zz ]

“Taking things a few steps further, the next sequence builds on the preceding progression in several
ways. In measure 2, IV? moves to [7 via iVeim?. Again, bar a's Vim7-17 leads to IV7, Measore 6 vous
tutes cnmman “back door” approach ta 17 that builds on the swing [Vind by expanding ito Vin?
SVIIP BATT isa common jazz resolution toTsin “Torral” music, Ivmm?-=V17-1 would be considered a
“deceptive” cadence, since the expected resolution would be to alll: in other words, IVm7-bV1I7 Isa
ms7-V7 of LID,

Bars to ate equally interesting, combining ciecle of tiths-related mavement {17 w IV7}, chro:
matics (1V7 to Ill?) andl IIni7-V7-related sequence that backcycles from Illm? to VI7 to im? to

inv hats thzough0,

17 flvdim7 17 vm7 OT wm7 bvii7

Zz Z|

Tlie vI7 lm vw ovr om? v7

cz Z 4
Swing/Bop Progressions

these last v0 examples expand on all ofthe preceding ideas and feature increased! chromati-
cam, In the frst progression, measures 1 through 6 use devices that have been scen earlier. Bar 8S

ick door” 1Vii-hVII7 descends a half step co [llm?-V17 (a common substitute for I) in har 7. The
sense of VI7 in bar Bis retained by the use of bILI7(als3 substitute for VI7), which at the same time is
preceded by its M7 (in this ease, bVIlm7), Carefully analyze the sequence in measures 7 through $
antl you'l see a series of interlocking relationships that wilizeaLo substituce and ultimately result in
the chromnatie seri fTlm?-bIII7- In? p17, Finally, while the turnaround looks ditferent from the 17
\Vir-llm7-V7 sec helore iis in fact the result ofa series of 5 substitutes (6117 isthe b5 of V7 and

bil? Isthe 5 of Ve). The 117 in bar 12 can frequently replace Ilm? and here maintains the downward
‘chromate sevies of dominant chords.

WT divain vine 7 w7 wir byu7

EaEZZ 7 tb tA TF -

mm vir vue bn? time v7 byte bit 17

é 4 LLLT TFs LLLS TF j

This last example features even more ehromaticism, Measure 1 funetions asa lim?-V7 of lV
‘while bar 25117 introduces chromatic movement chat ucimately leads t 1V7 in measue 5 (sia Vim?
Lim, ¥mn7, and 17). More chromaticiam is initiated by shifting the “back door” chords up a half-step
toflVin7-VII7 and proceeding fram there, which resulis in the series VIT }VII7-VI7-4Y17-V7. The
tumaound is standard. Carefully analyze this and the preceding progression. There are meny other
alternatives, And remember that the effectiveness of such complex sequences often depends on judi-
clous voice-leading,

vm 17 WT? Vie yim Veer 17 tm? Ven? VT
bt iz ,LL\
ivr pvr mar vir ierbvir aim v7

Bee 7 PPLLEZA PT IE.

It important to remember that none of the progressions discussed in this chapter are carved in
stone. Most ofthe ideas here can he combined in various ways, resulting in many possible varia~
tions sometimes even over the course ofthe same tune, Likewise, chord qualities are equally vari-
able, especially in terms of dominants, which can frequently accommodate all possible extensions 9,
11,18) and alterations 25,15, #9, 3, and #11). For mote on this (including the b5 substitute) consult
All Blues For Jaze Guitar—Comping Styles, Chords & Grooves. Chord and comping fluency, like impra-
‘isetional fitency, develop through a combination of knowledge and experience.