Jazz & Fusion Guitar With Clay Moore
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• 1 •Accompanying Booklet *Follows the order of the DVD • Supports the material on the DVD Call 800-543-6125 512-452-8348 Free Catalog www.Musicians-Workshop.com ©2006 Musicians-Workshop.com P.O. Box 161921 Austin, TX 78716-1921 • 2 • 800-543-6125 Free Catalog www.Musicians-Workshop.com ©2006 Musicians-Workshop P.O. Box 161921 Austin, TX 78716 Table of Contents How to read tablature....3 Definitions....4 Single String Studies....5 Two String Studies....6, 7, 8 Chord/Scale Relationships...9 thru 12 Jazz & Fusion Guitar DVD Menu Fingergboard Concepts 1. Introduction 2. Single String Playing 3. Two String Playing 4. Position Playing Improvisation Concepts 5. Chord/Scale Relationships 6. Playing throught the Changes 7. Ear Training & Other Practice Tips Jazz guitarist Clay Moore is a rare find on today's jazz scene – a unique voice that strengthens and expands the jazz idiom with sensitivity, clarity, and uncompro- mising integrity. Clay's warm, expressive tones and impeccable phrasing have been delighting U.S. and international audiences for over 20 years. Clay Moore’s Web Site: www.ClayMoore.com At Clay Moore’s web site you can: • Check his performance schedule • Buy his CD albums • Read his biography • Chat with music people • Contact Clay directly • Playing tips • And much “Moore” • 3 • 800-543-6125 Free Catalog www.Musicians-Workshop.com ©2006 Musicians-Workshop P.O. Box 161921 Austin, TX 78716 Pull-off play this string open Chord Diagram *In many cases the chord diagram is the chord form used in the tablature. Fingering Indicator (thumb) Bend this note 1/4 step How to read Tablature Tablature is completely different from “standard music notation.” It is a very logical method too, because it is simply a graph of your stringed musical instrument. The lines represent your strings and the numbers on the lines indicate which fret to play. In other words: 3 on the 2nd string indicates to play the 2nd string at the third fret. There are other details involved, but that’s its essence. Tablature simply plots the location of the notes of the song. Believe it or not, tablature historically pre-dates “standard music notation.” That’s right, it is a much older system. Tablature is ideal for stringed instruments. In many ways it is superior to “standard music notation” as a method of notating music for stringed instruments, because it allows its creator to designate locations and positions on the instrument that would be difficult to indicate using “standard music notation.” Tablature is much easier to learn to read than standard notation because it is basically a picture of the location on your guitar where the note is to be played. Generally speaking, tablature has become the established standard for informal styles of music and particularly for stringed instruments, while “standard music notation” remains the standard for orchestras and marching bands. One noteworthy exception would be Classical Guitar music which tends to be written in both “tab” and “standard” notation. But some of today’s tab does borrow timing notation from standard music notation, as well as other symbols. So you could say that some of today’s tab is somewhat of a hybrid of tab and standard notation. E , , , , ¸ , , ¸ , ¸ E , ¸ , ¸ ¸ ¸ ¸ ¸ ¸ ¸ 3 3 t 0 i P P t 2 1 0 P P t 2 1 0 t t 3 4 0 2 2 1 0 0 1/4 Triplet (3 1/8 notes equal one 1/4 note) G7 , , , , , ¸ , , , 3fr G7 , , , , , , , ¸ , , t 3 i t H t 3 3 4 m t 5 3 3 i t 3 6 t i H t 3 3 i t 5 4 6 3 Hammer-On Chord Diagram *This G7 is an E7 bar chord at the 3rd fret which corresponds to the tablature below it. Fingering Indicator Index thumb Fingering Indicator Index finger Double-Stop two notes played simultaneously Slur • 4 • 800-543-6125 Free Catalog www.Musicians-Workshop.com ©2006 Musicians-Workshop P.O. Box 161921 Austin, TX 78716 Definitions Slur--the word slur refers to any treatment of a note that causes it to have a soft beginning. In other words, a slurred note is a note that has not been picked. There are several ways to create a slur: hammer-on, pull-off, slide, or bend. *Note: there are no bends in this book, only hammer-ons, pull-offs, and slides. Slurs are usually indicated with curved line connecting two notes. Hammer-on--(indicated with an “h”). before you can hammer-on you pick a string, then you fret that string (with your fingering hand) without picking again. The picked note will sound crisp and the hammer that follows will sound soft. After you gain experience you will discover that you can play faster by taking advantage of this technique because you don’t have to pick every not that you can sound. To make a good, strong, loud hammer-on, your finger should hit the string quickly and firmly similar to a hammer hitting a nail. It is normal to be unsuccessful on your first few attempts, so be patient. When you touch a string lightly that has just been picked, you will “mute” the string. (this silences the ringing string). But, if you hammer it hard, you will create a new note without picking. Pull-off--(indicated with a “p”). Pulling off is the opposite of hammering on. But you don’t simply lift you finger up because lifting can mute the string. So with your fiinger down fretting the note, you should actually grab the note and pluck it similar to the plucking technique that you use to play a string with your other hand. In other words: don’t think of pulling off as “lifting up.” Think of pulling off as “picking” with your “fingering” hand. Slide--to create a slide you move your finger up or down the neck after you have picked it. The slide is indicated in the tablature with an “s.” Sliding is difficult at first. It can create sore fingers before you develop tough fingers. When your fingers start to hurt, it is best to end your practice session for the rest of the day. If your fingers are sore the next day you should take it easy or wait another day untill the sorness subsides. Bend--to bend a string is to stretch it out of tune on purpose. Bends are indicated in tablature with an arrow curving up and a degree notated such as 1/4, 1/2 or more. 1/2 means to stretch the string so far that it sounds one fret higher in pitch. 1/4 is to stretch a string to a pitch less than a fret (half step). *A string can be stretched 2 frets (whole step) and farther if desired. Double Stop--playing two strings at the same time. When you see a double-stop in tablature it will be a note above another note. Yes there is such a thing as a triple-stop. In fact, when you strum a chord, you are playing a “sextuple- stop” because your guitar has 6 strings. • 5 • 800-543-6125 Free Catalog www.Musicians-Workshop.com ©2006 Musicians-Workshop P.O. Box 161921 Austin, TX 78716 Single String Position Changing Key of C 1 Single string chromatic scale Ascending. *position changes indicated with fingering notation. Shifting with 1st finger 1 2 2 3 3 4 4 1 5 2 6 3 7 4 8 1 9 2 10 3 11 4 12 4 13 4 Single string chromatic scale Descending. *position changes indicated with fingering notation. Shifting with 4th finger. 13 3 12 2 11 1 10 4 9 3 8 2 7 1 6 4 5 3 4 2 3 1 2 1 1 1 1 C Major scale Ascending then descending. *position changes indicated with fingering notation. *This teaches you proper position changing logic on the guitar. 3 3 1 5 2 6 4 8 1 10 3 12 4 13 4 13 3 12 1 10 4 8 2 6 1 5 3 3 1 1 1 1 C Major arpeggio Ascending then descending. *position changes indicated with fingering notation. 4 5 1 8 4 13 4 13 1 8 4 5 1 1 1 13 3 15 1 C Major articulation descending. *Position changes indicated with fingering notation. 13 1 12 2 13 1 12 1 10 3 12 1 10 1 8 3 10 1 8 1 6 3 8 1 6 1 5 2 6 1 5 1 3 3 5 1 3 1 1 1 1 4 4 C Major articulation ascending. *position changes indicated with fingering notation. 1 3 4 6 1 4 4 8 1 6 1 9 1 8 1 11 1 9 3 11 1 8 • 6 • 800-543-6125 Free Catalog www.Musicians-Workshop.com ©2006 Musicians-Workshop P.O. Box 161921 Austin, TX 78716 _ _ Two String Position Changing 2 Two string arpeggio (three octave) Ascending. *Position changes indicated with fingering notation. 3 1 2 4 5 2 5 1 4 4 7 2 8 1 7 4 10 1 1. G scale with position created by using the 1st finger for the 1st two notes. 3 1 5 3 7 4 8 1 5 3 7 4 9 1 5 1 2. Same G scale but changing position at the 3rd tone with the 3rd finger. 3 3 5 3 7 4 8 1 5 3 7 4 9 1 5 1 3. Same G scale but changing position at the 4th tone with the 4th finger. 3 3 5 4 7 4 8 1 5 3 7 4 9 1 5 4. Same G scale but this time we make our position change on the A string sliding the 1st finger. 1 3 3 5 4 7 1 3 1 5 3 7 4 9 1 5 1 5. Same G scale but this time we make our position change on the A string sliding the 3rd finger. 3 3 5 4 7 1 3 3 5 3 7 4 9 1 5 1 6. Same G scale but this time we make our position change on the A string sliding the 3rd finger. 3 3 5 4 7 1 3 3 5 4 7 4 9 1 5 1 Three octave G scale. Use any combination of the six position changing choices above. 3 1 5 3 7 4 8 1 5 3 7 4 9 1 5 1 7 3 9 4 10 1 7 3 9 4 11 1 8 1 10 3 12 4 13 1 10 3 12 4 14 4 15 . 1 2 Three octave G Major 7th arpeggio using the above position changing system. (ascending & descending) 2 3 1 2 4 5 1 4 2 5 1 4 4 7 1 7 2 8 1 7 4 10 1 7 2 8 1 7 4 7 1 4 2 5 1 4 4 5 1 2 2 3 1 2 ¡ • 7 • 800-543-6125 Free Catalog www.Musicians-Workshop.com ©2006 Musicians-Workshop P.O. Box 161921 Austin, TX 78716 1 Chromatic scale (key of A), shifting position with the 1st finger. *After you learn it shifting with the 1st finger, learn to shift from the 2nd, then 3rd, & finally the 4th finger. (also practice this descending) 5 1 6 2 7 3 8 4 9 1 5 1 6 2 7 3 8 4 9 1 5 1 6 2 7 3 8 4 9 1 5 1 6 2 7 3 8 4 9 1 6 2 7 3 8 4 9 1 5 1 6 2 7 3 8 4 9 ¡ . The above chromatic scale demonstrates that all 12 keys are available in any 5-fret area without the need for position changing. Below are 3 major scales within that same area: A, B, C. A major scale 5 7 9 5 7 9 6 7 B major scale 7 9 6 7 9 6 8 9 C major scale 8 5 7 8 5 7 9 5 "Dixie" Key of A "Dixie" in this same position in 3 Keys, further demonstrates that all music can be available within one 5-fret position. *The more you explore this phenomenon, the more you master the fingerboard. . ¡ 7 9 5 5 5 7 9 5 7 7 7 9 9 9 9 7 ¸ 9 7 ¸ 9 6 7 9 6 7 7 7 7 9 7 7 9 5 ¡ "Dixie" Key of D . ¡ 7 9 5 5 5 7 9 5 7 7 7 9 9 9 9 7 ¸ 9 7 ¸ 9 6 7 9 7 7 7 7 7 9 7 7 9 5 ¡ "Dixie" Key of G . ¡ 7 9 5 5 5 7 9 5 7 7 7 9 9 9 9 7 ¸ 2 • 8 • 9 7 ¸ 9 7 8 10 7 8 7 8 7 9 7 7 9 5 ¡ "Dixie" in just one key (F) but in 3 positions, this is the opposite concept, illustrating that every key can be played in any position on the neck. *There are 12 positions. 9 more & you will gain a greater mastery of the entire neck. first position . ¡ 1 2 3 1 2 3 3 3 3 4 2 3 1 3 5 2 3 1 1 1 1 1 2 2 3 3 3 3 3 3 1 1 ¸ 3 3 1 3 1 ¸ 4 1 3 4 3 5 1 3 5 1 1 1 1 1 1 4 2 1 5 2 1 4 2 3 5 2 3 ¡ 4 2nd position . 4 1 2 5 2 3 2 3 2 4 1 2 4 3 5 2 3 5 4 5 4 5 1 2 2 3 2 3 2 3 4 5 ¸ 2 3 4 2 5 ¸ 3 4 2 4 3 5 6 3 5 4 3 4 6 5 6 4 1 4 5 2 5 4 1 2 5 2 3 ¡ 3rd position . ¡ 3 4 1 5 7 3 1 3 1 3 4 1 3 3 5 7 3 5 3 5 3 5 4 7 1 3 1 3 1 3 3 5 ¸ 1 3 3 4 5 ¸ 3 4 1 3 7 5 6 3 5 4 3 4 6 5 6 3 4 3 5 7 5 3 4 1 5 7 3 ¡ 800-543-6125 Free Catalog www.Musicians-Workshop.com ©2006 Musicians-Workshop P.O. Box 161921 Austin, TX 78716 • 9 • 800-543-6125 Free Catalog www.Musicians-Workshop.com ©2006 Musicians-Workshop P.O. Box 161921 Austin, TX 78716 _ _ Chord/Scale Relationships G Most commonly used scales over chords with Major in the name. G Major 3 A 5 B 2 C 3 D 5 E 2 F# 4 G 5 G G Lydian 3 A 5 B 2 C# 4 D 5 E Background chords for this exercise 2 F# 4 G 5 G G Major Pentatonic 3 A 5 B 2 D 10fr Gmaj7 5 E 2 G Gmaj7 5 . D D Major Pentatonic 5 E 2 F# 4 A 2 B 4 D 3 . A 5 B A Major Pentatonic 2 C# 4 E 2 F# 4 A 2 . G Most commonly used scales over chords with minor in the name. G Dorian 3 A 5 Bb 6 C 3 D 5 E 2 F 3 G 5 G G Aeolian (natural minor) 3 A 5 Background chords for this exercise Bb 6 C 3 Gm7 D 5 Eb 6 F 3 G 5 10fr Gm7 G G melodic minor 3 A 5 Bb 6 C 3 D 5 E 2 F# 4 G 5 G G harmonic minor 3 A 5 Bb 6 C 3 D 5 Eb 6 F# 4 G 5 G G Phrygian 3 Ab 4 Bb 6 C 3 D 5 Eb 6 F 3 G 5 G G minor Pentatonic 3 Bb 6 C 3 D 5 F 3 G 5 . D D minor Pentatonic 5 F 3 G 5 A 2 C 1 D 3 . A minor Pentatonic 3 A 5 C 3 D 5 E 2 G 5 A 2 ¡ - - - - - G Most commonly used scales over dominant 7th chords. G Mixolydian 3 A 5 B 2 C 3 D 5 E 2 F 3 G 5 G G Mixolydian #4 3 A 5 B Background chords for this exercise 2 C# 4 D 5 E 2 F G7 3 G 10fr G7 5 G C harmonic minor from G 0 Ab 4 B 2 C 3 D 5 Eb 6 F 3 G 5 G G Whole tone scale 3 A 5 B 4 C# 6 D# 3 F 5 . G G Diminished 3 Ab 4 Bb 6 C# 2 D 4 E 5 F 3 G 5 G G Altered dominant 3 Ab 4 Bb 6 B 2 C# 4 D# 6 F 3 G 5 G G Major pentatonic 3 A 5 B 2 D 5 E 2 G 5 . Db Db Major pentatonic 4 Eb 6 F 3 Ab 6 Bb 3 Db 6 . • 10 • 800-543-6125 Free Catalog www.Musicians-Workshop.com ©2006 Musicians-Workshop P.O. Box 161921 Austin, TX 78716 G Most commonly used scales over minor 7 flat 5 chords. G locrian 3 Ab 4 Bb 6 C 3 Db 4 Eb 6 F 3 G 5 G G locrian #2 3 A 5 Bb 6 C 3 Db 4 Eb 6 F 3 G Background chords for this exercise 5 G 3 G locrian #6 Ab 4 Bb 6 C 3 Gm7b5 Db 4 E 2 F 3 G 5 10fr Gm7b5 Root Chord - Scale Relationships 8fr Cm7 3 3 8fr Fm7 3 3 5fr Dhalf dim7 5 G7 3 8fr Cm7 3 3 6fr Ebm7 6 4fr Ab7 4 4fr Dbmaj7 4 4 5fr Dhalf dim7 5 G7 3 8fr Cm7 3 5fr Dhalf dim7 5 G7 3 Root & Third 8fr Cm7 3 6 3 6 8fr Fm7 3 6 3 6 5fr Dhalf dim7 5 3 G7 3 7 8fr Cm7 3 6 3 6 6fr Ebm7 6 4 4fr Ab7 4 3 4fr Dbmaj7 4 3 4 3 5fr Dhalf dim7 5 3 G7 3 7 8fr Cm7 3 6 5fr Dhalf dim7 5 3 G7 3 7 • 11 • 800-543-6125 Free Catalog www.Musicians-Workshop.com ©2006 Musicians-Workshop P.O. Box 161921 Austin, TX 78716 Arpeggio 1,3,5,7 8fr Cm7 3 6 5 3 3 6 5 3 8fr Fm7 3 6 5 4 3 6 5 4 5fr Dhalf dim7 5 3 6 5 G7 3 7 5 3 8fr Cm7 3 6 5 3 3 6 5 3 6fr Ebm7 6 4 3 6 4fr Ab7 4 3 6 4 4fr Dbmaj7 4 3 6 5 4 3 6 5 5fr Dhalf dim7 5 3 6 5 G7 3 7 5 3 8fr Cm7 3 6 5 3 5fr Dhalf dim7 G7 5 3 6 5 3 7 5 3 8fr Cm7 Scale Ascending 3 5 6 3 5 7 3 5 3 5 6 3 8fr Fm7 5 7 3 5 3 5 6 3 5 6 4 6 3 5 6 3 5 6 4 6 5fr Dhalf dim7 5 6 3 5 G7 6 3 5 3 3 4 7 3 8fr Cm7 5 6 3 5 3 5 6 3 8fr Cm7 5 7 3 5 3 5 6 3 5 7 3 5 6fr Ebm7 6 3 4 6 4fr Ab7 3 5 6 3 4 6 3 4 4fr Dbmaj7 6 3 4 6 4 6 3 4 6 3 5 6 4 6 3 4 6 3 5 6 5fr Dhalf dim7 5 6 3 5 G7 6 3 5 3 3 4 7 3 8fr Cm7 5 6 3 5 3 5 6 3 5fr Dhalf dim7 5 7 3 5 G7 5 3 6 5 3 7 5 3 3 • 12 • 800-543-6125 Free Catalog www.Musicians-Workshop.com ©2006 Musicians-Workshop P.O. Box 161921 Austin, TX 78716 8fr Cm7 Scale Descending 5 3 7 5 3 6 5 3 5 3 7 5 8fr Fm7 3 6 5 3 6 4 6 5 3 6 5 3 6 4 6 5 3 6 5 3 5fr Dhalf dim7 3 5 3 6 G7 5 3 6 5 5 3 6 5 8fr Cm7 3 7 4 3 5 3 7 5 3 6 5 3 5 3 7 5 3 6 5 3 6fr Ebm7 3 6 5 3 4fr Ab7 6 4 3 6 6 4 3 6 4fr Dbmaj7 4 3 6 4 6 5 3 6 4 3 6 4 6 5 3 6 4 3 6 4 Scales to use over chords in the above exercise: 1. Minor 7 chords - used Dorian Mode. 2. D half dim7 - used a D Locrian Scale. 5fr Dhalf dim7 3 5 3 6 G7 5 3 6 5 5 3 6 5 8fr Cm7 3 7 4 3 3. G7 - used C Harmonic Scale starting from G. 4. Ab7 - used Ab Mixolydian Scale. 5. DbMaj7 - used a Db Major Scale. 5 3 7 5 5fr Dhalf dim7 3 6 5 3 G7 5 6 3 5 3 5 7 3 3 Jazz guitarist Clay Moore is a rare find on today's jazz scene – a unique voice that strengthens and expands the jazz idiom with sensitivity, clarity, and uncompro- mising integrity. Clay's warm, expressive tones and impeccable phrasing have been delighting U.S. and international audiences for over 20 years. Clay Moore’s Web Site: www.ClayMoore.com At Clay Moore’s web site you can: • Check his performance schedule • Buy his CD albums • Read his biography • Chat with music people • Contact Clay directly • Playing tips • And much “Moore” • 13 • Name_________________________________Account #______________Date_______ Address__________________________________________________________________________________ City_______________________________State______Zip_________________________ Country__________________________________ Daytime Phone_______________________________ Card #_____________________________________________________________Exp. Date ____________ __________________________________________________________________________________________ Signature As Appears On Credit Card (required) Add 6.25% Sales Tax If Delivered In Texas Shipping Total Check ___ Money Order____ Item # Description Price Order Hot Line: (800)-543-6125 Customer Service: (512)-452-8348 24 Hrs. 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