Not only did I go from complete beginner to advanced level in 2 years, Vreny also helped me compose the songs in my head, now up for Grammy consideration.
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Angela Leo, Songwriter.
BONUS
Welcome …
… to the page where you can find all the tools and resources to enhance your learning experience with the book.
Here’s the same track in 11 more keys, up circle of 4ths.
Dm
Gm
Cm
Fm
Bbm
Ebm / D#m
Abm / G#m
Dbm / C#m
Gbm / F#m
Bm
Em
1-Chord Grooves All Major Keys.
C
F
Bb
Eb
Ab
Db
F#
B
E
A
D
G
1-Chord Grooves All Minor Keys.
Am
Dm
Gm
Cm
Fm
Bbm
Ebm / D#m
Abm / G#m
Dbm / C#m
Gbm / F#m
Bm
Em
Chapter 6 The Hindustan Scale
Chapter 7 Pentatonic Substitution
II Valt I in C
Same progression, different arrangement
Here’s a bossa version
Dm7 1 Chord Groove
(see above minor tracks in chapter 5)
Galt 1 Chord Groove
Chapter 8 Creative Pent. Chord Progressions
G | F | C | Bb D |
A7 | G7 | C7 | D7 |
Blues in A: chords are A7, D7 and E7
Blues in G: chords are G7, C7 and D7
G7 | D7 | C7 | A7 | D7 | E7
G7 A7 C7 D7 E7
Gm Bb D7
Cmaj7 Bbmaj7 Gmaj7 Fmaj7
A7 Bbmaj7
Bb one-chord groove (Lydian)
Bb | A | C | Dm |
F G A7 Bb
F G A Bb C D
F Gm A
A7 F#m7b5 Bbmaj7
A7 F#m7b5 Fmaj7 Bbmaj7
F Gm A7 Bb C D Em
While you can make random progressions with all these chords, some will sound far out with the A minor scale, like following progression. It works and sounds better the more chord tones you hit in the solo. (E and G notes over Em, A E and C over F#alt, D and A notes over Bm7)
Em7 F#7alt Bm7
Following is the same chord progression, with a Bbmaj7 chord added. Notice how this progression connects a bit better to the A minor pentatonic scale.
Em7 F#7alt Bm7 Bbmaj7
C7 F#7alt Bm7
Chapter 11 The Modes
C Ionian track
D dorian track
E Phrygian
F Lydian
G mixo
A Aeolian
B Locrian
Chapter 12 In-Position Scale Fingerings
Use any of the tracks of Chapter 11.
Chapter 13 Improvisation Over IVm
The book explains a couple of chapters later what “modal interchange” means.
Modal interchange is the name of a composition/songwriting concept, that consists of borrowing chords from parallel scales when writing chord progressions for a song or composition. Parallel scales are what we call scales that are all in the same key, or in other words, all start on the same starting note. A C major scale, C minor, C dorian, C phrygian, C whole tone scale, C harmonic minor scale etc. are all parallel scales.
So modal interchance is what you apply, when you use a chord from a C minor scale for example, in your C major song. The ending chorus to The Beatles “Happiness Is A Warm Gun’, is only one of many modal interchange chord examples. The chord progression, in the key of C is: ||: C Am F G :|| and suddenly has an Fm chord. That Fm chord, borrowed from a C minor scale and here used in this C major scale song section, creates a change in the mood and vibe of the song.
C C F G7 -> play G Whole Tone scale over the G chord
C C F G7#5 -> play G Whole Tone scale over the G chord
C7#5 | D7#5 | E7#5 | F#7#5 | G#7#5 | Bb7#5
C9#5 | D9#5 | E9#5 | F#9#5 | G#9#5 | Bb9#5
Chapter 17 Interval Theory
Besides 7th and 6th chords, there’s another type of 4-note chords I didn’t list at the beginning of the chapter. “add” chords are 4-note chords too. They consist of a triad (a root, a 3rd – major or minor – and a 5th) with an added note. For example: Cadd9, which consists of the notes C E G D.
Will occasionally add new videos here to showcase the different improvisation tricks and techniques discussed in the book.
A quick addition to number 46 in the list “Use One-Note Tapping”: It’s not only rock guys or shredders who use one-note taps. You can hear a great example of one-note tapping being used as an expression and phrasing tool in the Steely Dan song “Kid Charlemagne”. At the end of the solo, Larry Carlton bends a D note on the G string, then while holding the bend, taps onto the A note on the 14th fret of that string at 3:05.
Chapter 35 Secondary Dominants
V7/II –> Cmaj7 A7 Dm7 G7
V7/III –> Cmaj7 B7 Em7 G7
V7/IV –> Cmaj7 C7 Fmaj7 G7
V7/V –> Cmaj7 Am7 D7 G7
V7/VI –> Cmaj7 E7 Am G7
V7/VII –> Cmaj7 Fmaj7 F#7 Bm7b5
As you know from reading the book, there is no secondary dominant for VII.
I just included a track here so you can hear what I discussed in the book.
One of the problems with Kindle (and e-readers) is that graphics don’t always display well on their small screens. Click on following URL to access better versions of the graphics.
