Taking inspiration from a today mini lesson on instagram by the great guitarist Daniele Gottardo, here some six note-per-string scales shapes, playable with both two-hands tapping and stings skipping techniques, using 1-2-3 and 1-2-4 pattern for the right hand.
All scales shapes and their parametric note-per-string distribution automatically obtained with guitarLayers ... See MoreSee Less
One of the most common practicing routine with scales is to play them by following a given intervalic scheme. In this video the Cilean guitarist and teacher AlvaroSeverino shows us some different and useful ways to play the major scale in thirds.
All diagrams, diatonic intervals inside the scale shapes, and intervals/scale overlappings are automatically obtained with guitarLayers. guitarlayers.com
Harmonic minor scale is a must-know scale played by musicians of all genres, from Charlie Parker to Yngwie Malmsteen. Using this scale, musicians often play the four-notes diminished arpeggio contained inside it. Here some commonly used shapes of the scale and the arpeggio: five shapes, 3NPS shapes and two interesting oblique shapes.
All shapes, overlappings, parametric note-per-string distribution and scale harmonization automatically obtained with guitarLayers guitarlayers.com ... See MoreSee Less
Maj9 arpeggios can be used over a min7 chord to extend its sound with the ninth and the eleventh. For example, on a Cm7 chord (C Eb G Bb) you can play a Eb Maj9 arpeggio (Eb G Bb D F). Here a beautiful excerpt of Wes Montgomery playing Nica's Dream using a Db Maj9 arpeggio over a Bb min7 chord and a B Maj9 arpeggio over a Ab min7 chord.
In order to find it easly, each arpeggio as been mapped inside the dorian scale of each chord.
All shapes, parametric notes-per-strings distribution and overlappings automatically obtained with guitarLayers. guitarlayers.com ... See MoreSee Less
Triad pairs are a good way to play a scale, in your improvised lines, without just running up and down that scale. Triad pairs give a very fresh and modern flavor to your lines. Here major triad pairs contained inside the major scale (or its modes!), play them by alternating phrases in a call-answer way. Play, for example, 3 notes of the first triad (or 2 or 4 as you like) ad then proceed with 3 notes of the second triad and again other 3 notes of the first and so on.
All shapes, scale/arpeggios overlappings and scale harmonizations with diatonic arpeggios, are automatically obtained with guitarLayers. guitarlayers.com ... See MoreSee Less
“I came from the last couple of years in a generation where we didn’t have a computer around... so we didn’t waste as much time on the internet as we do now... so I had large chunks of time which to devote to doing something.” - John Mayer ... See MoreSee Less
Among symmetrical scales, the whole tone is one of the favorite jazz musician's choice to obtain an altered non-diatonic sound.
If we stack these scale degrees to create a chord, we get 1, 3, #5, b7, 9, #11. So, the whole tone scale can be played over a dominant 7th or 9th chord with a sharp five and sharp eleven. You can also use it over other types of chords or bass pedals to create an interesting in-out effect.
Here some of the most common and convenient ways to visualize the scale on the fretboard.
While learning four-note arpeggios is a must-have skill for any jazz guitarist, there is a further step you can take in your arpeggio workout that will extend these arpeggios, bringing more “color tones” into your lines, as well as opening up the neck as you bring new notes into the four-note arpeggio shapes you already know. Here some minor ninth (maj7) arpeggio shapes on three string sets.
The practical and most effective way to learn, understand and use modes is associating them to the chords (and inversions) they are related to, along the whole fretboard. And notice: each of the five shapes can be every one of the seven modes, depending where we place the root inside it!
"As well as the usual ones, I'd play whole tone scales, diminished, dominant sevenths, and chromatic scales. Every chord form, all the way up, and this took an hour." - Joe Pass on practicing ... See MoreSee Less