Jazz & Fusion Guitar With Clay Moore

7/27/2019 Jazz & Fusion Guitar With Clay Moore

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• 2 •

800-543-6125 Free Catalog www.Musicians-Workshop.com ©2006 Musicians-Workshop P.O. Box 161921 Austin, TX 78716

Table of ContentsHow to read tablature....3

Definitions....4

Single String Studies....5

Two String Studies....6, 7, 8Chord/Scale Relationships...9 thru 12

Jazz & Fusion Guitar

DVD MenuFinger gboard 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 jazzscene – a unique voice that strengthens and expandsthe jazz idiom with sensitivity, clarity, and uncompro-mising integrity. Clay's warm, expressive tones andimpeccable phrasing have been delighting U.S. andinternational 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 •


Pull-off

play this

string open

Chord Diagram*In many cases the

chord diagram is thechord form used in the

tablature.

Fingering Indicator (thumb)

Bend this note

1/4 step

How to read TablatureTablature 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 notationbecause 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 noteworthyexception 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

t 0

i

P P

t

2 1 0 P P

t

2 1 0

t t 3 4 0

22

1

0

0

1/4

Triplet(3 1/8 notes equal one 1/4 note)

G7

3fr G7

t 3

it

H

t

33 4

m t

5

3

3

it

3

6

t i

H

t

33

i t

5

4

6

3

Hammer-On

Chord Diagram*This G7 is an E7 bar chord at the 3rd fret

which corresponds tothe tablature below it.

Fingering Indicator Indexthumb

Fingering Indicator Index finger

Double-Stoptwo notes played

simultaneously

Slur



• 4 •


Definitions

Slur --the word slur refers to any treatment of a note that causes it to have a soft beginning. In other words, a slurrednote 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 curvedline 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 youdon’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 bepatient. 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 upbecause lifting can mute the string. So with your fiinger down fretting the note, you should actually grab the note andpluck it similar to the plucking technique that you use to play a string with your other hand. In other words: don’t thinkof 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 thetablature 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 upand 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 inpitch. 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) andfarther if desired.

Double Stop --playing two strings at the same time. When you see a double-stop in tablature it will be a note aboveanother 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 •


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 •


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

15

37

48

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

35

37

48

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

35

47

48

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.

13

35

47

1

3

1

5

3

7

4

9

1

5

1


change on the A string sliding the 3rd finger.

3

35

47

1

3

3

5

3

7

4

9

1

5

1


change on the A string sliding the 3rd finger.

3

35

47

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

15

37

48

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

12

Three octave G Major 7th arpeggio using the above position changing system. (ascending & descending)

23

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

23

12



• 7 •


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

16

27

38

49

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

77

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 79

7 7 9 5

"Dixie" Key of G 7

9 5 5 5 7 9

5 7 7 7

9

9 9 9

7



•

9

7

9

7 8 1 07

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 playedin 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

12

3

3

3

3 4 2 3 1

3 5

2 31

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

52

3

4

2nd position

4 1 2

5 23

2

3

2 4 1 2 4

3 52 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 63 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




• 9 •


Chord/Scale Relationships

G

Most commonly used scales over chords with Major in the name.

G Major

3

A5

B

2

C

3

D

5

E

2

F#

4

G

5

G

G Lydian

3

A5

B

2

C#

4

D

5

E

Background chords

for this exercise

2

F#

4

G

5

G

G Major Pentatonic

3

A5

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

A5

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

A5

Bb6

C

3

D

5

E

2

F

3

G

5

G

G Aeolian (natural minor)

3

A5

Background chords

for this exercise

Bb6

C

3

Gm7

D

5

Eb

6

F

3

G

5

10fr

Gm7

G

G melodic minor

3

A5

Bb6

C

3

D

5

E

2

F#

4

G

5

G

G harmonic minor

3

A5

Bb6

C

3

D

5

Eb

6

F#

4

G

5

G

G Phrygian

3

Ab4

Bb6

C

3

D

5

Eb

6

F

3

G

5

G

G minor Pentatonic

3

Bb6

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

A5

C

3

D

5

E

2

G

5

A

2

G

Most commonly used scales over dominant 7th chords.

G Mixolydian

3

A5

B

2

C

3

D

5

E

2

F

3

G

5

G

G Mixolydian #4

3

A5

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

Ab4

B

2

C

3

D

5

Eb

6

F

3

G

5

G

G Whole tone scale

3

A5

B

4

C#

6

D#

3

F

5

G

G Diminished

3

Ab4

Bb6

C#

2

D

4

E

5

F

3

G

5

G

G Altered dominant

3

Ab4

Bb6

B

2

C#

4

D#

6

F

3

G

5

G

G Major pentatonic

3

A5

B

2

D

5

E

2

G

5

Db

Db Major pentatonic

4

Eb

6

F

3

Ab

6

Bb

3

Db

6



• 10 •


G

Most commonly used scales over minor 7 flat 5 chords.

G locrian

3

Ab4

Bb6

C

3

Db

4

Eb

6

F

3

G

5

G

G locrian #2

3

A5

Bb6

C

3

Db

4

Eb

6

F

3

G

Background chords

for this exercise

5

G3

G locrian #6

Ab4

Bb6

C

3

Gm7b5

Db

4

E

2

F

3

G

5

10fr

Gm7b5

Root

Chord - Scale Relationships

8fr

Cm7

3 3

8fr

Fm 7

3 3

5fr

Dha lf d im7

5

G7

3

8fr

Cm7

3 3

6fr

Ebm7

6

4fr

Ab7

4

4fr

Dbmaj7

4 4

5fr

Dha lf d im7

5

G7

3

8fr

Cm7

3

5fr

Dha lf d im7

5

G7

3

Root & Third

8fr

Cm7

3 6 3 6

8fr

Fm 7

3 6 3 6

5fr

Dha lf d im7

5

3

G7

3 7

8fr

Cm7

3 6

3 6

6fr

Ebm7

6

4

4fr

Ab7

43

4fr

Dbmaj7

4

3

4

3

5fr

Dha lf d im7

5

3

G7

3 7

8fr

Cm7

3 6

5fr

Dha lf d im7

5

3

G7

3 7



• 11 •


Arpeggio 1,3,5,7

8fr

Cm7

3 65

3

3 65

3

8fr

Fm 7

3 6

5

4

3 6

5

4

5fr

Dha lf d im7

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

Dha lf d im7

5

3 6

5

G7

3 7

5

3

8fr

Cm7

3 6

5

3

5fr

Dha lf d im7 G7

5

3 6

5

3 7

5

3

8fr

Cm7Scale Ascending

3 5 6

3 5 73 5

3 5 6

3

8fr

Fm 7

5 73 5

3 5 63 5 6

4 6

3 5 63 5 6

4 6

5fr

Dha lf d im7

5 6

3 5

G7

6

3 5

3

3 4 73

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 63

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

Dha lf d im7

5 6

3 5

G7

6

3 53

3 4 7

3

8fr

Cm7

5 6

3 5

3 5 6

3

5fr

Dhalf d im7

5 7

3 5

G7

5

3 6

5

3 7

5

3



• 12 •


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

Dha lf d im7

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 36 4 3

6 4

6 5 36 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.

5frDha lf d im7

3

5 3

6

G7

5 3

6 5

5 3

6 5

8frCm7

37 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

5frDha lf d im7

3

6 5 3

G7

5

6 3

5

3

57 3

3

Jazz guitarist Clay Moore is a rare find on today's jazzscene – a unique voice that strengthens and expandsthe jazz idiom with sensitivity, clarity, and uncompro-mising integrity. Clay's warm, expressive tones andimpeccable phrasing have been delighting U.S. andinternational 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 •

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Bluegrass Mandolin Vol II

Twin Mandolin Workshop

Improvising Bluegrass Mandolin

Designing Mandolin Solos for Bluegrass Songs

Irish Fiddle Tunes for Mandolin

Orange Blossom Special Mandolin Lesson

MiscellaneousBeginning Rhythm Piano Vol 1 (DVD)

Beginning Rhythm Piano Vol 2 (DVD)Country Piano

Blues Harmonica - the Basics & Beyond

Irish Fiddle Tunes for Tinwhistle

Beginning Autoharp

The Bluegrass Wordbook (with Audio CDs)

The Traditional Bluegrass Songbook (with Audio CDs)

How to Figure Out Music From Recordings (DVD)

Understanding the Formula of Music (DVD)

Beginning Drums with Paul Murski (DVD)

Still on the Hill (concert video VHS)

www.musicians-workshop.com

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Austin, Tx 78716-1921

Orders: 800-543-6125

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Documents

Jazz & Fusion Guitar With Clay Moore