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8/7/2019 Allan Holdsworth - Just For The Curious
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CD'", 'en'. flrogr,altl".
iPart' I: $ c . ' • • , ' 0 ' "mp"o~I.'n,,""""" " . : s • • ' " , . . ,..2-Sli:a!@ #; 1) C MaJor /D Miinor/G7 ..••...••.,.,.~6..,•.."" " _ ,3
Scale #2)
S~~Je #3)
$i,cale #4)
Scale #5)
D ,M~ 'Hor (majY) ..' _.""..".. ',"" .8.""..•"••••. "-,,i,., ••,.4
A !M , iino r (maj7, h ,6 ) .•• '.. '.••••• , , 9 "••• ,••,•. , ~ "., ' 5
A Minor (!map. "4) •." ,.10 ...• ".•...'•.••.•••'.., 6
Examples :3 , 3..A & : 38 ,.., ,.1l
'G,. D im-[ ' fl ' i'shed .. "0. "', •••••• , ••• ~••• , ,.. , .1 2." .•..... , ••- 7
i E ' ) « , a m p ' l ~ e 4 . J I l i I l l . . L•• _~'!II!I!!I~LI' IIIIJ"o!i_'i!11!'I • ~Ililliiliilii!i"'.!!" 1 3 '
Scale #6) s b j'a~ Major (-add ~,5) _••..•.14 ,' '.•. ', """.8
Sl!:ale # 7 " ) , C JaZ? Dominent (add I q 7 " ) , 17 , , 9
Scale m3) 8 Jazz MinQi r (add ~7) ., ' 18 .,.,••..••.. ,,' ..n ~Q
Scale #91 A Jazz Minor (add ~6).•..•... , 19 "..., " 11
Scale #1 0) SymmE£ tlri'c :a l, , ,"' " ,.. ,••• 20 " " ,12
Sca le #' 1 1) o J ! , .l ia %ZM ino llt ' (a dd ~ 1 1) .1 "••, .22
5ca~e fU 2) C Jazz Dominant {add'b3 &iq7) .23
5'calei 13) C Jazz Major (add k g & il~6) " 24
Scale #14) C IO 'Ominant ('#9) .•,,'., ,. , 25
Scale : # 1 1 5) Whole Tone ,' , ~•.•••..••26
P·ClI ' I ;1111Clio,"•• n rl, HllrmO " p. ,, '. .•••..." " . 2 7 . ..• ... .. '. . •.. " ... .•. •.., · S c
Example
E X . [3 , m p l i€ ! l j
Examp,I 'e-
&l'E!:
&l~
Example
I Examp l i e
Examp le
s.c:a l~e,# ' l
S c a i,e # .2
$cale #3
S c a J i 'e,,4
Scale #,5
If) ..'.,Ii i i1•• ",!!"!!"!!. i"" ~,~~,.' iL!! ~ . ... I " .. ~ ~. cO iii "i":i,1I '''[''''~1''if'''~!Ii!li''LilliJ2 7 ! 1 1 " 'Jiliiliolii!ir~ !i.....' !'.!I! !I! !I",,,,!Ii j " . i i ' · ] ~ 4
FORTHE
eU
r•IoU
,
6A & : 6 ) 'B .• ~ . " , '. • . • • . . • '• • J2,8 '.- '•.'.,•••••• 1 '-4
7 ' I!lIliiliiiL~L" !,~" 0,"" •• i I i . ...... iI!L. ! ! JJ ! I! I! I Il Il i" ,- !I • •• L""I!''' .T .... . ".·I~r,.,~•.•• 29. ·"fli. - Ii • • ~J"'!I~".'!''I!' •• , .. ~ . _ 1 5
11 .,..~..",~...~,ii" ~. 4 ~ ._. _ ~ ...... '.-~ ~ ~ '," •· .. '~I~ ~ ~ ..... ' ! ' I ! ' t • • . 33 i !!'!!,!!4"'ii"LJ!li"~'.·~"lii .1 . 4Li I! !lJ '1! 1 1 '91
1 \ 2 li"'II 'i!".!I!~i'i'!I.·.~iI '.i ii li L •• ! !J . , ; . . 'Ii ill ••~'..... 41.r. ,!,"!J~'.". 'ii",34~~..~...,~,...,..,'I ! ' " . .. . ':11 .. ; 2 , , 0
TlrdnscriQtions by Hemme .LHtt jebo-er
Additional Text by Aaron Stang
'E;ditor:Aaren Slang
Cover Desi,gn: ~ebbie loh:il~ UptOI'l
Ai~ PtjQtos CO'i l l i1esy~ ·Gler! l (, j Fe .rma . t: l
\ , 'v / Chords, > • • • • ' . ' • • • • • • " ' • • • • • • • • , • • • • • ' " '" .3<6
w/C'liords", .•'•.••••.'.' 0> ., •••••• ,'" ., •••• -.36
w/Chor'tis. "..-... ,•..,.•••••'."..;~,...•• ".,••.37Copyright l@ 1993
Beam Me Up Music, c/o, CIJlP/B~efw'im,Inc.
1Sano N,W, 48th Avenue, Miami. FL33014
. . . . C · ' . - 3 - ' 0 "'i"IN.·vlI , . .. .. .. . ' .' '' "' i" ~ '' ' • •• ' . iiiiii iii I. L J ! ! L!,,!'!!' !I! I I ' . i i .. I i II oi i ~ "".'I! !-'liili!i~!.'~ l-·'Q!IIfl ' ••. iI-. iliiliii,,'!!L!!'!'!!,Tii .lIiI. i.£ III
INW__ IGIa~ ii ii~..~ iI !! I; ' •• • ' .. .. .. ,.J'I! LI••• ill iii"'Lii • !'!i'!!'!!'!I!!I'.'.'~·Li ~''''' '!I! ii!·44 I!liilj~.~ ii ii !I'!I!t • !I!''11I••. '. liiiiiilii!O.2,.'L,
. ' - = - " """ng. _ . u ' ' . . '!'." i m . ",,,.L. I'!. ~'E!.!II!I,Ii" ••• J .J !! '~ !I '.' • •. I IJ ., S·7. ! ! iJ !I !! II 'I II 1! 1' ~ ii iI, ........ ' ! , . , . , . , 1 2 3 I l 'n te.rnat lonal CopJ!!Wlgn! Secu redMilde f i ! l U.5.A.
AlIBights~(E lw l:amp le 5,) , ,,,., > '.; ••• , ,', , "" ••••• 5 6 1 " • . . • • ' 24
-'1'...... ,. -- E • - 5 " " " . _ . _ _ • " . " ' . " •
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This book is liroten@ledto accompany,
and perhaps darify, some of the points
in the vlldieo.
In my ownsystem. scale's do not have
names or 'mQde$;t:hey have sym bols ,
as I do not th~nk of an¥ scales as hay"
l ng , beginfl.in.gs 01' endings, The i l ' l larnes
g:ivenin the- book are the closest that
c:o;ulqibe. derived ~r.orn the symbols
that r lJse.
There @Jr~ of course mind-boggling
numbers ·af scales (and chords that
cornefrorn them) that are net tOLit:bed
upon in this book or video. ~ have kied
te butnnewhat 1WQuto l consider t ihe
basic :and most. practical forms With
re-9ard to improvising over chord
sequences.
This is simply a keyhole glimps.e at the
way; ! have c ome to vLew l1al imClny =
a purely personal way - and liikely of
no use to others. ThEH~.foret th is
r eaL it y i s,. .. • " Jus t fa r t~e Curfo:u,s JT.
A~lan Holdsworth
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To most of us, Allan Holdsworth rapreserns the true, unbri'dl:ed, creat.ive
sp irit - always searching and .exp~l:orilng;Gon:stan,tlyexpandin.g the
boundariesand sett ing new Hmi,ts. From h is breathtaking J 'eg ·a to solos to
his beautlful, orchestral 'solo '9u.Ita,r style (check out Zone on the Included
r 'ElCOrdli tA9) he always ~ iea ves us askin9, "How (Nid n e do it;where did he
9E !~ l l hose chords?"
In [his b oo k .• Allan S&t5 us OIi1i th e rigl~lI'troad, t1~dthQU9hthe answers, are
never ,easy and tl\gn~ ilsno quick fix, he reveals the bask simpliCity and
logic o : f ' h I : i e s approach; which is so often rnlsunderstood when we try to
defii[ilf:~'It in terms 'oftradit~on~.IJ musie theory: triads, cycle-s of fourths,
e·tc. Those of you lilntereste,Qlin ~ookingat the g L l i i t < : ; : l r from a refrElshing,llynew perspective, Allan Wrote thi's for you - "Just for [ lne Curious."
Aaron 'S~,ang
Editor
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-. - - - - - -.
-~
In this section. AI,l lan discusses ~ l i t e . scoles he f inds most usafu l for improvisotion. I~is lrnportcnt that
once you become f,qm:i~rar with these stole finger-ings that you. begin to explore them [or all o~ the
chords contqined withillil each. You con do this by burldl~'n'g c n \ O c d s from each scale tene.
In most respects All 0 1 1 is sellf.fDlugilf. He b~9an his explorutien of sccles by working out yaificus
sccle pctterns and then experimenting with ench of tFleir p.ermutations, discard'ing those w i t h J more
then f l 3 u r consecutive serni-torres [holf-sJepsl. He then lonalyz.ed the scales to find the chords con-
ItQirued within them [more on Allan's cpprecch Ito Ihc:nTflo1'i,Y i 'n Port II).
The following scales will be covered in ' ~ h I S s ec tio n. A II:th ro 1 ug h th ere are many more scales than pre~
sentad here, these are the m o , s l f useful, The Sccol'eS(Jre named in reia>tiGln to the chord forms and
chord tones they i rnply.
Seven Note Sea~les:; :?ca le #11 C MoiorjD Minor/Gl
Scale #2) D Minor (mai7) ~ I D Melodic Minor!
Sca l ie # : - l ) 1 A Mrnor!lmoiI7, ~6'l" ~A Horrnen le ,Minor)
S~ed e #4~' A Mif10r ' (m . a ~7 " l4 ) - ( ~ Hormonle Mojo t )
Sedl@#1'4) C Dominonf (~9'J
AddeclI1Dn~' lI.Ja%~JI le'all'es (Eight notes):Scgie '#6]60 Jazz M ajo r (a~ dd .5)
Scale #7]' C JgZz; Domir'lanf (odd ~7iSca le #8), B
lou Mrnor(add ~7)
Sca le #91 AJCl!ZZ Mjril,Of (add : r 6 )
S ea le : #1 l) [)!. Jazz Mirnor~add ! S 1 : ] }
,Add:ed Tone IIJaz-:-z/'Scales :~!Nli'n.efilGte5)~
Seole #] 2) C Jozz Dcm inont ~crda b3 amH7)
Scole in 3 ') (Jau Mo t o r !add 1 "3 and ~.6)
Symmetrlic: ,al Scales:SClale '#5] G~ D'im'i'nismed: ~ 1/2,1,.1/2,11 c 1 / ' 1 . , , 1 i etc.
SCeJle# 1Q~ Symmetrical ~ 1/2,1/2,1 1/2,1/2,1, etc,
Scale #15.) Whole Tone - 1 " 1 , ~ I 1 t I , 1, etc,
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Se,ale #J, Cmajor, D miner, G7
lh~5 f ir st s c cl e '5 C rn ojcr, a nd it is most ctH11l l ' ITIQn!y used ove r C, O I f i ! :l 7 Qlnd G7.1hi~ lisa se ve n no,te
sl!:O Ile a :riL d is Q fteng iv en sev en d iHeren t i lU lmes, one ' fo r ' ea ch S lO ll "l i' fl g note. fo r eiXOJITIp]e: ienlcn fe-q,dorian ID'{)!, IphrY'9 i t ln !E-fL Iydian [ IF - F ) I, m ix o l y d im l tG,G) , aedl,an (AAI end locr i~! i l (B~Bj. Although
he is ve ry aware of each ofifs perrnutcflons, A Uo n find s ~ :t i lim p le ,r , a nd m ore N) , th e point/to think o f
this as one scole wi th se ve n ~ o ssjo le t0nd~ cen ters F a f t n e r th an . seven d iHeren t modes.
AlkJ11l us.ual lyrhinkiS;o'~ th is stale as be, in-g r el:o it ed t o th e II I chord (Dlnril,~6in th e ke;y o f q . th e cihord
. , o ve r w~ ,ich he mos~ often u se s th is sca le .
T h ils s cc le iis b U l jlf o n ~he in te fv dl ij?Q lte m; w ho le step ~,whoJe s t ep , hol f s t ep , w : h o l e s t ep , who le s t ep ,
whole s ie iP , n -o tF step orl- '11·~1/2·1-1-1-1/2, rhe c : ~lrliaiie.rrSco l@"con t o ins the . no te s :CDEFGABC
.s"
...1' ;s4 u I I
. .. . 3
Th e, th ree m osi! cemrnon chords derived ~tom t his s ea ile cne : Cmar7~6,9L Dm7[6 ,'9 , 1 11 ),dodG7(9,/ ~ 1 1 1 1 3 1 _ {Avai l labl le e~ten ,s ronrSa r& shown in p arenfhesis ..) .
Dm7 C G ,@ " I I II Ii
= + 4 1- 9 = 1 ' I ' * I]
v VII D C xu xv xvn
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Scales 7
A gooo WC J Yto begiin prac t i c i ng , scales ' i lsto I~loy more than thfe€' no tes p er string. Tlhts : f i Irs,texcmple
lrcnsposes th'e meier sco; le pc t t e rn to F mOl l o r ond uses O J four nore per string pettem tlm t spa ns 't'he
entire neck of Ih e ~g.ultqlr.
~ ( f t c .
5 0 '1E :I
- _n pre fe rs to I look c rt t he f ingerboard l n 'i 'l s ent ir el y ra ther t hon break ing it dOWJ i l into s'epamteposi-
~:ti T his ne',x J examp le is onl i yone o·f ' r 1 r i o : n y t~€ l l t yeu sno .I.!l 'lddev elo p 'E Q br8G' lk out of I!=rosmon play~ ' I1g
. .. g e t c .omFo rtbDble wflhenfi re neck.
~ing pal:lern is p l o yed eH'Itlir~ly in the ke y of C. li t consists of (l t hre e . n o te ' per striflf] pottern;.d on Siring-sets ,~, 5-3 , 4 -2 , 3 '-1 . No fic e the f rn g e r s tre tc he s Grid Iq rS je Lntervq,1skips,
_L
II ' 1 ' 2
I Ir 11 ) Ui
7
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Sc.le #2: Dminor (ma;7)
This is a D minor im,aj7l &CGl le , ,(lllso·known O IS D melodic minor. This is a v ~P f commonly I U s l 3 d sceleln
[ozz. It follows ~he inltervol pottern: 1- ' ] / 2 - 1 - 1 1 - 1 - 1 - 1 / 2 , (w d cOriltains the notes: D 'E ~ .G .A B C'" [).
II
S 7t. . ~ ::;:/ "\'0
l
z"-I . J 2
...,_ I '\
\ I " /I' <;~
I' I~ ..
()
Some of t~e more co'mmQ.nchords de_rived from this scale are; Dm16,Pi, A7,I9,ll ) . 5 , 1 , G7(,9"= 11La n d
G:~7(~'9,1'9,~5,b51.(Avajilab:le extensions pre shown in perenthesis.]
I I J l
Scale Ciog,mm:
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Scale' #3: A mino,r Cllla;7,b6)'
Allon refers '1 0 t~i!i scale a5.A mino r ( nm j7 ,! 16 ). You O'::lln~ee of t~ls pointlho,t A l I l a n names sccles bytheIr interve] relationships. This seale is often called A·hormenilC;,minor, It is bUilt Oil the tntervol
s.equence: 1-~/2-I-l-,1/2-1 end 1/2~1/2, and coritolns the notes: A B,CD E FG.; A.
.. ~
/III
/ " / / /'
~ III
Some of Ihe more Gnmmon chords derived ~rQmt:~is scale are; .Am:9(~7 ll ahd E7~I ,SI,;5~. (Available
extenslons are s hown in pcrerrthesisl
Scale ID i a gwam :
m v XII xv xvn
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Scale #4:A minor (ma;7, #4)
A.I'lan refers to this scole 05A minor ~ m Q l V , ~ : 4 1 i . It Is else sometimes referred te as enE hcrmoni« mojor
sce le [b eco use o ] th e m 3 rd frdrn C fa [)~l. I t 15 bur~lton t~€ Ijrflferval se qu en ce : 1~1 /2 -1 (jln d 1 /2 - i/ 2- 1 -1 -1 /2 ,
and conrcins the notes: ABe D ~ E F~G~ A. NoticE) tha t this is a m,e iQd i c ·mlnoF scale with a rcisod 4th.
/ -, ,/t·m 112
/ "- / "
II Ie,/
s 8
S om e o f the- m ere c om mo n c ho rds deriv ed from th'is scale me: Am .9 t~ 7 ), . Ema i 9(~ 11 ,6 , 9 ), Cltld B7 (;, 9, 1 3 ],
I.Avo,ilalble extensicns o re shown in perenthesis ..}
B 1(6-9. H~
t1i~:1 1
Sca l l e Dlog rem:
m v v a x v XV[J
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--
St.,.. "- --
&am,pl.3:
Man y [e zz ~ cye{s use see le s ~ ik e fh'e,se to ilmrprmtise over altered and/or Q xten died cho rds (lik e those
shown 01'1 line previous p f l l g : e ) , , , Hewever , A l l l o : 1 1 I cf tel i l uses thesescoles t o d e n N e h is 'Own unique chords ,
(u oun d w hich h e o ff:e n w rite s. whole e ern po sltlo ns. T he chords he derive s fro m ,th e~ ~s.cqle s de fy tradi-
tional chord symbo. l1 I i lo taf ! ion.
lM:seJ( .ample s~ows ~ow AH en u se d chords derived 'From the minor (mar7 ,1~4} scale for an E pedal . sec-
lion from the tUl i le " te t ters of Marque." lhe chords have been numbered for eOf>Y reference.
I 2 3 4 5 61":\ f ':"\ t7 '\ (";\ 1':"\ f7', 1"'; '\
, J , ~..~ Ii ~~ ~i # . c , J-~~
' 1 - ~" ~ ~ ' : * Z l .7l: (3"
''';1-
'7
JI~I~ I
'D V 0: U
! -1 : &
Il i iI I 1 1
I 1if( ,)
Example 3A:
lfief!'~,th e sco le dioqrcrn for A minor[m_aj7,Mj l rns b ee n tra nsp ose d to IE .
Scale Diagram:
m v IX xv .XVII
lh is e xo rn p]e shows how th e a~hordl s in IExc r rn r l e 3 m e derived from patterns fOUM1.d within. Ih e I I ;
hlinm.~maj7,~ 1~) scale. Notice how Similar all of the voiclrtqs ere ..E_s'sentidlly;,tihe ,ideo is fo 'rind a
chord 'Voicing you like and fhen sequence all ~he notes in t h o t chord voiclng up [or down! ito fh e n e > : : t
note In the sccls. (M{1re on this, in Port II,)
Chord Vokin!js: 7 6 5 3
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Bc'.Ie #5: G# (A~) dim;nishe,cI
The djmilnishgd scole is, b \ ; J i i l t OI1l a symmerrri~o~inferva:1 pattern: 1 , r 1 /2-1·11/t:~~~1/2-l-1/2. Becouse of
their syrnmetrrccl l1oit t J re , lhem me C5nl:ythn~e different diminished scales,
1 1~ G ~~W~ilGh
ecntoinsIne same notes
es 1 3 , D , a n d Fdiminished] ,
2~ A fwhi~hcontcins t"hesQme notes as C , E ~,and Gb
dim ini's~edl,
3 1 B f! [ w hic h c o ntc irr s fhe SOl iT le no tes GIS D b , I E , and G
diminished).
/ / /" _ / 1 1 2 _ ' '\ , ,_
q I nJ I
1(1
A 1 D 1 1 ~ I 1 J , ) " l i f l e ! ! l ~
b n
l6 n :~o "'8
e
1("I -0 11 ' ~'
B~ -nilTljnj~':
b . u
, = I a
liii, : b t l ~O,~o 4n
,@-
q;; 01
J I~
The most common usage fo r a diminished scale is not over a diminished chord but rether over an
altered dominant chord, rFor example: G7[~9J contcins 0'11o] the notes Q : f a G~djm7 chord:
!3:ldi[u!
[ , . 0 .
u'.
.- a - - - - - - - - - - - - - - - - - - - - - - - - - - - r - - - - - - - - - - - - - - - - - - - - - - ~
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Another wn'j flo look at Ihiis would be, to take the GP diminished sceje ~i'r1drearra,nge 0 1 . 1 1 of its notes in
3rd!lbeginning on G. The
result is ,a G
13~1'9,~11)
c~md:
oo
1 1
m v VII rx XD x v xvn
Exa,mple 4:
I instde o'I all oJ t~e5e scales are hid'dienchord patterns. TMs nextexcmple is,dre'lwn from the GP
d in n in ~ sh e d p atte rn .
i I . ~ , . ~.~ ~[qrl
I , - -, . ,
I~
tJ ~ , , , 'I! I.
,
. . , . . ., .' . . 4", , . , : 0 ; AM _ -i. ~ ;; ;
l 2B
'Ii .!:; );I
- 1 1 1 l J ' I~ ~.
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- is is I he ~r.;~of our "jazz" seoles. The jazz scales contairn added notes that work well QS color tones.- most common added notes are the 3, 5/~'5, and [,7.
is scole, [S (II major scal,e' with an added #5. U ir S built on the jt1'terva~ sequence: 11-1 -1 /2 -1 -1 /2 -1 /2 -1-m /2 ,
conr(lins, ~henotes: B[, C D E \' f 1FtG A B~.
1!.l I i2: In 1/:1
b l , to - n ~ ~.Il.
00
1 1jQ 01
2 :1 4 , 5 ~5 1 6 "I 8
Besides wOrk,i' l l ' lIglo v e· ' a tn y o f th e dioton ic cho rds fro m the ~a'F'monized m aie r sco le ; t h i s seule would
0150 work weU over BhmaiV!.~5l - also known as 0/8· I and F~!'9!:.
Diagram:
ill v v u IX xn x v xvn
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.5ndcs IS----
It is, ery impork!nt .hcd you explere 1ihesf!' :icales I,noroughl'y a,,,,d search ouf different uses ,for each. fe!'
exmnple" if y o u examine ~hisscale doseJy you win: see that thi·spattern contains wi,thi r) , i I ' , Scales 3 a :nd
4" each wHh o ne added tone: G m i n G l r (ma[7)6} wi t ,h d J ; 1 added 67 th a nd I E . l 1minor f 'mai r7,~4) wit~ an
added me] Jrd,
E rn ino r Im oi7 ,,~41 ' with a n added m e] 3 r 'd :
HI V vn
Added maj 3rd
rx xu xv
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A no th er i1 wn po rto ,n ts te p is to e xo lm lne each seo le fo r the chords jt contoins, T his w il l g ive y o u1o Iflfrfme:r
~fl ! iJ ig~t : i · lt1fo·th e posslble o.pp l i ca t ions o f each sco le . F o r example Searle, 6 ( 8 k mojor C~5) ,conta ins the
'ki l lowing triads: F , Gm , Am (~ 5.L ~ bi Cm(l'5 l, Cm, Dm, D , 'E . km ,C lnd E k
'9 ~ Rm , j o r U S ) . :
F e m Dm E~ fI '
m v v n lX xu x v xvn
v xu xv x v n
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-0-- ---- • - - &ida•.- .. -
Sea.le#7: ('Jazz DominanfC..rld '7)
Thif' I S an ei@ihtnote scale, no] to be co nfu se d w l,tb the s,f;o ndm d seven note G7 !m'lxolygiaril sGa~e. This
"jazz" dam,:ncllt s.c:.aJecenteins botH the i;7lh and~7th scale degrees, This scele I S built on fh e pattern:
1-1-1/2-1- 1-1/2,1 /2 - 1/2. Noti~e th at th i.s sco le can be viewed as either a C ma jar scole wi th an
added ..7 or D'C mjxolyqian. scale w'i fh and added G7th,
?
7"F 7S Z
V L
\ I
I )
1 I f : : !
8
Scale Diagram:
v vu xn x v xvrr
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T i l l e ra 'zz minor ~Cldd~7), l ike ~he[an dominant, cotlitajl~S bo th the b7th Gl'ild fq7 thsco le degwees, E a c ho f ! h e "[ozz" minor scales is t ih e s am e as 0 1 rnel lo'd: i ( :minor ~Sca : l e 't2) wi th one added no te . 'lin th is c ase
th,e added I,o~e is t h e L 7 th , T h i s scole is builit on the ilnterv,ai sequen:ce:l" 1/2- 1 1 - 1 ; 1~1/2- ~/2 -1 /2 . T he
B j'(]l:Z 'm inor5 "CQ l le' con t c ins th e n o te s': B C~ D E IF~ 'G ~ A A ~ B . T ih issccle con also be th ou gh t d as a
dar ian scole with an crdded ~7th.
It! ~12 ; III lin
f i o 1 & "# j ( ) , 0 ?l
9
.J , 5 itt ~7 7 S
Sccle DiagrortL
xn xv XVU
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- ,S'ra'es r 9
Scale #9: A ,I'GZZ Minor (acid 1,6)
T he [ezz ·mitlor (O rdd~6L Ilik e th e i razz-minor (odd ~ 7) s ca le , is 01melodic minor scale with one @ dded
no te. iT ,nthis] sea le the Qldded note is the 1'6ih. The rest o f th e scare is the same OJ) O J melodic minor
sc ole . T his sc ale i l lS bu i IJ ton th e u f l lt e r v Q , 1 s:eC luen ce: 1- ij /2 -1 -1 .ll /2 - 1 /2- ~-1/2 , The A rmin o r (add g6)
scoie c on te in s tih e, n o te s: ABC DIE F H G~ A Th i l l > scole can a lso be t hQ-ug~~ o f as an ceelion
sbale ,(pure minor') wi;~hon added! ~71~h.
" /k '
4 7 8
T n IK XII x v xvn
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Sca'e #' J '0: Symmetric.'
U is nextsccle is a pedBct1ly symrnetricaf scale bl:Ji~on the, j ! ] tervOII S~( '1uence e] two ! h a r f s t eps and e
whole step: 1/2·1/2·1.'1/'2·1/2-1··1/2·1/2·1 etc. Becal : ! .se,of the ar r r o ' i guous qt)d~tyo f H r l L S scale,
Allan oft,en uses if as a t ronsi t lond! seale wh ilJ e modu llL lHRg .
I I
Scole Diogram;
B ,e ca us e o '~ i ts s ymmefr 'ic a l n ote re . it i s . ve r y diHi~uh 16 sa,y wh.a t key th is sc ale b ~k;)ng $ to { llike a d l,m ir j;~
is;hed eherd ill whidl any Q'fits fI'Qf::e~ can be c,onside~ed the root]. Notice fhQ,t contallined wi,thin the
scale ore mcmy chords, like C , Crrt, E, E m , G~ Gm, A I, G od A ~m :
c e m .
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· BellIes 21
Em
G G.ln
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Sc:ale #,,: Db la%% Minor (add' J J J(N o R.ecorded E){'ompl'esl
T his is cr ' iothereight no t e , "'jOIZZ" milnor scale. If h; a [[)~m elo d ic minor scole w~th .o n a dd ed n Hh,
Wheln played f r O U ' l l I its 7th deglree, the D~Jmebsic minor scale, becomes C altered dominant. Likewise, the
ID~jazz. minor (~11) sC'G!llecam be cenfierred arov l i ld its 7 th degree giving! us C cltered dominant (add ~ i 5 J .T n i s scele conteins the notes: C 'D ~ E , l ,E F~G A:~91 qnd C , G n d ils bl,lrilt on the interval sequence:'
1 / 2 - 1 1 " 1 / 2 - 1 - 1 /2 -1 /2 -l- '1,
II I
~3 1
( = 9 . .)
~<l/~5
OU)
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--- s.::-a - 23---
I(NoRecorded
Examples)
T his sca le p aUem Is very €l ffe.ct iv 'e when imp'rQvi:.sin.~ ove r do,ooi inqnt 7th chords. Th ts s ca ie , ilike 0'11o f
!~he"[ozz" scales confains added tortes which wO'rk well as pcrssii 'f19,t ones and/or altered t ones : over ~he
i ba tS k :c ho rd c :~ a n g e .
Each o f I theferre-v ious " [e zz " . 'i co , le scontainl l ld one added tone, making them ei91ht rather lhon seven,
no te sco le s .. Th e , Jazz Domin(!nt~cdd b3 and 7 ) 1 :scede is a mQjo! scale with on added 1 ,3 an d b7, mak·i J ' l i l g i f (.'! n:~r lenote $ c 1 ' J ~ e . l lh l ; ! C J a zz D om i nc a f'lt ( ( J d d b 3 )-c o nt oin s th e notes: C D E , E F G A, B~Band C,
OII'ld i s bu i :i :tan t~eilr1fervtl~sequelnc~: 1 1 - ~ /2-1 /2:--1/2·-1·' < 1/ '11.1/2-.1/2.
1 all~ I n : if2 I/~ if:! m
7 s
. } 5 'tiC ' \ 3 l f ' ~ "\.."7 ~
I-
S7'
~i
< ,
~ ~ _ ; 7 . . '. . . . . .
I I.T :s z
iz; z : : ~.~~~ 1: 1
1),'1
11"1 ;~
,t J ·0
S~.ulewi'l~: i 2 ~J :3 < 4 S . If) !J 7 1 8
HI v I X x u XVII
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[,No Reco rded EXCl_mpl'es~
Here is ono the r nine Rote scole. This time, the odde 'd tones ere th e <3 G I n o ! h6, IBecause this scale con-
tains no ~7 its sound is maj,or ra t~e r them dOMinant, T 'heJ6 is e common, possiingi tone over a major
dhord and ~ h e ~ 3 wil l i odd at b lu e sy ~H e ct. .
T he C Jazz. M OjQ f(odd b3 ) cQ .nta ins the OCites.: 'C D ' E l; E F G A ' : , A B a",cl C. hiS ,interva'il sequence is:
1 -1 /2 -1 /2 - ~/ 2-1 1-1 /2 - 1/ 2-1 -J .
I
,o
~J
, .5a1e1·~ 1 6 7
IT [ v VII XD xv xvn
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S«rles 2S
Scale #r4: e Dominant (#9)(No R ec orded E xam pl1esj
- i5 .s ,c ,a lej,s essent ia l ly 01 C m~'xo l 'Yd i lon,sco ' le .w ith a #9 I D a ) rep lo c -ing the 9th [D) . '[he m in 3 rd lntervel
~" ~he roo t a nd th e ra ised 9t ll a cc enlU o ite s th e bluesy e f f e c f o fr th is C ldde d to ne .
'f:1..e C l D O i 1 J F l i n , o l r il t(#9) sca l 'e , 'conf ra ins the M ~ t e s : .C ID ~E F G A Br."and C a nd is b -u ilt e m t he In te rv a l
,ence:l an d 1/2-1/2-.11/2-1-1-1'/~q.
,.,.2'.s,c.
I»
I III o
3 4 5 6
: . : a a rom,:
v VII I X 'X n xv XVII
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Scale # r s: I'hfe Whole Tone Scale
(No Recorded Exornpies]
The' who~e tone scale j"s bwi , l lt en t ii re~y on whole s:leps. It contoins enly six notes within the octave, 'for
excff ip l le: iPGAB C~ D ~b !1d F . T he whQ'IE;)·fGIi8' scale is lacKing ~'hree o r f the most important intervals,
the per:fect fi,ffh, the perfect i fcourth and the minor second; A , I I I the stoife steps are equc] ~whole steps]
and sl incj~ there is rro minor second the scale L a c k s Q] uleQdi·ngtone. It Becau~se of this, t~e scale lis very
amlbi ig lwolUs o n d 0111not IF5 in the scols a re equo i , any could b e considered th e foot.
There ' o'reonl,yfwo whde lo n e sca le s , ecch being tl hal~ step uporr from the other.
I I
rhe ' W hole IF "o neS c a le :
-+------Fe-+I-·-- -1----11.-1---1--HT~~-"~--r.~---~~+---~.~--~
In v vu IX xv XVH
Two Common Fingerings for theWhde TQl'leScole:
r-,
- · e · -.-~:J r 1
. .I
•I " J"III!!" -
~ • • •• . . . . •I. . . .,. ·1 •I. . . . .
f/ - . . . . • •1 ' - . . . - . . . . . . . .. . . .
-I . . . . .' ~
•. . .
- A _ - i - i. . . ,
~ . . . ~ J . . .. . . . ._ ~. . I I- - e - .-. . . . . ' l l l ! ! l ' " 1 . .. . - . . .
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27
R.'a~herfhem U s i n g sbndmd chord V O i C l i l t i H S , each chor:d c on be viewed as being a member of a "fd'fflily",
'Ihe f e f r I l i l y t Jom le be i. ng the name of the scale from which that chord 1 . $ : der ived, Any grouping d notes
horn that Ifamily cern he substnoted fo r lfle : $ k l l n d ' ~ f d chord voicings [dependinq, o] course , on your own
terste and the context in which they er e used] ' . For example, if the harmony cells for 0 1 1 1 E'mGlj7, father
t h e m playing a stant!:1ard chard Yoidn,g ' ~EG~ e D ~ ' Lvcrious combinations ol notes" all, drawn from the E
major scale rtIdy be used. Alilo'rl rends to pJrry ithese chords in a very melodic lcshion, connectirtq the
",~;)icir;jgS'wit~ sinqlenote lines end (!rpe~I'!:;Jic:!i.Also, th e vo.iicinHs tha~ he, derivesoHen contain Znds,
4'hs Gi'.d! 5ths, making ~lhem very Clm6ig iUoIJI ,s and 11:01 eOlsi ly discew:ni'lb~,eCIS, stClI iI ,daoo fli1C':jmor minor
ch ord ty pe s . .
'"'
-~ ,= '..amp e6.
e-fefe~Alk:~n demonsfrotes some YOi rdngSo drawn f rom Gin E ' ma j,o r s ca le , Note thct, excep t fo r th e last
chord (Emai7) , eo c ~ o f these Y o ic in 9ls o r(\! ;del: 'I ! i ,.@d ~orr r i l -©ne busi.c intervo~ s .h ap 'e wh i ch is . tnen
~lJenced flhroughout t~e major sccle. Each chord is nLJmbe'(ed for easy reference.
-.::Cnord Sho ,pes ;
1 6 2 5 4
v vn xu XVII
2 3 4 5
1 I t m J - - _ ,
Ifjo rd - - -I I g r ; r id - - -i h ( f! lr i- - -I fM /tJ- _ -I
' - - 4 _ . - 9 ~ i 9 - - - . · · _7 - - -M - i i _u- - - - + - - - - - t - m - ~ _10 _ I I ~ · . ~ 4 _ ; - - - - - 4 f 1 1 1
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- _ __ __ - ,aiiId~ -
This ex.ample i lh lslTote$ voicinqs t~('] t eon be p l a y e~ . over D.m7fyP le - chords, A ll of IR e <;1/0.i.cingsal[ i l lI 'drawn from the D d or'L an~C majo r) sc o la , No te that aH ( : ) f theve ic ings in fh e t lir st fh re e me05UIt&S €:Ire'
det~\I'ed f rom oiJ~ei l '1tNV(]Hre ~hafi'e ( f laf hc s been nOlfJIKmiz"ed o'G:i i'OSS the nec k No te ·o l'so tho lt the.se
chords ere der i ved fmn'1lhe, so rne parenl sccle a s E x am p,le 6A · f m o l o r ) but wi th q alfferent lnlervCll1
$nape. M e~stJ & 1es:3 " 6 h-a Vc ea m ore t radlt iona,l so rm dbec c use o f the llise ot3rds fo ' l lowed by e D rn.9
chord,
.1 6 7
I n v WI IX X I [ xvu
2 37
6------.1 1 \ ' -ft'C[ly
17\ ~. .IL .~. '.. . [ I I ! . -
I- , " ", . , . - •
, . . . .I I- - t I ] ~ ~- - - t r • • • ~ - . . . ~
. _ . -1 . .- . . , .'JI , I ,
-r - TJ:<
tJ-
•Iw lJ - -fwitJ- - - - -t hufd- - I iw ld - -I '~ld- - - - - -- 1 IwfrJ---l ---I ~!ldd--I
. . ." ~, !,n ~. . . , . " ." . . ., , " '. . . . ~ : a~'T i ". - .. _ . _
.,:r; ~. . ~ -' " '"~
i~ . " I i ; : ; : :;, - :: -1- - - : i ~ l t IA ' O l i ' ~' ~ ; : ; :
1'2, _
~ ,,~ -, _
14
L " I
-I~ r __
IIII.- - _ _ ' .
h _ d - - - - - - - - - - - - - - - - - - - - - - - I
I ! f : · ~ . . I ~ ~ J
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~-a · m ·' - p " 'e-B~,5:A. '_._ 'II'!, _' ' _ .1
This e , x C l I m p h ; l I ( J S € c ! l ,notes from the so me " f o lmJ i : y ' " (major) as Examples 6 and 7 , _but He re t h e f o c l! : I S '~<soncreuliflg C major so un d'S. N ote Q :go ,irr, , thai most of th e ch ord s rue derived [.m:m,one 'intervdiIic shcpe
, t h - m h tls b ee n h C l I H l J I n o n i z e d .o crcss the , n eck (se e tih e b asic c ih Qrd shapes,) .
8oSK: Chord Sha pes:
6
U I v xu x v XVfI
r;.", . . ."~I"i-- --1 J W 1 t i - -I froJd- - - - -I
~T~--~~_ T'--~i~---~~~,'--~1~~~~"~----~'~~~'_---~~~"6--~----~--~~~--~~--~~--~" ~,_'7 ';;;_ "_.iI .,'" '.' J.
A ; " . . . . ~ : ; _ . __l", , 1 0 ,
'I
,~ . , " " ". .
~iI. i ,'" ~ ~ - 4 C O. , . , -
ft ii
1 . , '" 1 > ; '-~ ~
> ;~ . . : : ; ; ; ;; . .'.'" ~ ;:
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Chords and Harmon 3 r
This excrnple is derived from chords built on Scnls ,4 -Mjnm (m[JI1, ~4). The t o no i center ~sf, so the
scale being used is F minor (ma , i'7 / ~ 4 ). Re lmembef , thisseaJel [s essen~it:!UY'o n F m elo dic mri lA0f scale
with a #4/:'5. You may wont ~ogo ba ck and rey'iew th e ScoJe',4 : f i ! l i1gerings ond t~e'n trcnspose them to
f before continuing,
::Clic C h ord Sh ap es;
7 6 5 4 2
l U v v u x v XVII
}l!~ly 1 2
~ ~ t. jl~ ~"
. . . . "I- 10 ,"
~ - - - - - - - - - - - - - - - - - - - - - - - - - - - ~- I';'.
#' "
hr1ld- - - - - --'--1 Iwld- _ •.. _ - - ~ hold - - - - - - - - - - - - - - - .~ - - - - - - - - - - --l
j i '
i : 2
~2--~!HI
FQ ' 8
~
1 9 & "
i~9 II1 ,2
6 7 . . . . . . . . .L'I,
J
- - - - " 1 ~ w - - - - - - - - - - - - - - - - - - - - - - - - - - - - ~ ih d (J - -I4
p m'I i
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Chordsaild Harmony 33
-"'i,s e:A!omple, [ilke' 'E l<am~! l ' les90l'td lOis' der ived Irom Sc.o l :e 4, onJy this t i ime w r t h D QS th e to na l c en te r.
n .5 examp l e shows us yet~cnofherset of voiclng1s derive'd from t~issca le. A.s yo'U cen see , th e pesslbil .
• C ;! j, :are endless. Note: This "(jti on t:helmt bea t I S t'h\1!'@n: l y note no t in the D minor(maj7J4) sc ele ..
': :hord Shapes:
3 4 -
v vu XilI xv XVIiI
3 : 5~.)
' f # "ttiI~l·' • • t -
1\ till'._ ~F' " ' 1 1 = '1-
"
4 --~----.~----"
1 '- ~ - ~r- "..'r- 1 - - - . ,
1 '2'- - - -. - - - - ~ - - - ~ - - - -,
r:~ ~.. ~.
i! 8J 'd - -I h r : i l r j - - - - - - - ' , . - . - - - -j
1 : : ' " in ..... ..-
..,. ".;;[ .- !." ..::
f - - - - o . , A , . . . . . . ---tQ~'--~-4f.~ "~'-----;;;;--\1;,·3·._,
~~ I
IW ld --I- ~,
'.~
, !.
... 3I J r r l t 1 - - - - - - - . - - - - - - - - - I':;". . . ..: ."~
:: : ~. . ."
3f7\
~'L~ '~
li - --- - -- - ---- ----- ----.--,~ I
".
, I
iaPJd- - - - --- -----:!
; = t '~
J""
lfil.i{i - - - - - -- -. - -.- - - - - - - - - - - - - - .- - - - - - - 1
5 ,35
7 ' j
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u ke E x am p !e 1 1 ,th is .e xam p le is else dertved f rc r n1ID r cn ir u o r(ma il , ~ 4 ) , o r ill y hem t he , c h o r d v o ic in q sere centEl ' l loo (]iwund c~;~D~j,9ivin9 us qm augmen ted dOI'll~lnainf~lavoJ(C:P{~5) ) .
1
v vu IX X II xv XVni
1- - - - - - - - - - -,
~
. , . . _ , .
'2
1.;' ~,- .
3
, # ' . , ~
4-------~
II. .,,_- _F i-
• 1-'I
." ,
JI
.......-3
hfJ id - - - - - - - ~ - - -4'" .~. ,, -. . ~ ~,
m ild - - - o f
. . " "
~l
h n l , d - - - - - - 1
Hl~, 'Ill 10
,_
l i J J l r l - -I' 1 - 2 - 4 . " _
lm id ~ -I.':: ,j"c--~·Hi
~~. .__A
, w
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Sca,Ies w i ' , . Chord Vo,icinfls
~.e-e ere chord chrrrts s:hswjng some , other possible voicinqs for th e filrst f i ' l{e' scales. I f you comb i ne
ese wH'h Ihe volcing ,s aireacly demormska t , ed , you wi!! see, that t h e possibili l~-es are endless. Experimen~
• your own volcittqs. Wh,eri, you find one you like, hertnonize r it fh'f(')vghO\!lt i the rest of the scale as
rO"W "I I' I in Ihese - 'fdl lowtng examp l8 i s .
'::-ompore fh,e,se.,voki'l1gs to t ho se s bownin example ,s ,6 , 7 and 5, a ll of which were drawn from the'TInior sCG!I~e_
n[ 1
ill v xv XVIlV l l IX X T I
,2 w/Cltard.:
oo LI:·, ' . 'n
nr xu XV¥[v vu
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Scalel3 wlChords:
n
A minor (mail, Il6)jA Hormcnic Minor):
Scale 4wIChords:
()I)
'I I
Aminor '1mdji7, ~'4J:
[II v Vn [ X XH xv xvu
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Imrll l ,"
Rilil\'~ Flm1~1l~6 . r n i l~~TYm 7 '<;m;
oil
. . . . ._I
, , .1'-
Jr!m7:au~,E im7:il!s Dml5U~ C~m7~ IL~t~JfI;]J1
N'N! 'Ptay < I 19mrli)
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TAB:lAiJ:UR'E IEXP:LANATIQN
'R~I! 'fG TAW TIJRE: T~ll I1 l.nl ! "IUS' lri~~~ lle ,gJ.~lr11 l' !l~~I the 1I1i ,t i! !l1~f\!o.tB~
i lml l d'Jon:Il r~ ' 1 ~ :a~ I :f i: II : i) 1 f ha .p ! ~ . ~O f t t o r r ' f 'ooUi'I!lI~ an a ,g~ti!l 1M~'§(s1,'0
BENDING N01iES
H A L " S C T l; : P : P I 'a )!
ihe not(:.;ll1ld
Iben!j st~lng on\il
tl~U step,"
W.HQI.EI~:
i;'ia¥ch9'n~ ,aJildiliendl Wimg @ ! 1 € !
W h o! " s te ,fl I,
W IHOLE , STEP
AN!! A " HAU· : .
P1ay II fID'n6 : le~n' - l
beA\'l srr!~!l
'W liLll' . ... ~, ,a~d
,1'haI'_
SUIGHTIBENID
(Ilticrolofle): Playt~.~.otew .Il l ! li fld stl l i ll i i
~ligt)lrY \Q l i : ! e !
ilqui~le~t on\Al!
er!fe~
h~lll!ll!,p i,1Rli!;6rn!i1l~'I~mv~1 in
! 1 li U$ Ic : ; i t 1 3 e ' ql la l III, ~n e fret
o! ihocle ~ 1 D J l i!!Qar.ill:ll,fHo'~cet~"
PREBEND ,
(Q ho.' Benp):Be rn d ' t@U l a
'spee;,!!€;i!linote.
belore the'strlng
' , i s piGked-
PREBEND AN.D- '
J l E .l .£A . Se ; B e ~ d
Ihe~tring, p:ay it; f I , e n , te;1IU, ,rQ
1he. o rc { g fn a J· n o te
' RE I /ERS t : : BE .NO :
P l < ! . r 'Ih~'IIl!f",ad~-
fHii!! s\i'ln:9,~tI1
l,"rned,~~ly dropI~ down , M t he ,
ti:!i~notll\.
IBENDS
IIN,III: l ! .VING
lMORE
THA 'N IONE- STR ING :
Pillirtha
n9~~!l 'I : ! 't I a M I : $\!iil'lg
wliilf 'oll . , 1 ! ! , y I I l ' l l I l 1 1 ac!o: ! ]. IJo m ( ! i note (O f
m0!~~Jor ; ; arnlUler ! !J jJ~(!sl. UP-O~l
m ! I ' Il ~ e , r 1 ) J 1 ,, " \)pressura 1 r m n .adq ~Oiil~i'l~n(sl,Ui,LI)5hl~"~I~ln?In < ' 1 ! i ' ! 10;~lljp.dI B J . ~ f i e · ,
~ •••_. ··tI
UNISON
BE ., NO : i ?1 'a ~
bQlh' l ' IOte:s
andimm",diately
Il:!!!lnd'the,
~dwet !lote,to
Ihe same piteh'ij'$! t h , e , Ct>1ighw
rnote
DOUBLE,
IN.OTE 'BEND:
Play'b_olh'
notes Br]d
imrnedi<i t~l~pend 0 0 1 1 ' 1sir ing.s
SJmJJJlanedullY
~aE_NIJ)S
< l lWOLVING
s r A r IONA 'RY
I il ,O T ES :, P la y
mol~ IUl t itDe.r lCI lower
Bi tch" theni'\gilj urtti]
Irftie(l~ blglrJS jif,ol(':a!eo i 1 ( I i t i a :
,g Q i o i w t le r' E) ' ,Ii neiJecOOlIl!5,tIl!Id.).
TREMOLO 8,A'A
~.
I ; _ ! ~ . ~ . ~ , ~ ~ ? , r ,~ ~ lt1m ; relfldise
I Q l "> a oflgl na i
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SPEC JF I ED
I N TERVA~T~e pll~tl QI~
no te -Of e it io rd
Is lo wer'ed 10
,a spac"Ue.ct
Ililt~P..ra~ _anrJ 1
tn ;t n m aY ' o r
' l 1 ! t B . ' Y · m ! i : l ~
t r e 1 i l t r n , 10,1M a n g i m a i ~ilC'h' T I " I ~
B~ItV!\\I'!!lithe :Ire.mololIar ~
g ) l : r p h i C l l l c i Y rep ,e ~a me d bY p8a.~s
~nd 'valleys-
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1'I~'I;I!l.ii
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HARMONICS
N A t U R A Lf ' lA,RMGNIO:A ~ ~'lfje, I f B I
iJa~cj l i ! l 1 ' 1 I t yr o u c :r n es ~ , n o t e
1jIif' r tQ le5 , im j' c a tea
I n t Il o ta b a nd is
.1~· bytn e pkl!~.
A,R, 'F IC tAL
H A ' J ;U , I I D I ' Il C : ,
1 I I' Ie t lr st I llD
l1urnMi' ia Il:~.ili~ I !W ! pier, :
n~n ap r odu~
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8g , hUy $ou :nh to o
same ~ln~1 g~'h~,gl;orid' tall'MMmb e r ( 1 1 ' 1 parenttl!l$!sr,~rm;J; 1 1 1 ! l QpiCke!ll by,anoliflBl' Ilfjil~r.
~Rn " !CIA . 1 . ,
"P INCH"H A R ,
r; lONIC:
,A~nail;!ls!
fr~~
indicate:! m y
~lI!b"tIii~
liho~.iCl!,
I t i l ! J ' ) [ l! lr o d uc e 5 "t h e h jl [! .T I o rn !c by
:squeezing I I ' H l p i ck ( lrm ly w l 1l l! t! ~
tfie tip,of'.the Irndaxlilitle[ ln ttiil I l i l ; ' ! ! ;a:~C'k: l i t ' ,Q~uen!t .esIs,are,~! l I i laround the Imtted. nme.ltd~tiOI
sound INo ,pa ' r e! ' lt hOlS l~ m_@' ( ! Il ! x ld: l
Ihe frafted note 8 J ' I d I Ar.. Afi!j ~
5irn<!Jllaneoy~y.
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Q STf: lUM
INDICA·
' l" IQJ'lS:
S l r um . . . t i 1 t " ikJ( ! 1 '~a ted
,hythrn.
T me en o ro vO it i.flg s a re lo und on
'~e f i rst pageojt~~et r ' l ; lnscriRt,on
~ i nd li f, fl e. a ir l' ( .A s 'BOng ~\lie.
@ Ii@! 6 : . ! 1 ! l.b' ~&
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II :HDICJiJING
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1 I I111 !~ IM~ NI ' l 1M , ,~§ri1!ffi'll ~mdioa ted above, ~~ rJ)~ ~g.! 'J
< ; t t I ~ ,I. fret n~ID6e.r IN"! B tll1ng
.ndleellil! i1_ -
IRT IOfULA ,11DNS,
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TAPP ING :E l ' " T l s 'p"i
onto the
riote
ind· i caLed'
PY' wiln.a f in ~ e r o ! " .! p e ; p ic U1E1ndnhen pull
0" to t h e - l o U .o w l n g MI!I.hllldtJy the
f r~ thaM.
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t b . ll ! 1 J w 1 i T I g l n g t a
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n
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, fi l : ! ! t . t I 'I D t ~ ' "~ttgt~).
L _ O N G
GU3D.H·DO: IPlii~
oo!B ~:fi!c!
~ 1 I 1 E l ~~I
"'peqj~Eld'
d" '~ l@n'~'trnB'M
SHORi ! "
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1~0~Pia,'f
nale. r o r " ! 1 S
f u J I '~At lJ . ! land sl~~!tl
,specil1ed
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Slide the
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I ? , ALM IMVTEJ
T he no te o rnotes are muted
oythe p~rn ~ttM pl~1l; i lW i l d
' t 1 ¥ I(gnl~y
t lM. !~" !ng ~ i ' ! e J
~~.li:ln_I~ bJld~~.
t REMOLOl ' i lC- - l f tNG, l I t : w !II!Gte~!,~~~.
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lRI!J, :
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O IAg as t ' as t asgCilitlbI !jl
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AC;CENT':
Nd le ll i o r
~ ; rn9 rdsare '
to b gpmya a
IMIh "dEf!!:~
~,",Mlll,
S" i tA tcA to[Q~I'!!KI
~tes:)t
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1 I ; l b f ! iP ! I I l ' , ( ! ; ( 1
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k!pa_r~tl<:rn"
DOWNI
S lRO.KES
~NQUPSTR lC l l c ·ES~
,N(i .b!I!!. Qr
!:]II.o'~ill'!iIO.
be f !l la ~ :e4 1N1t rn
ei l l i ler flj
c~r . . , ~ til' up i$1Ike ( ~ . lo r '!tig j;I.i~
I t IBRAT.O : rille
pt~e1.~"Cl i I IiIvUiI!iIItJj!9
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