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LESSONSandy Timmons

When I learned the modes I never thoughtthey were different scales. Were always learn-ing things in position but I do things that area lot more horizontal than vertical. To me its

just more lyrical and vocal sounding. Whatit did for me was show me the possibilities. Icould be playing Cry for You, which is justin D minor but I relate it to F major.

Fig. 1 is how I apply a modal approachto this chord progression. Its just diatonictriadsD minor, C major, B% major, Aminor, G minor, F major, E dim, D

minorjust triads right down from the Dminor or F major scale.

Pul Gilbert

Give a jazz player an E7#9#5 chord and thefirst thing hell probably do is whip out theSuper Locrian scale. Paul Gilberts got a moredirect way to navigate this scary-soundingchord. Ive heard that term Super Locrian,but to me its just the notes of this chord [playsthe E7#5#9 in Fig. 2], says Gilbert. A bigbreakthrough for me mentally was realizingthat I dont have to play every note in a scale.

If I leave some out and pick my favorites,

it aims the sound much more harmonically

accurate. Whereas if I play every note in thescale you can have the right notes but yourenot having as much harmonic intention.

Perhaps the most common guitar voicingof the E7#9#5 chord is played as the JimiHendrix chord with an added note on the1st string. From bottom to top the notesare EG#DGC.

Gilbert takes the notes of the voicing andarranges them in alphabetical order, config-uring the notes in a finger-friendly patternthat is shown in Fig. 3. Instead of beingspread out in a chord voicing, here theyre

Fig. 1

17 1315

14

15 1213

12

13 1011

10

12 810

9

10 68

7

8 56

5

6 35

3

5 13

2

Fig. 1

7/29/2019 Paul Gilbert Shred Camp Lessom September 2013

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stacked up consecutively, says Gilbert.Thats me dipping my toes into the poolof jazz. This is really an interesting way offorming scales and arpeggios.

A recent lightbulb moment also pavedthe way for more of Gilberts thrilling sonicshapes. My wife has been practicing jazzpiano at home and she was just playing thechords very methodically to learn them,

says Gilbert. I noticed that she wasntplaying the roots in the upper voicings.That helped to develop my ears.

Over A7, rather than just reaching fora predictable A7 arpeggio, Gilbert suggeststrying the shape in Fig. 4 that leaves out theroot but adds the 9th (B) and the #4th (D#),in addition to the 3rd (C#), 5th (E), and%7th (G).

Fig. 2 Fig. 3

Fig. 4