Allan Holdsworth - Just For The Curious

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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-

&ampl'E!:

&ampl~

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

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r•IoU

,

6A & : 6 ) 'B .• ~ . " , '. • . • • . . • '• • J2,8 '.- '•.'.,•••••• 1 '-4

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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

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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 " " " . _ . _ _ • " . " ' . " •





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



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



-. - - - - - -.

-~

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,



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



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



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:



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



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



--

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



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 - - - - - - - - - - - - - - - - - - - - - - ~



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~ ~.



- 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



.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



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



-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



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



- ,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



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 .



· BellIes 21

Em

G G.ln



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)



--- 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



[,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



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



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 . .. . - . . .



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





- _ __ __ - ,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



~-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 > ; '-~ ~

> ;~ . . : : ; ; ; ;; . .'.'" ~ ;:



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





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



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



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



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





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)

ill _ , - - - . , ~ ' . -~,'I

'_ _ _ ."W>I

• I I ,9 1 . . '., "<',>-~ I I

,~

'A ,A

,.

II.~

",~ ,",u

I

f . r

. . .. . .

,!\lImj7MAN

_ , - . '

I

~"~~~,~~-----1"~2---~'~~4~"~~~48-----t----~1~"~~"~--------~--------------------~-----I---~~~~.,~--~~--~-~ __--------~~43------------ --~----~------------~~----------_ _4"'~~'~r_ --~--~~~--------------~--~AaL----------------------------_+----------~------r_--~~4~~',-6~~.~.~--~'·~'~r-----~----------------------~-

~-

I

I tt}'L '

-__.;..-

IlMAir-,~-:-,---- =~~~~,n~~~',.~-----4.,~ft--~------~-.r-;~'----~~~----,--~--r--,--------------~------~-

~ ~ = - - - - - - - - - - - -_ _ - - - - - - - - ~ - - ~ j ~ - - - - - - - - - - - - - - - - - - ~ - - - - ~ ~ - - - - - - - - - t - - - - - - ~ " . " ~ . ~ - ~ n , ~ , ~ ~ - - - - - - ~ -. .~

!'i'M'

r - - : - ",~ ~'

NV

~ • • ' . c__j

1 - ; , ,_ _,--------~~-------------------------+------~-------+-------~=-'iii'HH·.~.:-------"99 -' -- '1 '1"1,11-r--l~---'-'~--'I~ ; f ' - ' 8 -_":-------1

.,,",

."



ProtoCosmos 39

!"Ph :

: ! .Nt

!l 1 0 1 n

' iJ4 1'i~

//U! 12

17 16- ,. ,. -l15-1> ':'! '~

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - I

11. . ~ ~ , ' 1 1

"

- -



~ - - - - - - - - - - - - - - - - - - -

~*~~r ~ _ _ r - : f f # - - - - - - - -

1F-'1I7"r-----~'Hl, 18 '1:1~1~ ,',.,. ,n , ,.. " ,"" ~

i -~ .ac==: : : : : : :=== : :== := -__ ] _ ' ~ 4 1 _ '1 ' :: '- :: ~ : ': '~ ' :: '- :: : ' : '~ = - !~ ~ f f i- "; ,~ t - -f ;6 1 : ; to l ;~ ' ~ 1 ;s : = ~ : t 1 ~ p ~ 1 : : o . .. '' ! r B = = = = = = = = = = = = = = = = = = =_ . . . .

I



- -- -- to

____::;_----------------() 2-3~t'G~ . . . _ _ _ _ _ . . .

.r---------.,~2 ,. H; 114 H ;! HI~181 14H:I

NV'i'

t~ ~

·····_---'-------"1B~--------------------------------

.1 :iI & - i c1-E t f idfr §f iE f ~q9 ~ fE J

lJjc~

'~~H,H 1.•. ."

- -

15 ,~ 13' 14

1 2 1

,;=Y I "'I ' 1 2 = . ~4~:t4~15

4 ) 1

'0

I. . . .

I ~;

.".

-T

4-"~ . ."



• 5~ ---" Ii •'" ·'9' . ,," .~ ,. . ",1 " '. 9.,",-'1 1 = . _l<= < . ' . '''~ ~ . ~ '-- --'. !! -,4""--....-.iF " ..- U' ,

161~' = ~ _ = . _f7::f)-~~------~----------------------------------=---~---+--~---41i~~Q~,~4~,~9------~--------~~--+--: e a

F ~ r I i I 7 1 A ! ; ;. is rnYl \IUS D n i1 iUS:

. :tf!)~

Cintl) /WIN

- - - - - - - - - - - - - - - - - - - - - - - ,

r-

,~" NiVY) ~"'_ _~~~, _'"_'i"~"

J J

. . .-

,; , . . -

I I jt~-..1'

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - ,P i 1 ' I ' I n . j ' 1 ( # 11)

.~- - _.-'"

. . . . . - : ;

.~~§

JI

.3I .1 : _i

i--"--------~,,'i:&.." ' : 1 ~ ,44-__----"l..:::==== ::::.~ ~ ~~";. .VJw:.:~-------- - - -~-----_: , .~,; ,- - - -~-, ~ ~ " . A ~ ,~ ~ ~ - - - - - - - - - - - - - - - - ~ · " & ~ " - ~ · . " - - t v - - ~ ~ ~ ~ ~ ~ ~ ~ ~ - - - - - - - - - ~ - - - - - - _ + - - - - - - - - - -- - ~c~,----~

1 ~ , ~ r - , - - - - ~ - - - - - - - - ~ - - - - - - - - - - - - - - ~ ' H - 6 ~ .~t5__1~1.-1~~~--------------+_~~--------~----.i--~-,--~~---_,

_ . . .~ ~ ~ ~ ~ - - - - - - - = - - ~ ~ - - - - - - - - - - - - - - - - - ~ - - - - - - - - - - - ' ~ ~ ~ = = ~ ~ - L - - - - - - - - - - - - - ~ ~ ,



~c-s-- -- - - -

, _~

_/

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- - T J________III B Fl~_ f i j _

i .. - . ,:;;:: I

I I

- ,

~l:__J~~, 1 1 ~ t o r ) ,

rU . piJrxJ II f J - f U - ' biii 4 ! , +

· s w8

I §. . . .

I I: 1 ,

~ ! ~t1 I I

'~

'~

~ 1&

" at-: :~



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

O@1" Qn'ly 1M fitll ' ~!)l~ [ , ~tlack'lt).

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-

mJ.,~MPYJI!!.:1'fM~t!li1

1'I~'I;I!l.ii

~l1ordh~

110W$'ed I!:I all

Iml$~

ir,tafY'!IL

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~

tMl'lBrmonit;'tI:!!

~Inll ~'~ngertt;

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.



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' ~&

... GI F

II :HDICJiJING

t tH .mJ! ! l

IttOTimII!!S!N(ji

I f ! : I i ! ' I ' : l ' \ f i - ' ' '

:SlASiilE:S~

~otteI ' !~ b TI gj e' 19 .I W l! ,< ! J' ~' 1 1f IE !~ ra ll !d t nl t>

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,

I.m~'.4IN~H. . tMUER:

H.mmer1 l !n

tn . rlrst fIiIlU!'~~'Ofl

AdIi S I i i : f : I Q

w~tti I l l " " !eflJ"mnd'

-..-

~---

I"WL 0'1', , :P>.~ rIIg 't!r noh l : .

c-~Ol'!"[g

~_~_i21

IFRET -

' BOARD

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.

f refbQar 'd

f l; pp ln ! 3 . b u t

In a ~E!ppedfJ(;!lltis ~Iitl

i "E l ooom iy

IJjj,tli!~

!ffil!:loard\.lllllliliJ'!lillil'il! ~tl'li:l thill

t b . ll ! 1 J w 1 i T I g l n g t a

TAP S l .i tI ll E :

n

iLl:Ja:liIl

~U~~f'Jli)' I \ I O ! U I I

iIJ];:IIII!'daw

,"0

!ti1ltriWn~

no~~Ol l l ty

, 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 ! "

GL. !$A'N.

1~0~Pia,'f

nale. r o r " ! 1 S

f u J I '~At lJ . ! land sl~~!tl

,specil1ed

Qij·!~fio n a c t

the,last PQ~$bre m~!liIllfth

PiCK

SpDE:

Slide the

edgeot

!.he piqk

Ip !

IiRoclfleddl~Oi1

;lll~ 'D1i i i 1!1!II! I l~ cr ~ 11]6 51r!~(S).

Mm~SliRINGS;

A

i*~~I!i!lill~17j

~tf'ie

lrlll I'I.md

~ - "ill wl ' < i J : o ~I!;;>do'~II iP'B" 'Ji ! i9du~J:aa {ll!Iw:,

I I : I I I ! I ngf:I~

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~!,~~~.

,(II'~ PICl<etI u

! l ! i E . ' - ; P . i jKI~l~

lRI!J, :

Hnmm!ir@n

a n - g p ull Q ~ :

'C o h sec u t ~ vei '1

O IAg as t ' as t asgCilitlbI !jl

I~ilr,..,een lliB

G! gi1'! lI lr lQtlI

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

~0Ieltli!~&,I~

1 I ; l b f ! iP ! I I l ' , ( ! ; ( 1

mLigr;,!!I '

~i If:!llf "c1i.lal'~Jue.8figl ""1ft

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

m p i t l ; ! ! h ! I k J ! ' J S I

IliftMj~~

Ili'f~,l'iffil'.., ~ - -



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Allan Holdsworth - Just For The Curious