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The author. All you need is....

Media files included

Wolfgang Kulawik - scales - audio examples


- chords - videos
- solos - backing tracks
- patterns

Guitar Training
Material for the student of jazz guitar

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CONTENTS:

Introduction 7
Basic exercises 9
Technical exercises 10

SCALES:

Scales, interval structure, - chord functions 12


Scale overview 13
Practising tips 15
Major scale fingerings 16
Major scale chromatic up and down 17
Diatonic scales position 1 18
Major scale in groups of four 20
Major scale in a II - V - progression 21
Major scale sequencing ideas 23
Major scale diatonic down 25
Major pentatonics 27
Melodic minor pentatonics 30
Melodic minor scale 32
Harmonic minor scale 33
Blues scale 34
Whole tone half tone scale 35
Half tone whole tone scale 36

ARPEGGIOS:

Elementary arpeggios 37
Arpeggios 42
Major arpeggio diagrams and usage 43
Major arpeggio exercises 46

CHORDS:

Chords introduction 52
Chords type 1 53
Chords type 2 54

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Chords type 3 55
Chords type 4 58
Chord overview 59
Basic chords notation and tab 60
Block chords introduction 62
Block chords notation and tab 63

VOICINGS:

Voicings introduction 67
Take the A Train - chord melody 68
Take the A Train voicings 69
All the things you are - chord melody 71
Autumn Leaves basic - chords 72
Autumn Leaves comping exercise and voicings 73
Blue in Green - chord melody and voicings 80
Blue Bossa - chord melody and voicings 81
Blues voicings in F7 82
Blues voicings in Bb7 83
Blues voicings (Parker blues) 84
Body and Soul 85
Lullaby of Birdland - chord melody 86
Pent up House - voicings 87
I ve grown accustomed to your face - chord melody transcription 88
Giant Steps - chord melody 90
Have you met Mrs Jones - chord melody 91
Girl from Ipanema - chords 92
How high the moon - chord melody and voicings 94
Misty - chord melody 96
Round Midnight (block chords) transcription 98
One Note Samba - chords 100
Rhythm Changes - voicings 101
Satin Doll - chord melody and voicings 103
Stella by starlight - chord melody 106
It shouldn t happen to a dream - chord melody transcription 108
Yardbird suite - chord melody 109
Patterns for comping 110
Swing patterns 111
II-V-I patterns 114

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PATTERNS:

Patterns and Licks introduction 120


Turnarounds 121
Basic patterns in G major 122
Basic patterns in C major 123
Dorian phrases 124
Altered phrases 126
Altered phrases 2 128
Mixolydian phrases 130
Dorian phrases over two octaves 132
Scofield patterns 134

SOLOS:

Take the A Train solo 137


Autumn Leaves solo 1 139
Autumn Leaves solo 2 144
Blue Bossa example solo 150
Blue Bossa extended solo 153
Rhythm Changes Solo 1 159
Rhythm Changes Solo 2 161
2 blues in F7 164
2 bebop blues 165
2 blues in F advanced 167
Blues tribute to Wes 169
All Blues solo 172
Satin Doll solo example 174
There will never be another you 176

THEORY and DIAGRAMS:

Standard chord progressions 178


Articulation and phrasing 179
Substitutions 180
Diagram: scale circle 184
Diagram: chord reinterpretation 186
Diagram: which scale for which chord 187
The principle of drop2 and drop3 188

DEMO
Diatonic chords DEMO
in drop2 and DEMO
drop3 shapes DEMO DEMO
189
Drop2 and drop3 chords and inversions 192
Drop2 and drop3 chords with extensions (advanced) 199

Addendum:

Empty music notation paper 203


Empty tabulature paper 204
Alphabetical index 205

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Introduction

This is the major update of the popular Guitartraining XL jazz guitar course.

This publication is not meant to be a guitar book in the usual way, yet it represents a
profound collection of material for jazz-guitarists. There are no excessive explanations,
you will find them in hundreds of other books or on guitar websites.
The idea was to provide material for all the topics that are essential for improving
improvisational skills and to train them along with suitable standard jazz tunes. That is
why this collection consists of two parts:
- Part I gives you the technical basis - scales, arpeggios, chords, rhythmic exercises,
articulation exercises
- Part II contains II-V-I patterns, chord voicings, chord solos, single line solos by
combining exercises with different jazz standard tunes and chord structures (like Blues
or Rhythm Changes)
This more practically-oriented approach does not cover all topics completely. But it gives
you all the musical vocabulary that helps you to develop your own style by first imitating
and practising the given phrases, voicings and solos with the aim to integrate them into
your own musical language.
Along with this e-book comes a folder with hours of media files. You can listen to each
exercise, watch numerous videos with fretboard view (the number has dramatically
increased to 80) and jam along with the backing tracks. Just click on the icons on the
pages. Moreover I have provided bookmarks so you can jump to any page quickly. If you
like you can print the pdf document and you will get a complete book. I recommend you
contact your local copy shop and let them do that for you.
The media files in the folder data are named according to the pages of the book. This is
convenient for those who want to copy the material to a tablet and search for a certain
media file. The format of the files is mp3 and mov or mp4, so you will be able to play
them in your computer, tablet or standalone DVD-player.

Have fun and keep playing.....

Wolfgang Kulawik

October 2015

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7
Some advice:

The Guitartraining material is not a step by step course, but offers different approaches to
your instrument.

1. the technical aspect:


- you have to do daily exercises to improve your left and right hand technique (such as
chromatic exercises, scales and arpeggios). This is the basis of all your improvisations. This
can be fun when you notice that your technique and your knowledge about scales and
arpeggios is getting better through the months. You have to stay concentrated while youre
practising, set yourself a specific goal each time you practise, dont let yourself get distracted,
dont just "noodle" along.

2. the harmonical aspect


- practise blues voicings - as provided in the book - learn them by heart, use them as
"patterns". You wont forget them anymore, but you can always try to put in your own ideas
later.
- deepen your knowledge about the underlying interval structure in each chord you are about
to play (which fretted note is what interval in the chord). Therefore use the chord diagrams
that I have provided in the XL book.
- omit root notes, play chords in a higher fretboard position (as shown in all of the chord
exercises), practise the given voicing exercises for the tunes provided in the pdf documents.
Dont analyze every single note you are playing, use the voicings as "licks", learn them by
heart. Everything will brighten up later.
- try to get away from the chord voicings you already know, break from old routines...
- play melodic lines in your chords, use guide tone lines
- learn the progressions of the tunes by heart, so that you can memorize the chords, play
along with the numerous backing tracks.

3. the melodic aspect


- play the blues scale (as it is fundamental for everything that came later..), practise the
written blues improvisations, learn them by heart, use the ideas and included patterns for your
own improvisations, they will broaden your musical horizon, copy licks and melodies from the
great masters, write down any small phrase that you come upon, make up your own
collection of "licks"
- practise II-V-I progressions, again practise the patterns provided in the book.
- practise improvisations, try to write your improvisations down (very time consuming at first),
learn them by heart, so you are always able to play over chord progressions without thinking
which scale or arpeggio goes with what chord.
- repeat phrases in your improvisation, this will make a solo more understandable to the
listener

4. the rhythmic aspect and articulation


- listen to the given audio examples and listen to the great masters like Kenny Burrell (very
bluesy phrases) or Wes Montgomery (octaves and block chords), play behind the beat, play
laid-back lines, when playing chords your guitar is like a four-voice horn section throwing in
accents here and there, but always with a melodic line in the top voice. (there are lots of
examples in the book and even more in the other available add-ons to the guitartraining).

It all depends on how much time you can afford..


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8
The major scale (ionian mode)

1 2 4
2 4
Position 1 3 4
1 1 3 4
G-major 1 2 4
1 2 4
1 2 3 4 5 6 7 8 9 10 11 12

1 3 4
1 3 4
Position 1 2 4
2 1 2 4
G-major 1 2 4

1 2 4
1 2 3 4 5 6 7 8 9 10 11 12
1 2 4
1 2 4
Position 1 3
3 1 3 4
G-major
1 3 4
1 2 4
1 2 3 4 5 6 7 8 9 10 11 12

1 2 4
2 4
Position 1 3 4
4 1 2 4
C-major 1 2 4
2 4
1 2 3 4 5 6 7 8 9 10 11 12
1 3 4
1 2 4
Position 1 2 4
5
1 4
C-major
1 3 4
1 3 4
1 2 3 4 5 6 7 8 9 10 11 12

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16
Diatonic scales in Position 1:

Here is an example how to practise the major scale fingerings. You start on the root of
Gmaj7 and play one octave up to the ninth of the chord, then down again. Then you
continue to play the same fingering, but start on A, so that you play the A dorian scale.
Continue the pattern until you are in Gmaj again.

ionian
Gmaj7

dorian
Am7

phrygian
Bm7

lydian
Cmaj7#11

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18
CHORDS Type 3 (drop3):

These chords are derived from the drop3 system. The basic structure is:
a) root / b) 7th / c) 3rd / d) 5th

The colour of the chords results from the possibilty of playing two colour tones at the same time on
the upper two strings. That implies that the root or the 5th have to be omitted in favour of colour
tones on the upper two strings of the chord.
Moreover there are chord ambiguities due to the fact that the root is not clearly
defined. So one chord shape can have more than one name.

type 3A:
min7

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55
Instructions for the basic chords and chord exercises:

1. basic chords
Here you will find the basic chords for a standard jazz II-V-I progression.
Always practise only one progression, but dont forget to transpose it into other keys or positions
on the fretboard. Example:
Am7 - D7/9 - Gmaj7, transpose by moving a whole step up to: Bm7 - E7/9 - Amaj7 and so forth.....

a) II-V-I in Gmaj7:

w
A7 D9 G7 A7 D7(#9) D7(b9) G7
w w w b w
& w
w w
#w
w #w
w w
w # #w
w
w w w w

5 5 3 5 6 4 3
5 5 4 5 5 5 4
5 4 4 5 4 4 4
5 5 5
5 3 5 3

ww
A7(11) A7(#11) G7 A7(11) A7(#11) G%

& w ww
bw w
#w
w ww
w ww
bw w
w
w
w bw w w bw w
w
tritone substitution tritone substitution

3 3 3 3 3 3
5 5 4 5 5 2
5 4 4 5 4 2
2
5 4 3 5 4 3

b) II-V-I in Cmaj7:

w w
D7 G13 C7 D7 G13 G7(b13) C9
w w
w w
w w b w
w
& w w w w w
w w w w
w

6 5 5 6 5 4 3
5 4 4 5 4 4 4
7 3 5 7 3 3 2
5 3 5 3
3 3 3

w ww
D7 D7 C7 D9 D7(#9) C%
w
w w
w w
w w
w w
bw
& b w w w
w w w w bw
w w
w
tritone substitution tritone substitution

6 6 5 5 5 3
5 4 4 5 4 2
7 6 5 3 3 2
5 4 3 5 4 3

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60
Basic block chords

a) block chords in A minor:

w w
w
w
A7 A9 A7 A7(11) A7 A7
w w
w w ww w
w
w w w w w
& w
w w
w w w w
5 7 8 10 12 15

5 5 8 8 10 13
5 5 9 9 12 14
5 5 7 7 10 14

w w

w
A7
w w
A7 A7(11) A7 A9 A7
w ww w w w w
w w w
w w
w w
w w
w
& w w
15 12 10 8 7 5

13 10 8 8 5 5
14 12 9 9 5 5
14 10 7 7 5 5

b) block chords in D minor:

ww
D7 D9 D7
w w
D7(11)
w
D7 D7 w
w
w w w ww w
w
& w w w w w w
w w w w
5 8

3 5 6 8 3 6
5 5 5 5 5 7
3 3 7 7 3 7
5 5 5 5

w w w
w
w D7 D9
w w
D7
w
D9
w w
D7
w
D7
w
w w w w w w
w
& w w w w w

10 12 13 12 10 8

10 10 13 10 10 6
10 10 14 10 10 7
10 10 12 10 10 7

ww w w
D7 D7(11) D7 D9 D7
w
& w w
w w
w w ww
w w w w
w w
w
5

3 8 6 5 3
5 5 5 5 5
3 7 7 3 3
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5
DEMO
5
DEMO 5
63
Autum Leaves comping exercise

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73
Blue and Green
in the style of "Blue in Green" as played by Kenny Burrell


b
B7(#11)

A7[]
b
D7/F
F7(b913)
C11

# b #
& b

12 10 8 6 10 10

10 6 10 10 8 6 7
10 6 9 8 8
8 5 10 8 7
0 8


B%(#11)

A7[]

D11(13)

& # #
b J
j

5 8 5 3 3

5 6 6 5 6
5 7 6 7 6 4
5 5 3
5
6


#
E7[] A(9) A9 D(7) D

& # # n # n

8 8 8 4 7 7 7 5 13 13 13 8

8 5 5 10 10
7 5 5 10 10
6 6 5 11 10
7

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80
Yardbird Sweet chord arrangement
in the style of: "Yardbird Suite"


C7 F7 B7 C7 B7 A7

8
8 8 10 11 9 8 8 8 5 5 6 5 6 8
7 8 8 8 10 7 7 7 6
7 5 7 10 10 7 7 6 5
8 8 6 8


D7 G7 E7 A7 D7 G7
5

6 10

5 5 3 3 5 6 8 8 8 5 6 8 8 8 8
5 5 4 7 5 4
3 3 9 8 7 6
7 6 5 4

substitution: E7(#11) D7(#11)


C7 F7 B7 C7 B7 A7
9

8
8 8 10 11 9 8 8 8 5 5 6 5 6 8
7 8 8 8 10 7 7 7 6
7 5 7 10 10 7 7 6 5
8 8 6 8

10
D7 G7 C7 B7(#9)


13


5 5 3 4 5 5 8
5 5 4 5 5 8
3 3 7


E7 F7(b5) B7(b9) E7 A7
17

5 6 6 5
8 8 10 10 10 7 8 7 8 10 8 7 5 8 8
7 9 11 9 8 9 7 6
9 5 7 10 10
7 7 9 9 9



D7 E7(b5) A7(b9) D7 G7
21


6 5 6 8 8 6 8 6 5 5 6 8 8
7 7 7 7 7
2 3 5 8 2 3 5 5
5 7 5


C7 F7 B7 C7 B7 A7
25

8
8 8 10 11 9 8 8 8 5 5 6 5 6 8
7 8 8 8 10 7 7 7 6
7 5 7 10 10 7 7 6 5
8 8 6 8


D7 G7 3
29 C7 D7 G7


5 5
5 3
5 4 7
3 3 7 9 10 10 10
10 10

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109
Mixolydian Phrases over two octaves:

These patterns can be played over D7 or Am7....


D7
IV.

1

2 4 1 2 4 1 4 3 2 4 1 3 4 1 2 4 1 4 1 2 3 1 3 2 1 3 1 2 4


5 8 5 6 7 5
4 7 6 5 7 4 4 5 7 7 6 5 7 4
4 5 7 6 7 6 7
5 7


IV. D7


2
3 4 1 3 4 1 3 2 1 1 4 1 2 4 1 2 1 4 1 1 4 3 1 4 3 1 3 2 1

7 5 7 5


8 7 8 5 7 5 5 8 8 7 5
7 5 7 4 5 4 5 7 6 5
7 5 4 7


D7
IV.

3
3 4 3 2 1 4 3 2 1 4 3 2 1 4 1 3 4 1 2 4 1 1 4 2 1 4

7 8 7 6 5


8 7 6 5 5
8 7 6 5 4 4 5 7 5 7
7 6 7 7 5 4

4
D7
IV.


2 4 1 2 4 1 2 4 1 2 4 1 2 4 1 2 4 1 2 421 2 1 4 2 1 4 1 1 3


5
4 4 5 7 4 5 7 5 4 5 7
4 5 4 5 7 4 5 7 5 7 5 4 4 7
5 7 7 7 5

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130
Blue Bossa extended solo

.
CHORUS 1

b
&b b . J J
J
.
octave fills ................................ Cm7


8 10 11 8 8
.
8 10 8 10 11 8 8
11J 8J
5 7 8 5 5
J
5 7 5 7 8 5 5

b .
5

3 3
b
3
& b J
3
C blues scale (Ebmaj pentatonic)...............................................................................................
3 3 Fm7 3
.
10 8
J
8
8 10 10 8 10 8 10 8 8 8 10 8
10 10 8 10 10
3

b
8

&b b n

G7#9 Cm7
Dm7b5 C harm minor.......................................................................................................
7 7 7
10101010 9 9 9 9 6 6 6 6 5 5 5 5 5
8 8 8 8 6 8 6 5 6 5
8

b b b b
11

b
& b b b b

Ebm7 Ab7
Eb dorian..............................................................................
Dbmaj7 arpeggio...
7696 76
8 6565 65 5 653 35
4
8 86 4634 3 36 6
6 4634

b

14
b
&b b
3

Dbmaj7&#11 Dbmaj7 lyd = Abmaj7=Fm7


3

4
6 8 9 8
5 6 10 8 8 8
10 10 8 6 6 5 5 10
8

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153
Blues tribute to Wes
Chorus 1:
F7/13 Bb7/9 b9 F7/13 Bb7/9 b9

6 6 6 6 6 6 6 6 6 6 6 6 6 6
7 7 7 5 5 4 4 7 7 7 5 5 5 4
7 7 7 6 6 6 6 7 7 7 6 6 6 6
6 6 6 5 5 5 5 6 6 6 5 5 5 5

6 F7/13 D7#9

6 6 6 6 6 6 6 6 6 6 6
4 4 4 7 7 7 5 5 5 5 5
6 6 6 7 7 7 4 4 4 4 4
5 5 5 6 6 6 5 5 5 5 5

9 Gm7 C11 F7/13 D7#9 Gm7 Ab6

6 6 6 6 6 6
3 3 7 5 3 4
3 5 7 4 3 4
5 3 6 5 5 6
3 3

Chorus 2:
13 F7/13 Bb7/9 b9 F7/13

6 6 6 8 6 6 6 6 6 6 6 6 9 8 6
7 7 7 5 4 4 7 7 7 7 8 7 5
7 7 3 5 3 6 6 6 7 7 7 7 6 5 3
6 6 5 5 5 5 6 6 6 6 6 5 3

17 Bb7/9 A7/9 Bb7/9 b9 C7#9b13 F7/13 E7/13 F7/13 D7#9 b9 Gm7

6 6 6 6 5 6 6 9 9 6 6 5 6 6 6 6 6 4 6
5 5 5 5 4 5 4 8 8 7 7 6 7 7 5 5 5 5 3
6 6 6 6 5 6 6 8 8 7 7 6 7 7 4 4 4 4 3
5 5 5 5 4 5 5 7 7 6 6 5 6 6 5 5 5 5 5
3

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169
Satin Doll solo

Dm7 G7 Dm7 G7 Em7 A7 Em7 A7


3

3
3 3

Dm7 3rd of Em7 3rd of


arpeggio Dom7 chord arpeggio Dom7 chord

Am7 D7 Am7 D7 C Dm7 Em7 A7

intervals:

Am = D7 Abm = Db7
scale mixolyd. scale mixolyd.

Dm7 G7 Dm7 G7 Em7 A7 Em7 A7

3 same intervals 3
on E-minor
3 3

Dm7/9/11=Fmaj9 Em7/9/11=Gmaj9
arpeggio starting on 3rd arpeggio starting on 3rd

Am7 D7 Am7 D7 C

3
3

Am7 Abm7 Cmaj7


arp. arp. arp.
down down

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174