Soloing over Changes
The Ultimate Guide to Improvising with Scales over Chords on the Guitar
SHEET MUSIC BOOK WITH CD.
LIBRO METODO PER CHITARRA SOLISTA, IMPROVVISAZIONE.
SPARTITI PER CHITARRA CON:
ACCORDI, PENTAGRAMMA, TABLATURE.
WWW.CHITARRALAMPO.COM
RIMINI
335 6397110
By Jody Fisher
Item: 00-44739
UPC: 038081508511
ISBN 10: 1470627647
ISBN 13: 9781470627645
Category: Guitar Method or Supplement
Format: Book & Online Audio
Instrument: Guitar
If you want to be able to play a great guitar solo over any chord progression, you have come to the right place. Master guitarist, teacher, and best-selling author Jody Fisher unlocks the secrets to how scales work with chords in this comprehensive book.
Conveniently organized into two sections, the first part of the book breaks down scale and chord theory in a simple, step-by-step manner that is easy to understand. The second part is a handy, comprehensive chord and scale finder that allows you to cross-reference scales with chords and vice versa. Access to accompanying online demonstration and play-along tracks is also included. A must-have for any guitarist, Soloing over Changes is the ultimate scale and chord resource.
"A great resource for every aspiring guitar improvisor"---George Benson
"Jodi Fisher has somehow covered it all . . . for any guitarist desiring to take their improvising to the next level."---Carl Verheyen
CONTENTS
About the Author................................................................................................................... 3
Introduction .............................................................................................................................. 3
Book Organization ................................................................................................................. 3
How to Use This Book.......................................................................................................... 4
PART 1: Learning and Using Scales ..................................................................... 5
Chapter 1 .................................................................................................................................... 5
What Is a Scale? ................................................................................................................... 5
The Chromatic Scale............................................................................................................. 8
Major-Scale Fundamentals................................................................................................... 9
Major-Scale Fingerings.......................................................................................................11
Chapter 2 ..................................................................................................................................15
How to Learn Scales...........................................................................................................15
Practicing Scales ................................................................................................................17
Chapter 3 ..................................................................................................................................22
How to Use Scales for Improvisation...............................................................................22
Chapter 4 ..................................................................................................................................25
Targeting Chord Tones in Scales.....................................................................................25
Chapter 5 ..................................................................................................................................34
Developing Melodic Ideas from Scales ...........................................................................34
Chromaticism........................................................................................................................37
Chapter 6 ..................................................................................................................................41
Now What?...........................................................................................................................41
The Natural Minor Scale.....................................................................................................41
The Harmonic Minor Scale ................................................................................................43
The Melodic Minor Scale....................................................................................................44
Other Important Scales for Altered Chords ...................................................................46
Very Important Information .................................................................................................48
Content Details for Part 2...............................................................................................49
PART 2: Scales Over Chords......................................................................................50
Major Chords (Unaltered)......................................................................................................50
Major Chords (Altered)............................................................................................................53
Dominant Chords (Unaltered).............................................................................................55
Dominant Chords (Altered)...................................................................................................59
Augmented Triads......................................................................................................................73
Minor Chords ................................................................................................................................74
Diminished Chords ....................................................................................................................91
Quartal-3 Chords ...
Targeting Chord Tones in Scales
If you have been working with the previous chord progressions and improvising using
the correct major scale, you are probably starting to notice that your solos are sounding
pretty good most of the time. But, you might also notice that it is possible to play a note
from the scale that doesn’t sound so great over a particular chord. This is because the
best-sounding notes to use over a chord are the notes in the chord itself. This does not
mean you should avoid using other notes in the scale.
Generally, you want to start your melodic line on a chord tone and use the non-chord
notes to travel from chord tone to chord tone. This is known as spelling out the chord
changes. While this can take a bit of time to perfect, the following method should help
you accelerate the process.
Arpeggios are the notes in a chord played consecutively rather than simultaneously. In
the approach shown here, you will learn all the arpeggios for the seven diatonic chords
within a particular major-scale fingering.
Here is the major-scale fingering that the arpeggio fingerings will be based on (2-E in C):....
Here are the diatonic arpeggios and their corresponding chord shapes within this
scale. Once you have learned the arpeggio shapes, practice them by playing the chord,
followed by the arpeggio, and then the chord again. In time, you will learn to associate
the arpeggio with the chord itself. .....
With the same chord progressions you’ve been using for the previous exercises, you’re
going to apply both upper and lower neighbor tones in Exercise 5. Once again, you want
the chord tone to land on beat 1 of the measure. This means one of the neighbor tones
must be played on beat 4 while the other neighbor tone must be on the & of beat 4 of
the previous measure. You’ll do this every time the chord changes in the progression.
Again, be sure to record at slow tempos to start. Both neighbor tones are circled ....
CONTENT DETAILS FOR PART 2
SCALES
Aeolian (Natural Minor).........................74, 82, 84, 87
Blues Scale .....................................57, 61, 67, 70, 72
Diminished, Whole-Half ....... 60, 64, 65, 68, 69, 92
Dorian ..................58, 67, 76, 79, 81, 84, 86, 89, 96
Dorian b2...........................................76, 79, 80, 86, 89
Harmonic Minor ...................................................75, 90
Harmonic Minor, 7th Mode.......................................93
Ionian #5........................................................................53
Locrian..........................................................................93
Locrian #2.....................................................................94
Locrian #6.....................................................................93
Lydian.....................................................................52, 54
Lydian #2.......................................................................52
Lydian Augmented ..............................................53, 54
Lydian b3b7............................... 77, 79, 82, 84, 87, 89
Lydian b7.........................................................57, 61, 72
Major.............................................................................51
Major Pentatonic....................................51, 52, 56, 70
Major Pentatonic (from the 9th)...............................54
Melodic Minor ...............................................75, 78, 90
Minor Pentatonic ............ 56, 66, 75, 78, 80, 83, 85,
88, 95, 96
Mixolydian ....................................................................57
Mixolydian b6.........................................................57, 63
Natural Minor (Aeolian).........................74, 82, 84, 87
Phrygian..........................................................76, 81, 86
Phrygian Dominant................................58, 63, 66, 71
Super Locrian.......................... 61, 63, 66, 69, 71, 94
Whole Tone ...................................................59, 62, 73
CHORDS
Major Chords (Unaltered)......................................50
Major, 6, Maj7, Maj9, and Maj13 Chords...............50
Major Chords (Altered)............................................53
Maj7#5 Chords ............................................................53
Maj7b5, Maj7#11, and Maj9#11 Chords..................53
Maj7#5#11 Chords ......................................................54
Dominant Chords (Unaltered).............................55
7, 9, 11, 13, and 7sus4 Chords ..............................55
Dominant Chords (Altered)...................................59
7b5 Chords ...................................................................59
7#5 and 9#5 Chords....................................................62
7b9, 13b9, and 7#9 Chords........................................64
7b5b9, 7b5#9, 13#9#11, and 7#5#9 Chords..............68
7#5b9 Chords ...............................................................71
9#11 and 13#11 Chords ............................................72
Augmented Triads......................................................73
Minor Chords ................................................................74
Minor Triads .................................................................74
min6 Chords ................................................................78
min7 Chords ................................................................80
min9 Chords ................................................................83
min11 Chords..............................................................85
min13 Chords..............................................................88
min(Maj7) Chords .......................................................90
Diminished Chords ....................................................91
dim, dim7, and min7b5 (half-diminished) Chords....91
Quartal-3 Chords.........................................................95
1. In the left column, look up the chord type you would like to solo over and
learn which scales it works with. On those pages, you’ll also find two to four
voicings for the chord, and two fingerings for the scale.
2. In the right column, look up the scale you’re interested in learning and
discover which chord types it works with in a solo. Again, on those pages, you’ll
also find two fingerings for the scale, and two to four voicings for the chord.
Part 2: Scales over Chords.......................
Chord and Scale Chart
Function Major or Minor Key Scale or Mode Starting on…
ii, iii, or vi......Major ...........................Minor Pentatonic..................The root of the chord
ii......................Minor
ii......................Minor..............................Dorian b2................................The root of the chord
ii......................Major..............................Dorian .....................................The root of the chord
iii.....................Major..............................Phrygian .................................The root of the chord
iv .....................Minor..............................Lydian b3b7 ............................The root of the chord
vi.....................Minor..............................Natural Minor (Aeolian).......The root of the chord
Minor Pentatonic
Use a minor pentatonic scale starting on the root of a min7 chord when it functions as ii in a minor key, or when it functions as ii, iii, or vi in major key.
Dorian b
2
Use the Dorian b2 mode starting
on the root of a minor triad when
it functions as ii in a minor key ....
