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1 STRING THEORY
Contents
CHAPTER 1
Autumn Leaves Counterpoint, Part 1
3 HOW TO COMPOSE AND IMPROVISE MELODIES
OVER A CHORD PROGRESSION

CHAPTER 2
Autumn Leaves Counterpoint, Part 2
5 TAKING CHAPTER 1S CONNECT-THE-DOTS
METHOD TO A RHYTHMIC CLIMAX

CHAPTER 3
Raking Leaves, Part 1
6 APPLYING BREATHTAKING ARPEGGIO SWEEPS TO
THE AUTUMN LEAVES CHORD PROGRESSION

CHAPTER 4
Raking Leaves, Part 2
7 USING UPPER-STRUCTURE VOICE LEADING TO CREATE A
CLIMACTIC, JAZZY FINALE TO OUR ARPEGGIO ETUDE.

CHAPTER 5
The Winding Road, Part 1
8 HOW TO CREATE A ROLLING MELODY USING
CHORD TONES AND PASSING TONES

CHAPTER 6
The Winding Road, Part 2
9 THE CONCLUSION OF OUR CHROMATICS-
DRIVEN SINGLE-NOTE ETUDE

CHAPTER 7
Melodic Minor Domination, Part 1
10 DRAWING INSPIRATION FROM A SAX LEGEND AND
MELODIC MINORS TWO COOLEST MODES

CHAPTER 8
Melodic Minor Domination, Part 2
11 THE CONCLUSION OF MY TRIBUTE TO
MICHAEL BRECKER

CHAPTER 9
Santana, Moore and Brecker, Part 1
12 A HARMONICALLY INTRIGUING,
SAXOPHONE-LIKE SOLO PLAYED OVER A FAMILIAR
ROCK BALLAD CHORD PROGRESSION

CHAPTER 10
Santana, Moore and Brecker, Part 2
13 THE CLIMACTIC CONCLUSION TO CHAPTER
9S TRIBUTE SOLO

STRING THEORY
 Chapter 1
AUTUMN FIGURE 1 classical whole notes (Canon in G)
1 classical
FIG. 1

q =whole
120 notes (Canon in G)
LEAVES
FIGUREModerately
Moderately
FIGURE 1 Am q = 120 notes
classical Dwhole G (Canon
C in G)F#m75 B Em E E/G#
COUNTERPOINT, FIGURE 113classical11whole notes
00 00 00 00 00 00 00 00 00
Am
Moderately q =D 120 G C F#m75 B Em E E/G#
12 (Canon in G)10

8 9 12

PART 1
9 8
Moderately

FIGURE 13
Am
Moderately
112 D 12
G (Canon
= 120 notes
classicalq 11
whole 10
C9 in G)F#m75 B8 8
Em E9 12
E/G#

00 00 00 00 00 00 00 00 00
10 9 7 7 11
Am q 10
=D 120 G 8C F#m75 7B 8Em 9E7 E/G#

13
How to compose and 13
12 12
10 109 7 12
11

00 0 0 0 00 0 0 00
11
10 98 87
improvise melodies over Am D G C F#m75 B Em E9 E/G#

12 10 8 12
a chord progression FIGURE 2 12half notes, 10 sevenths
10 introducing
11 9
8
9 8
7
7 7 11

2Am7
13 12 10 8 9 12
FIGURE
FIG. 2 2 12half notes,
11 introducing
D7 sevenths

00 000 00 000
Am7 10 9 Gmaj7
9 8 7Cmaj7 7 11
10 8 7
D7
12half notes, introducing
10 Gmaj7
9 7 Cmaj7 7 12 11
2Am7
WELCOME TO STRING THEORY, a sevenths

FIGURE 13 10 183 12 711
suite of lessons dedicated to imparting 12 11 9

2Am7
13half notes, introducing 13 12 12

000 0 000 0
FIGURE 12
D7
11 sevenths
Gmaj7 11
Cmaj7
9

guitar-centric music theory concepts in a 12 10

10 8

000 000
Am7 D7 sevenths
12half notes, introducing Gmaj7 Cmaj7

F#m75
practical, useful way that you can readily FIGURE 13 13 12
10 12

0
1213
12 11
10 11 98

0
apply to composing and improvising. Rather D7 Gmaj7 Cmaj7

10 12 9 12
B711 13 12 12E7/B
than show you a bunch of dry, abstract 12 1Em
0 B7/F#
11 9E/G#
10 8E/G#

F#m75
F#m7513 B7 1 3 Em
12 B7/F# 12E7/B

00 00 00 00
textbook examples of how chords are built 10 10
11 10 8 110
1 912
from and live within various scales, I will 10 8

00 00
8 10
try to keep things interesting and inspiring 10 12 B7 10 1Em
80 B7/F#
10 E/G#
12 E7/B
8
9 9 810 7 9 811
by presenting etudes, which are entertaining F#m75 7B7 Em B7/F# E/G# 10
E7/B
8

00 00 00 00
mini-compositions that serve to instruct and 10
9 10 87 10
9 12
11
F#m75 9 87
B7 Em B7/F# E/G# E7/B
10
demonstrate musical devices and/or provide 10 10 8 10 12 8

0 0
9 9 notes with8 7 9 11
a technical exercise. (Those of you who have FIGURE 3 quarter 7 melodic10motion and8 bass line10inversions 12 10
8
10
the patience for that kind of mathematical, FIGURE 3 quarter
9 Am 9Am/Cnotes with
8 melodic
D7 motion and
D7/F# G 7 bass line
G7/B9inversions
C 11 C/E 8
7

from-the-ground-up learning approach can Am quarter
Am/C D7 D7/F#
9 83 10 8 7G7 bass line
G7/B
9 C 11 C/E
8 7
FIGURE 10 notes
8 with7 melodic
10 7 motion and 8 10 8 inversions

find hours of it in my Mastering Fretboard 8
8 9 7 10 8 7 10 8 7
C9

Am
Harmony and Mastering Fretboard Harmony, FIGURE 73 quarter
FIG. 3Am 10 notes
Am/C
10 8 with 7 melodic
D7 7 motion and
10 D7/F# G8 bass
10 line
98 inversions
G7/B 10 8 C/E
Part 2 DVDs, both available at the Guitar- 9 7 10 9 78
FIGURE 83Am
7 quarter
10 notes with
Am/C D7 10motion
melodic
D7/F# 8 7G bass line
and 9 inversions
G7/B 10
C C/E 7

F#m75
World.com online store.) 10 8 7 10 7 8 10 8 8 7

8 9 Am/C 7
D7 10 8 G78 10 G7/B 10
C9 8 7
Id like to start things off by showing 7 10 D7/F# 8 C/E
87 9 F#m75/A
7 10 98 10

F#m75
10 8 7
7 78
you a traditional, surefire method of cre- B 10 8
B/D# 7
Em B7/D# 10 E 109 E7/G# 7
10 7 9 F#m75/A
F#m75
10 8
10 7 10 7 8 10 89 8
ating pleasing, satisfying melodies, using B7 B/D# Em 7 B7/D# E 9 7 E7/G#
7 5 710 107
a repeating eight-bar chord progression 7 10 7 7 8 9 910 12
9 F#m75/A
9 7 7 5 7 7 107
that moves through the cycle of fifths (also 10 77 B89 7 B/D# 7 Em
8 B7/D# E9 E7/G# 12
known as the cycle of fourths) in the key 9 9 9 8 67 7 65 7 11
F#m75
10
F#m75/A
7
7 B9 7
B/D# 7
Em 7 B7/D#
87
7 E 7 E7/G#
97
10
of G major and its relative minor key, E 9 6 6 11 12
minor, with increasingly complex melodic F#m759 9
F#m75/A
77 B89 7
B/D# Em 7 B7/D#
5 7 E 7 E7/G#
10
10 7 7 8 9 12
variations. I call it Autumn Leaves Coun- 9 9 9 8 67 7 7 65 7 7 7 1110
terpoint because its based on the chord 10 77 9 7 7 8 9 12
9 9 9 8 6 7 6 7 11
changes to the old jazz standard Autumn 7 9
Leaves and demonstrates the use of coun- 9 6 7 6 7 11
terpoint, which may be defined as two or
more independent voices with different
pitches and rhythms.
FIGURE 1 presents the basic theme, which, FIG. 4 4 quarter-note triplets, Renaissance style
FIGURE
as you can see and hear, is very sparse and
not unlike the beginning of the famous FIGURE 4Am quarter-note
Am/Ctriplets, Renaissance
D7 style
D9/F# Gmaj7 G9/B

classical piece Canon in D Major by 8 7 8 12 10 8 10
Am 10 Am/C 8 D7 10 D9/F# Gmaj7 G9/B

12 10 8
Johann Pachelbel. (Perhaps a good alternate 87 7 9 9 11 8 12 10 8 10 11 10

title for my etude would be Canon in G 10 8 10 9 12
10 10 8
98 9 11
10 11 7 10
Major.) What Im doing here is targeting 7
the third of each chord, which, together with 9 10
3 8 3 10 3 3 3 7 3
the root notein this case played an octave
and a third, or what is known as a 10th Cmaj7 3 Cmaj7/E3 F#m753 F#m75/A
3 B7 3 B79/D#
3
interval, below the melody noteproduces 7 8 7 8 8 8 7 5
Cmaj78 Cmaj7/E 8 F#m75
10 8 F#m75/A
7 B7 7 10 B79/D#
a sweet sound that positively describes a 9 7 8 7 8 8 9 8 8 7 5
major or minor-type chord with just two 8 7 8 10
9 8 77 9 7 10 6
98 9 8
notes: the bass line and melody. Having 7 9
that octave separation added to each third 7 9 6
8 3 3 3 3 3 3
creates a big, open, regal sound, like that of
Paul McCartneys Blackbird.
Em 3 B7
3 3 E79 3 3 3
7 10 8 7
Em
8 7 B77 10 7 E79
9 9
9 7 10 7 10 8 7
87 7 7 10 7 97 9
3 STRING THEORY
7
9 7
7
7 10
 8 37 8 7 97
810 10 89 7 7 10 6
Em
98 9 B737 3 E79 7 3 10 9 9 8 3 3
7 9 7 10 8 7
Em
87 3 7 7 B737 10 97 3 E79
97 3 9 3 6 3
8 9 7 7 10 7 10 8 7
Em
8 7 B77 10 7 E79
9 9
7 33 9 3 3 3 7 7 3 10 7 3 10 8 37
87 7 77 10 7 97 9
Im using hybrid picking (pick-and- FIG. Em
FIGURE 5 5 classical, B7
9 Bach-style eighth notesE79 7 10
fingers technique) to sound the bass note 3 7 3 7 10 8 7
87 7 7 10 7 97 9
with each melody note on nonadjacent FIGURE Am7
5 classical,
3 D7
9 Bach-style
7 3 eighth notes 7G 10 G7 C

strings and provide a satisfying self-accom- 8 7 10 8 7 8 7
5 classical,
FIGURE7 Am7 Bach-style
3 eighth7notes

Am7
paniment. As an alternative, you could have 310 8 D7 10 7 G 10 8 10 G7 C 8
9 7 7 9 7 7 9
someone play the bass notes while you pick 10 7 7
8 7
5 classical,
FIGURE Am7 Bach-style 10
93 eighth7notes
10 D7
8 G7 10 8 G79 10 8 C7 10 10 8 7

F#m75
310 8 10 8

only the melody notes, adding some soulful
8 7 9 7 9 10 8 7 10 7 7 9 8 7
D77eighth7notes G 10 8 G79 C 10

Am7
finger vibrato and perhaps grace-note slides 10 8 10Bach-style
7
FIGURE 5 classical,
9 10 9 7 9
10
10 7 10 8 7 10
8
7 9 8 7
or hammer-ons into each note from below, 8 7 10 8 7
10 7 7 9 10

F#m75109 85 97 10 B79 9 76 98 7 107 5 Em 109 8 10B779 810 8 Em

similar to the way a seasoned slide guitar- 10 8 9 7 9 7 10
10 B7D7 EmG 10 8 B7G7 10 8 EmC7 10 E7 8
9 10 7 7 9
ist like Warren Haynes, Derek Trucks or 8 7 10 7 7 7105 8 7 9 10 7 10 8 87 7

1010F#m75
10 8 7 7 8 7 8 7 7 7 10 9 8
Bonnie Raitt would decorate a melody line. 9 7 10 7E79
While youre at it, you may want to dial in a F#m75 10 7 B7 7 Em B7 9 Em 7 10 8 7
10 E7
thick, overdriven tone to get some creamy 8 7 9 710 6 99 7 8 7 8 7 107 8 7 10 9
9 5 6 8 7 5 9 9 8 9 7 10 7 10 8 7
sustain and compression, la Carlos Santa- 8 7 7 B7 9 7 Em
8 7 8 7B7 7 Em 9 E7
na on Europa or Gary Moore on Still Got 9 5 9 7 6 9 6 8 7 5 9 9 8 9 7 10 7 10 8 7
10 8 7 7 9 7 8 7 8 7 7 Em 9
the Blues. (Both of these songs, by the way, F#m75
FIGURE 6 jazzy
9 5 eighths B7
9 7 with
6 9chromatic
6 8 passingEm 9 B7 9 8
tones 9 7 10 E7
are based on this very same chord progres- 7 9 7 5 7 10 8 7
10 Am7 9 7 6 9 D797 Gmaj7 9G9
sion, albeit played in different keys.) FIGURE 68 7jazzy eighths with chromatic passing8 tones
7 8 7 7

8 10 9125 8 6 8 8 11 10 99 8 109 87 10 9 7 10

Am7
Okay, heres where things start to get 7 10 8 9 D79
7 10 passing tones
6 jazzy eighths
FIG. 6 Am7
FIGURE 9 7 9with
6 9chromatic
9 Gmaj7 8 7 10 G9 10 8 10
really interesting. FIGURE 2 has you playing
8 10 12 8 D79 8 11 10 9 8 10 7 10
Gmaj7 8 7 G9 10 8
FIGURE 6 jazzy eighths
10 with8 chromatic
7 10 passing tones

Am7
almost the very same theme but with half

notes added, which introduce the seventh 8 10 12 8 9 9 8 11 10 9 8 10 7 10 10 10
Am7 D79 Gmaj7 8 7 G9 10 8

8 10 12 8 9 9
10 8 7 10
of the chord on beat three of each bar FIGURE jazzy
86 10 12 eighths
8 9with chromatic
9 passing
8 11 10tones 9 8 10 7 10 10 10

Cmaj7
while providing more melodic motion and 10 8 7 10 8 7 G9 10 8
creating a true counterpoint, which, as
Cmaj7 D79
F#m75 Gmaj7
B7 10 10

8 11 108 9 8 10 117 10 14 17 14
9
I mentioned earlier, is defined as two or

9
10 8 7 10
10 7 10 8
13 7 10
16 8
more independent lines with different 7 9 9 F#m75
9 5 8 B7 11 10
14 10
pitches and rhythms. Notice also the B7 Cmaj7 7 9 10 9 8 7
F#m75 8 11
B7 14 17 14
10 10 7 10 13 16
chord added in bar 7. This harmonic device, 7 9 5 8 8 11 11 14 14 17 14
which momentarily backpedals through Cmaj7 7 9 10 9 8 F#m75
7 10 7 10 B7 13 16
9 10 7 9 5 8 8 11 11 14 14 17 14
the cycle of fifths, serves to effectively 7 9 10 9 8 7

Cmaj7 F#m75 10 7 10 B7 13 16
add a feeling of tension and release to the 9 10 7 1. 9 5 8 2.
11 14
Em 7 9 B710 9 8 7 Em 8 11 14 17 14
otherwise static Em chord. 7 E7 Em13

10 10 10 * 16

FIGURE 3 presents the next variation on 915 14 15 714 14 1. 9 5 8 2.
11 14
717 9 B71017 9168 71.17 18 17 15 17

the theme, moving to a melodic rhythm of Em10 Em 16 16 E7 2.Em 16 16
quarter notes and introducing inversions *
15
Em 14 17 15 14 B7 17 16 14 1.17Em 17 14 17 14

E7 18 17 15 Em
2.17
16 16
in the bass line. The term inversion means *
15 14 15 14 14 16 16 16 16
putting a chord tone other than the root in Em 17 B7 17 16 Em 17
17 E7 18 17 15
14 Em 17
17 14

the bass line or on the bottom of a chord
voicing. In this case, the bass note moves
from the root on beat one of each bar to
the third on beat three, as the melody, in a
very calculated way, moves to the root, in
essence trading places with the bass lines
functionthird/root versus root/third. For
the quarter notes on beats two and four of
each bar, Im using a combination of chord
tones, or arpeggios, and scale tones to fill
out the rhythm. This is the science aspect
of melody construction, distinct from
the art aspect, for which other, more
subjective considerations come into play.
FIGURE 4 shifts into a higher gear,
switching to a quarter-note-triplet
rhythm for the melody, which, with this
progression, creates a kind of quaint,
Renaissance feel, in reference to the music
of late-medieval Europe, circa 14001600.
This more complex counterpoint is
technically more challenging to play than
the previous figure, so you may want to
either slow down the tempo and/or omit the
bass notes on beats one and three. Notice
that, in the previous figures, the melody
still touches upon the very same notesthe
third in each caseat the beginning of each
bar, and that, with its added passing tones,
describes, or outlines, the progression in
18 17 15 17
1. 16 16 *
15 14 15 14 14 17 14 *go back2. to FIGURES
17 1 or142
17 B7 17 16 17
to FIGURES
Em Em 16 16 E7 Em 16 16
18 17 15 17
*
15 14 15 14 14 17 14 *go back 17 1 or142
17 17 16 17
16 16 16
*go back to FIGURES 16
1 or 2
17 14 17 14
*go back to FIGURES 1 or 2
*go back to FIGURES 1 or 2
more detail, making it more of a stand-alone alternate picking, occasionally using two
melody. Also notice the addition of the G9 consecutive downstrokes, depending on the
chord in the second half of bar 3, which tempo. Use whichever combination of pick
provides a more compelling harmonic strokes works best for you.
push into the Cmaj7 chord that follows. FIGURE 6 presents our grand finale
Bar 8 of FIGURE 4 has us shifting variation, which is a somewhat jazzy-
rhythmic gears once again, this time to flavored line that incorporates chromatic
steady eighth notes, transitioning to the passing tones (bars 24) and a climactic,
busier Johann Sebastian Bach, baroque/ jagged climb up the neck in bars 5 and 6,
classical-style melody presented in FIGURE for which I employ an angular fretboard
5. This line, with its flowing rhythm, clearly shape to create a syncopated melodic rhythm
outlines the implied chord progression that accents every third notethrees on
in an elegant manner and features a fours, as this kind of phrasing is sometimes
roller coasterlike melodic contour that called. The figure ends with a return to
incorporates scalar passing tones used as a more Bach-like resolution to Em, and
fill between chord tones. Once again, the first ending gives you the option of a
were still targeting the third of the chord turnaround phrase that takes you back to
on the downbeat of each bar, in some cases the beginning of either FIGURE 1 or FIGURE 2.
an octave lower than before, as led by the Next chapter: eighth-note triplet and
melody. I perform this line mostly with 16th-note shred variations, la Steve Morse.

4 STRING THEORY
 Chapter 2
AUTUMN FIG. 1 1 end of last months grand finale, with transition to next variation
FIGURE

LEAVES q = 120
Em B7
2.
Em E79
COUNTERPOINT
15 14 15 14 14 13

17 17 16 17 15 17 15
16 16 13 16
PART 2 17

Taking Chapter 1s
3 3
connect-the-dots method FIG. 2 2 eighth-note-triplets variation, la Steve Morse
FIGURE
to a rhythmic climax 1
Am7 D7 D79
14 12
13 15 17
15 15 17 15
13 16 15 13

17 13 13 17 15 13
PICKING UP WHERE I left off, Id like to 14 14 12 14
offer two final melodic variations on my Au- 16
tumn Leaves Counterpoint theme. Here, Ill
shift gears to smaller and thus quicker rhyth-
3 3 3 3 3 3 3 3
mic values, or subdivisions, in order to demon- Gmaj7 G7 Cmaj7
3
strate smart ways to add even more melodic 12 14 12 13 12 10
fill between targeted chord tones within a 12 13 15 15 12 12 15 13 12 12 13 12
14 14 12 11 12 14
progression, using a sort of connect-the-dots
approach. The objective is to create satisfy-
ingly logical-sounding, breathtaking classical-

style runs that convey a sense of meaningful 3 3 3 3 3 3 3 3
harmonic direction. 5 F#m75 B7
12 12 14 12 11 12 14 15 14 12 14 12
FIGURE 1 shows the end of Chapter 1s
10 12 13 13 10 10 13 16 13 12 10
grande finale variation (FIGURE 6 from 11
that lesson), followed by a transition to
our next smaller and denser rhythmic
subdivision, eighth-note triplets. Notice 3 3 3 3 3 3 3 3
how, over the last two beats of bar 2 of
FIGURE 1, Im using the now-familiar shape 7
Em

B7 Em
8 10 12
E7
8 10 13 12 10
8 10 12 9 10 12
12 11 9 11 12 9 11 9 8 9 11 8
and melodic device introduced in FIGURE 5
9 11
of Chapter 1, in this case following an Em
arpeggio (E G B) with Gsdim7 (Gs B D F)
to imply an E7f9 (E Gs B D F) sound, which
begs to resolve to Am and the beginning of 3 3 3 3
our progression. FIG. 3 3
FIGURE 16th-notes grand finale, la John Petrucci
This leads into FIGURE 2, which, beginning
on C, the third of Am, is a torrent of alternate- 1 Am7 D9 D79
13 12 13
picked triplets inspired by Steve Morses 10 12 10 10 12 1512 13 14 12 11

13 12 10 12 13 15 13 12 13 15 13
playing on Tumeni Notes (High Tension 14 12 12 1112 14
14
Wires). Notice how, as I did in Chapter 1,
Im targeting the third of the chord on the
downbeat of each bar and using arpeggios and
scale tones, specifically from G major (G A B C 3 Gmaj7
12 14 15 14 12
G7
12 13 10 12 10
Cmaj7
10 12 14 15 12
12 15 12
D E Fs) and E harmonic minor (E Fs G A B C 12 13 15 15 13 12 13 15 13 12 13 13 12 13
Ds), to fill out the rhythm.
This figure is challenging to play, but
Ive used fret-hand finger slides and position
shifts in certain spots to make life easier on
the pick hand, specifically by optimizing
the pick strokes so that the pick is always 5
F#m75

F#m75/B

B7

17 14 17 14 17 14 17 14 20 17 20 17 19 17 19 17
steered in the direction it needs to go when 17 13 17 13 17 13 17 13 19 17 19 17 19 16 19 16
crossing to another string. The first and

seventh notes in bar 7 are best fretted with
the ring finger.

Bar 8 of FIGURE 2 ushers in our grande
finale variation, FIGURE 3, which is an
Em 1

uninterrupted stream of 16th notes, John

7
19 17 19 17 19 17 22 19 22 22
Petruccistyle, that ends with a climactic 20 17 20 17 20 17 22 20
contour and accent pattern and a high,
screaming bend and shake, for which you will
want to use both your ring and middle fingers.

5 STRING THEORY
 Chapter 3
RAKING LEAVES, FIG. 1 1 Raking Leaves sweep arpeggio etude, part 1
FIGURE
1st chorus
PART 1 Am7
sim.
D9 D79 Gmaj7 G7

Applying breathtaking 1

12 8 * 12 8 11 8 10 7 10 7

10 10 10 8 8
arpeggio sweeps to 12 11 11 11 10
the Autumn Leaves
chord progression *repeat prev.
3 beat 3 3 3 3
ID NOW LIKE to present a sweep arpeggio 4 1 2 3 4 1 2 3 4 1 2 3 3 1 2 4 4 1 2 3
etude I wrote called Raking Leaves (see FIG- Cmaj9 Cmaj7 F#m75 B79 B7 Em7 B79

4
URE 1). It employs the instructively useful and 10 7 8 7 8 5 8 5 7 5 7 3 5 2
musically timeless set of chord changes from 8 8 7 7 7 5 4
9 9 9 8 8 7 5
Autumn Leaves, which weve explored in
the previous two chapters.
Guitarists use the term raking synony- 3 3 3 3 3 3 3
mously with sweeping and economy picking 4 1 2 3 2 1 2 3 3 1 2 4 4 1 2 3 2 1 2 3 4 1 2 3 4 1 2 3
when refering to the technique of picking two 2nd chorus
Em7 E79 Am7 D9 D79

or more consecutive single notes on adjacent 8
strings with one uninterrupted upstroke or 3 0 7 4 10 7 15 12 14 12 14 11
3 6 9 13 13 13
downstroke. In this case, Im using a recurring 4 7 10 14 14 14
pattern of a downstroke on the high E string
followed by an upstroke sweep across the
top three strings to economically perform an 3 3 3 3 3 3
exciting, lightning-fast eighth-note/16th-note 2 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3
triplet motif (short phrasing idea) reminiscent Gmaj7 G7 Cmaj7 F#m75

of what a skilled jazz saxophonist might play. 11
14 10 13 10 12 8 12 8
Some of the arpeggios require wide fret- 12 12 12 10
12 12 12 11
hand stretches and specific fingerings, which
Ive indicated. The key is to let go of each 16th

note immediately after picking it, so that it
3 3 3 3
does not ring into the following note. Doing 4 1 2 2 4 1 2 2 4 1 4 4 4 1 2 3

Em
this keeps the notes sounding distinct, like an
B79 Em7 B79 1/2
arpeggio instead of a strummed chord. It also

helps narrow the stretches, as you can allow 14
11 8 10 7 14 11 11 11
your fret hand some wiggle room to shift 10 8 13 x
11 9 14
back and forth as needed to reach the highest
and lowest frets. For the Gmaj7 and Fsm7f5
arpeggios in bars 3 and 5, the ring finger (3)
3 3 3
and pinkie (4) switch roles, with a 3-1-2-4 4 1 2 3 4 1 2 3 4 1 2 3 1
fingering used instead of 4-1-2-3. Dont be
FIG. 2 2 underlying chord progression, with drop-two voicings
FIGURE
overly concerned about fudging some of the
G-string notes; they go by so quickly that your 1st chorus
Am7 D9 D79 Gmaj7 G7 Cmaj9 Cmaj7 F#m75

0 00 00 00 0
brain barely has time to discern them while it
1

takes in the overall sound of the arpeggio. 12 12 11 10 10 10 8 8

10 10 10 8 8 8 8 7
Notice that the D9 arpeggios are rootless 12 11 11 11 10 9 9 9
and identical to Fsm7f5 (Fs A C E). This is a 10 10 10 9 9 9 9 7
harmonically effective composition/improvi-
sation device, as are the substitution of Em7 (E
G B D) over C in bar 4 to create a Cmaj9 sound 2nd chorus
B79 B7 Em7 B79 Em7 E79 Am7 D9 D79

00 00 0 0 00
and the use of a diminished-seven arpeggio
6
rooted a half step above each 7f9 chord. 8 7 7 5 3 7 10 15 14 14
FIGURE 2 shows the underlying chord 7 7 5 4 3 6 9 13 13 13
8 8 7 5 4 7 10 14 14 14
progression, with drop-two voicings used to 7 7 5 4 2 6 9 14 14 13
facilitate practical guitar fingerings. Drop
two means that the second highest note of
the chord or arpeggio is dropped down an Gmaj7 G7 Cmaj7 F#m75 B79 Em7 B79 Em
N.H.

octave. As an additionally entertaining and

00 0 0 0 00
11 let ring
insightful theory-/ear-training exercise, try 14 13 12 12 11 10 14 12
plucking only two-note combinations from 12 12 12 10 10 8 13 12
12 12 12 11 11 9 14 12
each soprano-alto-tenor-bass voicing, such 12 12 10 10 10 9 13
as those on the outer strings, and listen to the 12
way the voices elegantly descend.

6 STRING THEORY
 Chapter 4
RAKING LEAVES, FIG. 1 1 Raking Leaves grand finale
FIGURE
9
PART 2 Am9
sim.
D13 D7 #5 Gmaj9 G9 G79

Using upper-structure 1

19 15 * 19 14 18 14 17 14 17 13 16 13
voice leading to create a

17 17 16 15 15 15
17 17 17 16 16 16
climactic, jazzy finale to
our arpeggio etude.
*repeat
I NOW OFFER a final, climactic eight-bar 3 prev. beat 3 3 3 3 3
variation on the Raking Leaves arpeggio 4 1 2 2 4 1 2 2 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3
etude I presented in the previous chapter. 9
Cmaj7 F#m75 B79 B7 #5

The techniques used are the samesweep
4
picking and fret-hand mutingand youll be 15 12 14 12 14 11 15 11
happy to discover that the fretboard shapes 13 13 13 13
16 14 14 14
are a little more compact and finger friendly
than before, due to the higher positions em-
ployed. In terms of theory and harmony, the
arpeggios used herein feature some sophis- 3 3 3 3
ticatedly cool, jazz-style voice-leading. 3 1 2 4 4 1 2 3 4 1 2 3 4 1 2 3
9

FIGURE 1 depicts the eight-bar phrase. Em9 B7 #5 Em11 (Em13)
As you progress from arpeggio to arpeggio,
notice how, like last time, certain individual 1

voices descend while others remain 7
14 10 15 11 17 14 14 17 17 19
stationary. This kind of smooth, efficient 12 13 15 15
voice leading is characteristic of both
12 14 16 16
17 14 17
jazz and traditional (classical and folk)
harmony, for which this type of diatonic
root motion through the cycle of fifths/ 3 3 5
fourthsdown in fifths, or up in fourthsis 4 1 2 2 4 1 2 3 4 1 2 3 4 1 4 3 2 1 3 (3) 3(+2+1)
commonplace. (Diatonic means based on a
particular scale.) FIG. 2 2 underlying chord progression, with drop-two voicings
FIGURE
9 9 9

Regarding fret-hand technique, youll
notice the brief use of a middle-finger barre
Am9 D13 D7 #5 Gmaj9 G9 G79 Cmaj7 F#m75 B79 B7 #5 Em9 B7 #5 Em11 Em13

0 0 0 0 0 0 0 0 00 0
(4-1-2-2) across the B and G strings in mea- let ring

sures 1, 2 and 7, and that the Cmaj7 arpeggio
19 19 18 17 17 16 15 14 14 15 14 15 17 21

in measure 4 is fingered 3-1-2-4 as opposed to 17 17 16 15 15 15 13 13 13 13 12 13 15 19
4-1-2-3. This is done for the sake of keeping 17 17 17 16 16 16 16 14 14 14 12 14 16 19
17 16 16 16 15 15 14 14 13 13 12 13 14 17
the fingers from becoming tied up in a knot.
In Chapters 1, 2 and 3, we deliberately 0
targeted a non-root chord toneeither
the third, fifth or seventhon each chord FIGURE
FIG. 3 3 same voicings, one octave lower
9 9 9

change and used these pivotal guide tones to
Am9 D13 D7 #5 Gmaj9 G9 G79 Cmaj7 F#m75 B79 B7 #5 Em9 B7 #5 Em11 Em13
construct a harmonically strong melody that
clearly outlines, or describes, the underlying

0 0 0 0 0 0 0 0 00 0
let ring

progression. Were doing a similar thing 7 7 6 5 5 4 3 2 2 3 2 3 5 9

in FIGURE 1, this time employing upper- 5 5 4 3 3 3 1 1 1 1 0 1 3 7
structure voice leading, which incorporates 5 5 5 4 4 4 4 2 2 2 0 2 4 7
5 4 4 4 3 3 2 2 1 1 0 1 2 5
ninths, 11ths and 13ths, chord tones
theoretically derived by continuing to count 0
up through a scale beyond the octave, or
eighth. Additionally, were including a few
sharp fives, what are known as tension tones.
Some jazz theoreticians prefer to reckon a sweep through an Em11 arpeggio (E G B D lower. Again, to really appreciate the
sharp five when it is used in the way shown Fs A), which, by the way, is essentially the elegant way the individual voices in turn
in bar 2following a 13th chord built from E Dorian mode (E Fs G A B Cs D) played in descend, play through the progression
the same root (D13 to D7f9s5)as a flat 13 stacked thirds, followed by a soulful, Hendrix- repeatedly, each time selectively plucking
(in this case, D7f9f13). By contrast, the B7f9s5 inspired high bend up to Cs, the 13th of E. only two of the four strings from within the
arpeggio in bar 6 is an expanding outgrowth As in Chapter 1, FIGURE 2 shows the SATB (soprano-alto-tenor-bass) voicing.
of B7f9, for which the sharp five (the G note) underlying progression to FIGURE 1, Youll find that some of the note pairings
is approached from below, not above. with drop-two voicings used to facilitate sound a little odd by themselves but make
Our little etude concludes in bar 8 with practical chord fingerings, and FIGURE 3 more musical sense when heard over a low
a giant, John Coltranestyle, roller-coaster illustrates the same grips played an octave bass-line root-note accompaniment.

7 STRING THEORY
 Chapter 5
THE WINDING FIG. 1 1 The Winding Road, first half
FIGURE
FIGURE 1 The Winding Road, first half
ROAD, PART 1 C6 Bm75 E79 Am7 D79 Gm7 C79
FIGURE 1 The
C6 7frBm75 6fr
Winding
E79 6fr
Am7Road,
5fr
D79first
4fr
half C79
Gm7
Fmaj7 B7
Fmaj75fr B7 6fr
E7/B D7 Dm7 G79
E7/B 5fr D7 10fr Dm7 10frG79 9fr
How to create a rolling FIGURE 1 The
C6 7frBm75 Winding
E79 Am7 Road,
D79 first half C79
Gm7 Fmaj75fr B7 E7/B 5fr D7 10fr Dm7 10frG79 9fr
6fr 6fr 5fr 4fr 6fr
FIGURE 2 1341 The Winding Road, first half C79
melody using chord tones 2 C6
143 7frBm75 6fr E79
2131 6fr 2Am7
333 5fr D79
2131 4fr 2Gm7
333 2131 Fmaj7
4311 5fr 1B7
243 6fr E7/B
3 241 5fr 1 D7 243 10fr 2Dm7333 10frG79
2131 9fr

and passing tones FIGURE

2 C6
7fr 1 The
143 Bm75
2 341 Winding
2131
E79 333 Road,
2Am7 2131 first
D79 half
2Gm7
333 2131
C79 4311
Fmaj7 1 243
5fr B7
3 241
6fr E7/BBm75
1 243 2 333
5fr D7 10fr Dm7 10frG79 9fr
2131

C6
6fr 6fr 5fr 4fr
2 143 2 341 2131 2 333 2131 2 333 2131 4311 1 243 3 241 1 243 2 333 2131

C6 7frBm75 C6E79 6fr Am7 5fr D79 4fr Gm7 C79 Fmaj75fr B7 6fr E7/BBm75
6fr 5fr D7 10fr Dm7 10frG79 9fr
2 3411 C6 2131

HERE IS THE first half of a two-part etude 2 143 2 333 2131 2 333 2131 4311 1 243 3 241 Bm75 1 243 2 333 2131
7fr 2 1 6fr 3

5 36fr 2 333 5fr 2131 4fr2 333 2131 4311 5fr 1 243 6fr 3 241 Bm75 35fr 15 2436 10fr5 2 333
3 10fr 2131 9fr

I composed that demonstrates some neat 2 143 2 2341 C63 2131
1 5 3 5 2 5 4 3 2 3 4 5 3 5 6 5 3 5 4 7

examples of how useful scalar and chromatic 2 2341 C63 2131 2 333 2 2131
3 4 4311 5 2 13 2434 53 241 Bm75

5 3 5 2 5 4 3 3 5 6 5 3 5 4 7
2 143 2 333 2131 1 243 2 333 2131

passing tones can be, both musically and tech- 1 2 3 4 5 2 3 4 5
2 C6 3 5 2 5 4

Bm75

nically, in the art of crafting a flowing single- 1 5 3 5 4 3 2 3 4 5 3 5 6 5 3 7
21 32 4 2 54 21 4 3 2 1 2 3 4 2 1 3 2 4 3 5 4 5 4
31 53 64 53 31 3 1 74

note line to play over a chord progression. 1 5 3 5 4 3 2 3 4 5

E7921
As a contextual framework, Im borrowing a 32 4 2 54 21 Am7 4 3 2 1 2 3 D79 4 2 1 3 2 4 3 5 4 1 3 Gm7 4 3 1 5 3 41 4

2 5 4 3 54 43 32 21 32 43 54 1 2 3 4 31 53 Gm7 64 53 31 3 1 74

set of chord changes from the standard tune E791 2 4 1 Am7
5 2 D79 2 3 4 5 5 4
4 54 43 32 7 218 432 743 D79 554 1 2 3 4 4 3 1 3 1 7

There Will Never Be Another You, a com- E791 2 4 2 4 1 Am7 1 3 Gm7 4
4
1 4 52 74 6 2 5 47 1 Am7 47 35 82 7 18 42 73 D79 54 81 5 2 6 37 48 5 16 3 Gm7

position that ranks among many jazz musi- 4 E79 5 7 4 3 1 53 1 4
6 7 4 5 7 6 5 7 Am7 5 8 7 8 4 7 5 8 5 6 7
7 45 37 81 53 8 1 7 46

cians as a favorite improvisational vehicle E79 1 2 4 2 4 1 5 47 3 2 1 2 3 D79 4 1 2 3 48 5 16 3 Gm7
4 6 7 4 5 7 6 5 7 5 7 5 8 7 8 4 7 5 8 5 6 7 8 5 6 7 5 7 8 5 8 7 6
over which to solo. The line I composed for

4 E79
6 7 6 5 Am7 5 8 D79 8 5 6 7 Gm7 5 7 8 8 7 6
this lesson, however, has more of a classical 3 4 4 1 5 2 7 4 2 1 7 3 51 73 1 4 73 84 41 73 51 4 1 2 3 84 51 62 73 1 3 4 51 4 3 2
feel to it, with even eighth notes used instead 4 6 7 6 5 5 8 8 5 6 7 5 7 8 8 7 6
3 4 4 1 5 2 7 4 2 1 7 3 51 73 1 Fmaj7
4 73 8 4 4 1 73 51 4 1 2 3 84 B7 51 62 73 1 3 4 51 4 3 2

C79
of swing eighths. Also, it is played in the more 63 74 1 2 4 62 51 3 1 3 51 84 3 4 1 3 1 84 51 62 73 4 1 2 3 51 73 84 1 84 73 62

8 C79 4 5 7 7 5 7 Fmaj7 8 B75 6 7 5
guitar-friendly key of key of C (the standard 63 74 1 2 4 2 1 3 1 3 1 Fmaj7 3 5 1 7 3 8 4 1 8 4 73 6

8 C79 4 3 4 1 3 1 4 1 2 3 4 B7 1 2 2
key is Ef) and is designed to appeal to aspiring 5 6 5

8 C79
3 4 1 2 4 2 1 3 6 1 3 1 Fmaj7 54 3 4 1 3 1 4 1 2 3 4 B7 51 2 53 17 3 5 4 61 45 3 72
students of not only jazz but also rock, metal 5 5 8 6 8 54 37 4 51 83 71 48 15 2 73 4 B7 51 26 53 17 3 5 4 61 45 3 72

and fusion guitar soloing. 8 C79
53 48 1 62 47 2 5 1 83 6 1 83 1 Fmaj7 7 5 5 7
5 5 6 5 7 7
5 8 6 7 5 8 7 5 8 7 8 5 7

FIGURE 1 presents the line, which is 16 8 C79 8 Fmaj7 B7 6 5 6 5
bars long and is played over the first half of 1 8 4 6 2 7 3 1 4 6 2 1 51 3 1 84 73 84 1 3 51 2 51 73 1 2 1 73
8 5 5 8 8 7 5 5 7 6 5 6 5
1 8 4 6 2 7 3 E7/B1 4 6 2 1 51 3 1 84 73 84 1 3 51 2 51 73 1 2 1 73

the songs 32-bar form. I purposely made C6 Am7 D7
51 4 2 3 51 84 2 81 7 5 5 7 6 5 6 5

it a virtually unbroken stream, or thread,
11 C6
C6 8 6 7 E7/B 6 51 3 1 84 73 84 1 3
Am7 51 2 51 73 1 2 1 73
D7
51 4 2 3 E7/B 5 8 8 7 5 5 7 6

1 4 2 1 Am7
1 3 1 4 3 4 1 3 D7
1 2 1 3 1 2 1 3
of eighth notes for the sake of taking 11 8 8 65 78 4 6 5 51 3 1 84 73 84 1 3
41 4 2 71

advantage of every available opportunity 11 C6 8
1 5 4 2 3 E7/B
5 8 4 6 5
Am7
5 7 5 4 D7
1 2 1 3 4 1 5 2 6 1 7 3
to demonstrate various ways to smoothly 6 4 7 6 5 4 5 6 7 4 5 6 7

C6 5
11 81 4 52 83 1 64 52 1 E7/B 7 Am7 7 5
51 3 1 64 3 74 61 53 D7
1 2 1 3 1 2 1 3
and satisfyingly connect the targeted chord 5 4 7 7 5 4 4 5 6 7 4 5 6 7

tones. The line combines arpeggios with 11 C6 8 5 8 E7/B6 5 Am7
5 6 7 6 5 D7
4 5 6 7
4 5 1 1 4 4 1 2 1 7 3 7 5 4 1 2 3 4 4 1 5 2 6 3 7
scale tones and some chromatic notes, and 11 84 1 51 84 1 62 51 3 51 3 1 62 1 74 63 52 4 5 6 7
4
5 7Dm7 1 73 51 2 41 4 G79 3 2 1 2 3 4 4 1 5 2 6 3 7 4

4

on each chord change Im deliberately 84 1 51 84 1 62 51 3 51 3 1 62 1 74 63 52 41 52 63 74 1 2 3 4 C6

landing on a non-root chord tone for the sake 5 7Dm7 7 5 4 G79 4 C6 5 6 7
14 4 1 1 4 1 2 1 3Dm7 1 3 1 62 1 74 G79 63 52 41 52 63 74 1 C6

5 2 3 4
of forming a pleasing counterpoint with that 14 5
4 1 1 4 5 17 8 2 91 3Dm7 6 1 5 3 1 2 1 4 3 2 81 9 211 39 84 1 2 3 4

5 G79 C6
chords root note, which could either be 14 5 7 6 7 5 7 8 9 7 6 5 7 10 10 9
5 6 5 7 7 93 7 210 81 9 211 39 84 101 C6

provided by another instrument or implied 14 54 71 6 1 7 4 5 17 82 91 3Dm76 1 5 37 61 72 5 1 7 4 G79 9 8 9 11 9 8 92 3 4
7 6 7 5 7 6 5 7 10 10 C6 9

within the context of the melody. With one Dm7 G79
14 5 5 7 8 9 6 5 7 7 9 8 9 11 9 8
exception, Im targeting either the third or 7 6 7
1 3 2 3 1 2 3 4 5 7
1 2 1 3 2 3 1 2 6 5 7 10
4 1 4 1 2 4 2 1 3 10 91
fifth of the underlying chord, the exception 14 51 3 2 3 51 72 83 94 1 62 51 3 2 73 1 72 94 1 4 81 92 11 9 8
4 2 1 10 3
7 6 7 5 7 6 5 7 10 91
being the Bf7 chord in bar 10, for which Im 51 3 2 3 51 72 83 94 1 6 2 5 1 3 2 7 7 94 1 4 81 92 11 4 9 2 8
7 6 7 7 6 3 51 2 7 10 1 3
10 91
hitting the ninth of that chord, C. As we 1 3 2 3 1 2 3 4 1 2 1 3 2 7 3 1 7 2 94 1 4 1 2 4 2 1 3 1
learned in Chapter 4 (Raking Leaves, Part
1 3 2 3 1 2 3 4 1 2 1 3 2 3 1 2 4 1 4 1 2 4 2 1 3 1
2), the ninth can also be a strong note choice
in certain situations. 1 3 2 3 1 2 3 4 1 2 1 3 2 3 1 2 4 1 4 1 2 4 2 1 3 1
As you can see, the line is almost entirely
alternate picked, with a few pull-offs used the mortar that holds together the bricks Regarding the fret hand, there are a few
toward the end to create a legato feel and in an ideal spacing pattern. They also fulfill important position shifts, which are self-evi-
provide some welcomed contrast to all the the function of providing additional notes dent if you follow the fingerings supplied be-
staccato articulations. Youll also notice that to alternate pick on a given string, for the low the tablature. Theres nothing too tricky
I do the opposite of what most guitarists do sake of optimizing the string crosses so that or impractial though. Just start out slowly,
when they alternate pick and use upstrokes the pick is conveniently propelled in the gradually working the line up to speed. You
on the downbeats and downstrokes on the direction it needs to go next. This is called may find it helpful to loop one or two bars
upbeats. Thats just how my soloing and outside-the-strings picking and is much at a time at first before stringing them all
technique developed in this style. easier to do than inside-the-strings pick- togerther. Listen thoughtfully to the logic of
The chromatic notes in the line serve as ing, wherein the pick needs to change direc- the notes and the way they describe the un-
musical fill, sandwiched between or around tion in midair, of which there is only one derlying chord changes, and also take notice
the chord tones, and may be thought of as instance here, on beat three of bar 4. of the lines melodic contour, or shape.

8 STRING THEORY
 Chapter 6
THE WINDING FIG. 1 1 The Winding Road, part 2
FIGURE

ROAD, PART 2 FIGURE C6

FIGURE C6
1 The Bm75
1 The
Winding Road,
Winding
E79 part 2Am7
6fr Road,
D79 Gm7 C79 Fmaj7
The conclusion of 7fr Bm75 E79 part
6fr 2Am7 5fr D79 4fr Gm7 C79 Fmaj7 5fr
our chromatics-driven FIGURE C61 The Winding
7fr Bm75 6fr Road,
E79 6fr 2Am7
part 5fr D79 4fr Gm7 C79 Fmaj7 5fr
2 143 2 341 2131 2 333 2131 2 333 2131 4311
single-note etude C6 7fr Bm756fr E79 6fr Am7 5fr D79 4fr Gm7 C79 Fmaj7 5fr
B7 2 1 4 3F#m752 3 4 1B79#52 1 3 1 F7 2 3 3 3 Em7 2 1 3 1A139 2 3 3 3 Dm7 2131 G139 4 3 1 1 C 69
HERE IS PART two, the second half, of the 7fr 6fr 6fr 5fr 4fr 5fr
etude I introduced in Chapter 5, an origi-
B7 2 1 4 3F#m75
6fr 29fr3 4 1B79#57fr
2 1 3 1 F7 2 7fr 1 3 1A139 25fr 3 3 3
3 3 3 Em7 27fr Dm7 25fr
131 G139 43fr3 1 1 C 69
nal single-note solo played over the chord B7 26fr1 4 3F#m75 29fr3 4 1B79#57fr 2 1 3 1 F7 2 7fr 3 3 3 Em7 27fr 1 3 1A139 25fr 3 3 3 Dm7 25fr 1 3 1 G139 43fr 311 C 69
changes to the final 16 bars (bars 1732) of 2 341 1324 1 2444 2134 1 243 1 1243 1 243 1 1243 21134
B7 6fr F#m759fr B79#57fr F7 7fr Em7 7fror TA139 1 2 4 35fr Dm7 5fr or TG1391 2 4 33fr C 69

the old jazz standard There Will Never 2 3 4 1 C6 1 3 2 4 1 2444 2134 1 243 1 1243 Bm75
1 243 1 1243 21134
Be Another You. The first 10 bars of this 6fr 9fr 7fr 7fr 7fror T 1 2 4 35fr 5fr or T 1 2 4 33fr

2 3 4 1 C6 1 3 2 4
17 1 2444 2134 1 1243 Bm75
1 243 1 1243 21134

second section (bars 1726) follow the same 1 243
10or T 1 210 4 3 12 13 12 10or T 1 2 4 3

10 10 11 12 13 13 13 12 11 10
10 12 11 12 11 12 13 13 13 12 11 10 12
chord progression as bars 110 from part 17
2 3 4 1 C6 1 3 2 4 1 2 4 4 4 2 1 3 4 1 1 2 4 3 Bm75
1 2 4 3 1 1 2 4 3 21134

17
1 2 4 3
9 10 11 12 12 11 12 10or T 1 210 4 3 12 13 12 10or T 1 2 4 3 12
one. The progression then veers off into

1 2 3 4 101 3 2 3 101 112 123 134 101 134 101 123 134 123 101 134 123 112 101 3
10
10 12 11 12 11 12 13 10 13 10 12 13 12 11 10 12
C6 Bm75
17
new territory and whats commonly referred 9 10 11 12 13 12 10

E7991 102 113 124 1 123 112 123 Am7

to as the second ending of the tunes A-A 10
9 10 11 12
form, which in this case is the last six bars

1 2 3 4 1 3 2 3 1 2 3 4 1 4 1 3 4 3 1 4 3 2 1 3
D79

(2732), and resolves satisfyingly to the I 1 2 3 4 1 4 1 3 4 3 1 4 3 2 1 12 3
(one) chord, C6-9.
E79 Am7 D79
110 29 3 4 1 3 2 3 Am7 1 2 3 4 1 4 1 3 D79 4 113 101 4 3 2 1 3
FIGURE 1 begins where we left off last
20
E79
10 9 12 10 11 10 Am7 11 14 12 14 10 12 13D79 11 10 13 12 11 10 12
time, at the E note on the G strings ninth 20 13

10 9 11 10 11 14 12 14 11 10 13 12 11 10 12
fret, which is the third of the underlying C6
20 13E79
chord. The melody continues and moves up

12 10 13 12 14 10 12 13
the neck, hitting higher pitch peaks than 20 13

last time. Climbing into the upper register 4 1 1 12 2 10 1 2 1 13 4 2 14
12 4 1 4 2 4 10 1 12 3 4 2 1 13
13 4 12 3 11 2 10 1 3
like this as a line develops is an effective 13 10 9 11 10 11 14 12 14 11 10 12
1 1 2 1 2 1 134 122C9 144 1 4 2C794 1 3 4Fmaj7 2 1 4 3 2 1 123
4Gm7 2C914 4 1 4 2C79 4Fmaj7

1 1 214 113 214 115 413 214C9 415 131 4 2C794 1 3 4Fmaj7
1 1 12 2 10 1 2 1 13 4 12 4 10 1 12 3 13 2 1 13 4 12 3 11 2 10 1 3
composition/improvisation strategy that 11 10 11 14 12 14
23 4Gm7
2 1 4 3 2 1 3
helps build a melody to a dramatic climax:
23 4Gm7

start low, end high.
13 14 15 12 13 14 15
12 15 14 13 14 15 13 14 15 13 14 13 16 15 13 12 13 14 15 12 13 14 15
In terms of technique, as before, were 12 15 13 13 14 14 13
23 13 Gm7 14 14 15 C9 15 13 C79
16 15 13 12 Fmaj7
employing what I call inverted, or back-

16 15 13 12
ward, alternate picking, using upstrokes 23 13

2 3 1 142 131 164 153 131 12F#m75

on the downbeats and downtrokes on the 4 12 1 154 3 2 3 4 1 2 3 1 14 2 131 4 3 1 1 2 3 4 12 1 13 2 143 154
13 13 14
13 13 14 15 B79
4 121 154 3 2 3 4 1 Cmaj7 1 132 143 154 12B79
1 2 143 154
eighth-note upbeats, with a couple of pull- B7 14 14 15 Cmaj715 13 F#m75

2 123 131 152 121 134 143 151 17F#m75

4 1 4 3 2 3 4 1 2 3 1 2 1 4 3 1 1 2 3 4 1 13 2 3 4
offs employed briefly, in bar 20, to add a 26 13
4 1 4 123 132 153 124 131 15Cmaj7 1 152 143 174 16B79
1 132 123 144
B7
legato feel in choice spots. I set out to avoid

12 13 15 12 13 15Cmaj7 12 13 15 F#m75
17 16B79 13 12 14
the dreaded outside-the-strings picking 26 12 B7
12 13 14 15 17 15 14

1312
14 15

4 17
as much as possible while still targeting the

26 12 B7
12 13 14 15 17 15 14

3
melody notes I wanted to hit, but a little bit 14 15

3 4 G79
26 12 12 13 15 12 13 15 17 16

is required at the beginning of bar 22 and
4 12 1 13 2 15 4 1 2 4 12 1 13 2 14 3 15 4 152 14 1 4 3 1 1 14

1 14 3 15 4 1 2 3
12 13 15 12 13 15 17 16 13 12

3 4 G79
across the first half of bar 23. It isnt too
12 6
4 12 1F9 13 2 15 4 2 1 4 C 93 1 1 14
4 2 1 4 C 693
C6 4 1 Em7 4 1 A79 2 4 1 2Dm7
1 3 4 1F9 2 4 1 Em7 2 4 1 A79 2 4 1 2Dm7
13
arduous to perform in either case, because 1 14 3 15 2

3 4 G79

youre moving to a higher-pitched string
4 13212 110 4 C9 69313
C6
1 3 12 413 141F9 2 4 1 Em72 4 1 A79 2 4 1 102Dm7
29 1 1 3
and thus have the assistance of gravity,
which helps the pick hand overcome mo- 29 12 C6
14 12 13 14F9 13 12 15 12Em7
15 14 12 11A79
12 13 14 10Dm7 12 11 10 G79
9 613

1 1 3

14 12 13 14 13 12 15 12 15 14 1211 12 13 14 10 12 11 109 13 12 10 9 13
13 12 10 C9 9
mentum and change direction more easily. 29 12 C6 13

1 122 133 144 101 123 112 101 91 134 123 101 91 133 13
As always, try to play with a light touch,
1 3
29 12 13
and keep your pick hand relaxed and its

1 3
1 14
3 1 2 3 13 2 12
1 4 12 1 15
4 143 121 111 12 2 13
3 14
4 1 12
3 112 101 9 1 4 3 1
movements as small as possible while using 15
12 3 121 132 14

a light palm mute on the lower strings to 1 14 3 13 2 12
1 4 12 1 15
4 143 121 11
suppress string vibration and noise. 15
1 3 1 2 3 2 1 4 1 4 3 1 1 2 3 4 1 3 2 1 1 4 3 1
Some theoretical points of interest:
Notice how, over the Gm7 chord in bar 23, 1 3 1 2 3 2 1 4 1 4 3 1 1 2 3 4 1 3 2 1 1 4 3 1 1 3
I play an ascending Gm11 arpeggio (G Bf
D F A C, minus the G root), the top note of
which, C, leads upward on the downbeat of D, the minor, or flat, seven of Em7, extensive use of chromatic passing tones,
bar 24 to Df, the flat-nine of the C7f9 chord resolves down a half step, to Cs, the third which I employ to smoothly connect the
that follows. This is a neat example of how of A7f9. I also target the flat nine of D7, Ef, targeted non-root chord tones and create
to apply voice leading to a melody. Another in bar 22 and, in bar 26, the sixth of Bf7, a nicely rolling melodic contour and sweet
example occurs in bar 30, where the note G. And notice throughout the example the counterpoint to the underlying root motion.

9 STRING THEORY
 Chapter 7
MELODIC MINOR FIG. 1 1 Melodic Minor Domination, part 1
FIGURE

DOMINATION, Em7
7fr
C13
8fr
B7alt
7fr
Em9
5fr

PART 1

1 243 1 234 1 234 2134
Drawing inspiration from

Em7 C13
a sax legend and melodic 1

minors two coolest modes

3 5 7 7 5 3 7 5 3 5653 5 3 2

0 5 0 5 5
3
IN THIS AND the following chapter, Id
like to pay tribute to one of my biggest musi-
cal heroes, the late, great tenor saxophonist

3
Michael Brecker. His huge tone, jaw-drop-
ping chops and ferociously funky and always
3 1 3 3 3 1 3 3 3 1 3 4 3 1 3 1 1 4 1

brilliantly compelling solos inspired me early B7alt Em9
on to learn the language of jazz and taught
4

me a great deal about the art of phrasing and 3 2 3
5 2 3 4 4 4 3
playing intriguing, outside-sounding lines 3 2 5 5 4 4 7
7 5 4 4 5 7

that have a method to their musical mad-
6 6 7
nessmeaning a theoretical basis that one
can learn from and apply. And so, Ive com-
2 1 4 1 2 3 1 4 3 1 2 1 3 1 4 1 2 1 3 4 1 2 4 1 4

posed a 32-bar solo, presented in two parts

and played over a repeating eight-bar chord B7alt Em7
progression, that was inspired by Breckers
8

improvisation on the track Quartet No. 8 7 12 12 12 12 10

2 (Part 2: Dedicated to John Coltrane) 8 6 8 10
5 7 8
from pianist Chick Coreas 1981 album
Three Quartets. That performance features
Brecker, backed by an elite acoustic jazz

1 2 3 3 1 2 4 2 1 4 4 4 4 2
rhythm section, soloing over essentially the
same chord progression, albeit in a different

C13 B7alt
key, C minor. My tribute solo is in the more
guitarist-familiar key of E minor and follows 11
8 10 12 10 8 7
the progression Em7-C13-B7alt-Em9-B7alt. 11 10 8 10
FIGURE 1 presents the first half of
12 11 9 7 8
8 7 7 9

1 1
my solo, which Ive entitled Melodic 10 9 7 6 10
Minor Domination because it draws
heavily upon what many regard as the 1 2 4 2 1 3 2 4 3 1 2 1 4 3 1 4 1 3 2 2 4 1

two most useful and coolest-sounding
modes of melodic minor: Lydian-dominant
(theoretically spelled 1 2 3 s4 5 6 f7) and
super-Locrian (spelled 1 f2 s2 3 f5 s5 f7),
also known as the diminished whole-tone,
or altered-dominant, scale.
Over the Em7 and Em9 chords (bars 1, 2,
7, 9, 10 and 15), I strove to keep the melody
relatively straightforward and inside
sounding, using mostly notes from E minor
pentatonic (E G A B D) and briefly adding
the major, or sharp, seventh, Ds (bar 7),
and the second, or ninth, Fs (bars 7 and 15).
The melody notes over C13 (bars 3, 11 and 12)
are from C Lydian-dominant (C D E Fs G A
Bf), the fourth mode of the G melodic minor
scale (G A Bf C D E Fs). This intriguing mode
includes both the raised, or sharp, four of
C Lydian (Fs) and the dominant, or flat
seven, of C Mixolydian (Bf), encompass-
ing the signature qualities of both of these
modes and offering an ideal scale to play
over a C dominant-seven, -nine or -13 chord,
with or without the s11 included in the voic-
14
8 10 10 9 8 7
3
4 4 4 3 2 1
ing, as the modes s4 tone is that same note.
The chord symbol B7alt signifies B7 al-
tered-dominant, meaning a dominant-seven
chord that has either a sharped (raised)
or flatted (lowered) fifth and ninth, for
example, B7f5f9, B7f5s9, B7s5f9 or B7s5s9.
Over this chord, I strove to craft outside-
sounding, Brecker-style lines, with lots of
jagged melodic peaks and valleys, mostly
using notes from the B super-Locrian
mode/diminished whole-tone scale, B C D
Ds F G A, which is the seventh mode of C
melodic minor (C D Ef F G A B). This mode
Em9 B7alt (Em7)
10 8 7 10 8 8 8 7 8 10 10
4 2 1 4 2 2 1 2 4
gives you, over a B root, all four of the afore-
mentioned altered chord tones, creating a
compellingly dramatic sound and feeling of
musical tension, which satisfyingly resolves
to the more stable sound of Em7 or Em9.
The solo is played with a swing feel
and includes long phrases and a few slip-
pery, saxophone-like legato articulations.
Notice also how I employ rests, or holes
of silence, to help the solo sound more
conversational than a steady stream of
eighth notes would and build the intensity
level as it develops.

10 STRING THEORY
 Chapter 8
MELODIC MINOR FIGURE
FIG. 1 1 Melodic Minor Domination, part 2 (conclusion)

DOMINATION, FIGURE(B7alt)
1 Melodic Em7
1 17Em7
Minor Domination, part 2 (conclusion)

C13

PART 2 (B7alt)
FIGURE(B7alt)
1 Melodic
17Em7
Melodic Minor
7 9 7 9 part
Domination,
2 (conclusion)
part
7 9 C13
27 (conclusion) C13
7 8 7 7
(B7alt)
8 7 8 10 10 7 10 7 10 10 7 10 7
7
1 Melodic
Em7 7 9 part 2 (conclusion) 7 9 C13 7 7 8 7 9 10 7
FIGURE Minor Domination,
7Domination,
9
The conclusion of my

(B7alt)
8 7 8 10 17 10 7 10 7 10 7 10 7 10
FIGURE Minor 7
tribute to Michael Brecker
2 1 2 4 Em7 1 71 93 4 1 71 93 104 71 371 93 104 71 371 93 C13 4 1 71 82 71 93 104 71
9 9

82 71 82 104 17 10 7B7alt
8 7 8 10 17 10 7 3 10 7 3 10 7 3

7 37 10 7 37 10 7 37 10Em97 37 9 10
82 71 82 104 5 106 7B7alt
PICKING UP WHERE we left off in Chap- 10

37 104 71 371 93 104 71371 93104 71371 93 104 Em9 71 371 8271 93 104 71
37
ter 7, Id like to present the second half of 1 1 93

8 10 7 9 7 8 5 6 B7alt
my tribute to the late, great tenor saxophon- 20
3 1 431 33 5 4 4 15314 38 4 131 310 4 Em9 18 319 2718 910 10 1
7 6
1 1 3 4 95 7 3 9 9 7 10 8 7 9 8 7 3 47 10 7
ist Michael Brecker. Though hes widely 8
20
20 2 71 8 B7alt 31 3 4 1 431 33 5 44 4 115 3114 338 447 10 118311 7 3310 44 Em9
118 3119 227118 10
4 11
remembered as a jazz saxophonist, Brecker 2 1 2 4 17 16 35 47 31 1 3 3 47 10
also forayed into jazz-funk and -fusion styles 7 8

20 7 4 1
92 4 1 3
throughout his illustrious career with groups 8 10 5 6 7 6 5 7 3 7 10 8 7 7 10

7 8 4 3 4 38 10 8 7 8 10
10
such as the Brecker Brothers (which he co- 9 B7alt 5 4 5 Em9 8 9
82 10
4 1 3 1 2 5 1 62 73 62 51 73 31 2 1 3 1 2 1 3 71 10 4 8 2 7 1 4 2 2 3 1 2 4 7
founded in the mid Seventies with his brother, 7 8 4 3 4 8 10 8 7 8 10

20 B7alt 7 9
82 2 3 71 82 10
Em7 5 4 5 3 7 10 8 7

5 6 7 6 5 7 3 8 9
trumpeter Randy Brecker) and Steps Ahead, 82 10
4 1 3 7 1 8 2 1 2 3 2 1 3 1 4 2 3 1 3 1 2 4 1 8 3 1 4 2 1 10 4 4 4 10
7 1

with whom he worked in the Eighties. He also

121 82 11133 1 84 122 1 4 2 2 3 1 2

24 B7alt 7 9 5 4 5 3 8 9
4 71 103 1 2 1 2 3 2 1 3 1 Em7
pursued these explorations on various solo 82 10 7 8 10 11 14 Em7
14
2 1 10 3 10 14 17 14 144 4 1

2 4 71 103 1 2 1 2 3 2 1 3 1 Em7
projects and collaborations with Mike Stern, 24 B7alt
82 4 1 3 1 7 2 18 210 3 112 1143 1 14

2 1 10 3 1 2 1 3 1 4 2 1104 142 2173 14 1 2144 4 1
Pat Metheny and others. Building upon the in- 12 8 3 8 12

7 10 4 4 4 Em7 1 3124 81 113 81 1234 1 4 4 1

novative genius and body of work of John Col- 24 B7alt 2 1 10 3 11
1 2 1 3 1 4 2 1104 142 2173 14 1 2144 4 1
8 7 8 10 11 14 14

7 10 11 14 14 10 312 8 11 8 123 10B7alt 14 17 14 14

trane and other legendary musicians, Brecker 24 B7alt
82 1 4 71 82 10

4 114 144 14 101 3124 81 113 81 1234 10B7alt

was a musical pioneer in his own right, re-
24 C13
27 C13 1 144 174 14 1 14
garded by many as the greatest saxophonist of 82 1 4 71 82 10

4 4 4
his generation. He masterfully combined jazz, 7 10
funk/R&B and rock elements and sensibilities
27
14 172 18

17 15
14
151 1534 141 3 1 34 B7alt 1 4 164 141 16 17 16

2 1 415 1 17
14 15
15 1 2 4 4 4
into an exciting signature style that countless
3 14 3 16 141 16 17 16
C13
27
4 174 15 4 14
14 17 18 17 15 14 17 16 1 4 1 154 17 4
14 13

2
others have eagerly sought to emulate. 2 1 4 1 4 1 3
17 15

141 152 1532 141 174 184 173 151 141 174 152 152 141 4 3 1 B7alt 1 2 4 163 1411 163 174 161
FIGURE 1 begins with the final phrase C13 14 15 15 B7alt
1 4 14 1 17 2 18 1 4 1 17 3 16 114 4 13 1 154 17 4

15 153 Em9 17 15 15 14 17
from part 1the end of bar 16 from Chapter
16 14 13 15 17 16 14 Em7 16

27 C13
27 14
2 1 4 4 3 1
7, included here as a pickup barwhich leads

14 15 3 Em9
B7alt

into a repeating arpeggio sweep in bars 17 and 16 17

14 17 18 17 15 14

30 1 2 2 1 4 4 3 1

16 14
1 2 15 1 17 4 15 2 2 1 17 4 16 3 14 1 131 15 2 17 4 3 1 3 4 16 1
18 comprising the top four notes of an Em11 15 14 B7alt 16 17
Em7

arpeggio (E G B D Fs A), sounded in reverse 17 16 14 13 15 17

1 2 2 1 4 4 3 1

14 1 4 2 2 1 4 3 1 1 2 4 3 1 3 4 1
3 16 1 2 4 3 1

15 17 19 15

order (A Fs D B) with an upstroke pick sweep 15 16 18 Em9 17 15
B7alt Em7

30 1 4 16 2 2 1 4 17 3 12 1 3 4 1

and played in an eighth-note triplet rhythm,
16
315 17 19 15 14 13 12
which helps to build rhythmic intensity going 15 16 18 16 Em9 1 17 B7alt
15 15 14 Em7
14

30 1 2 2 1 4 4 3 1 4 2 2 1 4 3 1 1 2 4 3 1 3 4 1

30 1 2 4
18 1 2 4 1 1 2 152 174 121 2 1 153 142
17 12

into this second half of the solo. This four- 15 17 19 15 14
Em9 B7alt 13 12 Em7
15 16 16 17

14
1 162 184 1 2 4 1 162 1 173 162 152 174 121 2 1 153 142
note arpeggio may also be thought of as Bm7 2 3 16
15 17 19 15 14 13 12
superimposed over an E root note.
30 15 14
2 174 121 2 1 153 142 14
This arpeggio then morphs slightly, in bar 15 17 19 15 14 13 12
15 16 18 16 17 15
19, into C13s11 (C E G Bf D Fs A), again with 1 2 4 1 2 4 1 2 1 3 16 2
only the top four notes of the arpeggio played 13 12
15 14 14
in reverse order using an upstroke sweep. This 1 2 4 1 2 4 1 2 1 3 2 2 4 1 2 1 3 2
shape serves as a springboard to launch into an 1 2 4 1 2 4 1 2 1 3 2 2 4 1 2 1 3 2
ascending, alternate-picked scalar run through
C Lydian-dominant (C D E Fs G A Bf), which,
as we learned last time, is the fourth mode of G
melodic minor (G A Bf C D E Fs). A C) and B7s5s9 (B Ds G A D), both of which bars 26 and 27 by a couple more ascending
I employ a bit of chromaticism approach- live within B super-Locrian. Brecker-like slurs (the legato finger slides).
ing the B7 altered-dominant (B7alt) chord I then take this same scale/arpeggio ap- Notice in bar 27 the use of another triplet
at the end of bar 20 (last note) and at the proach over Em7 and C13 as well, the par- arpeggio sweep, this one over C13.
beginning of bar 21 (second note). Over this ent scale of Em7 in this case being E minor This leads up to the solos climactic phrase
chord, in bars 21 and 22, I play notes from hexatonic (E Fs G A B D). For example, I over B7alt in bars 29 and 30, an angular,
the B super-Locrian mode, or B diminished begin bar 25 with a long pinkie slide up to outside-sounding climb through B super-
whole-tone scale (B C D Ds F G A), which, as Fs, the ninth of E, followed by a rootless Locrian. The final arpeggio, in bar 32, may be
you recall, is the seventh mode of C melodic Em9 arpeggio ([E] G B D Fs), which may thought of as Cm(add2) (C D Ef G) superim-
minor (C D Ef F G A B). My note choices also be reckoned as Gmaj7, played as a quick posed over a B root and sounds poignantly
here combine both scale- and arpeggio-based descending-ascending eighth-note triplet dramatic as it begs to resolve to Em7, which it
thinking, the arpeggios being B7s5f9 (B Ds G motif, Brecker-style. This is followed in does satisfylingly in bar 33.

11 STRING THEORY
 Chapter 9
SANTANA, FIGURE
FIG. 1 1 Americana, part 1

MOORE AND
Dm7 G7 G79 Cmaj7 C7 Fmaj7 Bm75 E79 Am A7 Dm(maj7)
10fr 9fr 9fr 8fr 8fr 5fr 6fr 6fr 5fr 5fr 10fr

BRECKER, PART 1
Slowly q = 66 w/swing 16ths feel

=
3 3
2 33 213 2131 1 342 1 243 4311 2 341 2134 13411 1 24 2 31
A harmonically intriguing,
saxophone-like solo played

1st Chorus
over a familiar rock ballad

Dm7
chord progression 1


IN CHAPTER 1, I mentioned that the chord
7
7 9 9 10 10 10 9 7 6 9 7 7
7 10 7
progression to the jazz standard Autumn
Leaves is structurally identical to that used

1
in Still Got the Blues (For You) and the
3

instrumental Europa (Earths Cry Heavens
1 1 4 4 4 4 3 1 4 2 1 4 1
Smile), two classic rock guitar ballads

penned by the great Gary Moore and Carlos G7 G79 Cmaj7 C7
Santana, respectively. Following on the heels slight P.H.
of the previous two chapters tribute to jazz 2
sax legend Michael Brecker, I wondered,
What if Brecker took a sax solo on this same 9 9
7 10
8 9 11 9 11 8
10
8
9 9 7
10 9 8
6 10 8 10 7
8

chord progression, played over Santanas 10

slow 4/4 Europa groove and in Moores
guitar-friendly key of A minor? I ended up 3 3
composing a tasty original solo that I titled 3 1 4 1 2 4 2 4
1 1 3 1 1 2 1 4 3 2 4 1 4 2 4

Americana. Fmaj7 Bm75
FIGURE 1 presents the first eight bars 4
and encompasses one complete cycle of the
repeating progression. (Ill show you the 9797 7
climactic second part of the solo in Chapter 10.) 6 7 7
10 8 7
7
8 7 7 8
7 9
Some theoretical points of interest: 10 8 7 10 8 8 10 7 10
On just about every chord change, I de- 3 3
liberately target a strong, non-root chord 1 1 4 2 1 4 2 1 4 2 3 1 3 1 1 2 1 4 1 4 1 2 1 3 1
tone, such as the third (bars 14), seventh

E79 Am
(bar 3, beat three and bar 9) or ninth (bars
6
6 and 7). In the case of the E7 altered-
dominant chord in bar 6, I play the sharp 8 6 8 5 4
7 5 4

7 G7
nine and flat nine (G and F, respectively) 6 5 3 2
3
to emphasize that chords restless, unre- 4 1 0 4 7 6 5 4 4 7 4

1
solved quality. (I previously do a similar
3 3
move over the altered G7 chord on beat
three of bar 2.)
4 2 4 1 1 4 2 1 3 2 1 2 3 1 4 4 4 3 2 1 4 1

In bar 1, I tonicize the ii chord, Dm7, by (2nd Chorus)

A7 #9
5 6
briefly touching upon its major seventh, or #5
Dm7
(to be
leading tone, Cs, clearly establishing Dm as 8

continued)
a temporary tonic before proceeding to 6 8
6 8
outline the minor-seven chord quality, via 5 6 8
the C natural note, which I use as a voice- 5 7 8
3 5 7 8
leading element going into bar 2. 5 7

Employing a similar tactic with the Am
chord in bar 7, I go for a jazz saxlike
approach, dancing around, and initially
avoiding, its A root, instead emphasizing
the low fifth, E, followed by the ninth, B,
and major, or natural, seventh, Gs, before
touching upon the A root on the downbeat
of bar 8. Part of the inspiration for this
particular phrase came from Dick Parrys
smokey, tenor and baritone sax lines on
the Pink Floyd tracks Us and Them and
Shine On You Crazy Diamond (Part V).
Over the altered-dominant chords in bars
4
2 4 1 2 4 1 3 4 1 2 4 2 4 1 2 4 4
2, 6 and 8, I employ, over varying tonal cen- which adds a dramatic melodic flair to this
ters, the super-Locrian mode we recently chords quality.
learned about, in each case using it to cre- In terms of technique, the included finger-
ate harmonic tension that satisfyingly re- ings and pick strokes should eliminate most
solves on the following chord change. of the guesswork. Use a pull-down vibrato
In bar 5, instead of just targeting the in bar 7 to avoid falling off the fretboard.
third of Bm7f5, D, and playing the arpeg- As always, proceed slowly at first, play in
gio (B D F A), I lean on the fourth/11th, E, time and strive to make your guitar sing.

12 STRING THEORY
 Chapter 10
SANTANA, FIG. 1 1 Americana, part 2
FIGURE Slowly q = 66 w/swing 16ths feel
=

3 3

MOORE AND
Dm7 Cm(maj7) G7

BRECKER, G
9
8 8 5
6 4 7 6 4 3

6 5 6 5 3 2
7 6 6 5 4 4 3 1 0
PART 2 7 7 3

1 1
The climactic conclusion to
3
Chapter 9s tribute solo 4 4 1 2 3 2 3 1 3 1 2 1 4 3 1 4 3 1 3 2 1 2
Cmaj7 Fmaj7
HERES THE SECOND half of my original 11
16-bar solo, entitled Americana, which

was inspired by Carlos Santanas rock in-
2 5 8 7 6 8 12 10 9 10
strumental classic Europa (Earths Cry 2 5 3 2 3 10 8 7 8

1
3 5 3 5 3 2 3 10 8 7 8

2
Heavens Smile), Gary Moores Still Got
the Blues (For You) and jazz saxophonist
1 3 1 2 1 4 1 2 4 2 1 2 4 2 1 2 4 2 1 2 3 2 1 2 4 2 1 2
Michael Breckers harmonically sophisti-
cated soloing style. As I stated in Chapter 9,
Bm75

P.M.
the chord progression over which this solo
is played is structurally similar to that of the 13
jazz standard Autumn Leaves, which is a 10 12 13
circular eight-chord sequence that moves 9 10 12 9 10 12
7 9 10 9 10 12
diatonically (meaning the root motion is scale 7 8 10 7 8 10
7 8 10
based) through the cycle of fifths/fourths (ei-
ther descending fifths or ascending fourths). 3 3 3 3 3 3 3 3
Its written in the guitar-friendly key of C 1 2 4 1 2 4 1 2 4 1 3 4 1 2 4 1 2 4 1 2 4 1 3 4
major/A minor, with the melody superimpos- E7#9

ing harmonic extensions and tensions atop P.M.
the basic underlying chords. 14
One advantage to soloing over a slow 15 16 18
15 17 18 15 17 18
tempo like this is that you have more time, 12 13 15 13 15 17
or musical space, to subdivide each beat 12 14 15 12 14 15
11 13 15
into smaller, faster rhythms, which gives
you more phrasing options with which to

express yourself. Whatever the tempo, the
more technical facility, or chops, you have,
the more youre able to subdivide, so slower
tempos offer non-virtuosos (such as yours
truly) a welcome opportunity to dig deeper
into the rhythmic dimension with less tech-
nical limitation. (Hey, I can actually handle
playing 16th-note triplets at this tempo, and
maybe even some 32nd notes!)
When crafting this melody, my goal
was to have the second eight-bar section
(bars 916) build upon the first and sound
more dramatic and climactic. One way in
which I achieved this was by employing
denser, busier rhythms, namely long,
mostly unbroken streams of 16th notes (bars
1012), followed by 16th-note triplets (bars
13 and 14), which build rhythmic tension.
If you look at bars 18 (from Chapter 9),
youll see that I liberally employed rests and
sparser rhythms, such as quarter notes
and eighth notes.
Another musical device I used to help
bring this story to a climax is that of
climbing into the upper register (pitch
range) in the final two bars, as this builds
melodic intensity. (Start low, end high is
a good, tried-and-true concept to keep in
3 3 3 3 3 3 3 3
1 2 4 1 3 4 1 3 4 1 2 4 1 2 4 1 3 4 1 3 4 1 2 3(+2)
Am
1/2 1
1
15
18 20 20 19 17 17
x 20 20
x
3(+2) 3(+2)
2 1 3 1
mind when building a melody.) This ap- over Dm7, of the minor seven, C (beat one),
proach, when combined with some wailing, followed by the major seven, Cs (beat three)
David Gilmouresque string bends ( la his and the chromatically descending voice-
second solo in Pink Floyds Comfortably leading thread on the G stringD moving to
Numb) seems to be particularly effective Cs, then C, resolving finally to B in bar 10;
on the electric guitar, especially with the bar 10s use, over G7, of the eight-tone G half-
aid of overdrive/distortion, which increases whole diminished scale (G Gs Bf B Cs D E F),
sustain. Notice how, in bar 15, I resolve the within which lives the spooky-sounding E
preceeding bars long 16th-note triplet run major triad (E Gs B) played across beat one;
with a cool and unusual half-step bend, from the application of upper and lower neighbor
Bf, the diminished fifth of E, up to B, the tones, both diatonic and chromatic, to C ma-
ninth or A minor. As Ive said before, voice- jor (C E G) and F major (F A C) arpeggios in
leading knowledge is an invaluable thing for bars 11 and 12; and the use of the B Locrian
an improviser to have! mode (B C D E F G A) in the triplet run over
Other noteworthy sections include the Bm7f5 in bar 13, followed in bar 14 by E
enigmatic effect created in bar 9 by the use, super-Locrian (E F G Gs Bf C D) over E7s9.

13 STRING THEORY