VTE * TWO CDs DPN Tele No ey AND TABLATURE i Siirla uty aat ey Ne etW doit)FRANK GAMBALE | MPROVISATION MADE EASIER __ AN IMPROVISATION COURSE FOR INTERMEDIATE TO ADVANCED GUITARISTS COVER DESIGN: JORGE PAREDES COVER PHOTOGRAPHS COURTESY OF MICHELLE MORTON MUSIC TYPESETTING AND PAGE COMPOSITION BY CHELSEA MUSIC ENGRAVING Published by Manhattan Music, Inc.™ © 1997 MANHATTAN MUSIC, inc.™ All Rights Controlled and Administered by Wamer Bros. Publications All Rights Reserved. Intemational Copyright Secured. Made in U.S.A. Distributed by Warner Bros. Publications 15800 N.W. 48th Avenue Miami, FL 33014 ‘Any copying ofthis material in whole or in part without the express vwrtten permission of Wamner Bros. Publications Inc. isa violation of copyright lew.— TABLE OF CONTENTS —craprer tT ——————HEMIXOLYDIAN MODE (DIE. E7sus,GiA..) § 0 Lesson 1 Scale Fingerings for E Mixolydian 6 Lesson 2 Scale Fingerings for A Mixolydian 7. Lesson 3 Chord Voicings for D/E and G/A 8 Lesson 4 Licks in E Mixalydian (Examples 1-3} 9 Lesson 5 Licks in A Mixolydian (Examples 4-6} 10 Lesson 6 — Combination Licks in E and A Mixolydian (Examples 7-8) 11 Lesson 7 Song Example Using 11th Chords (Example 9: "Mixotune")} 12 THE LYDIAN MODE (FWV/E, Emaj7il, B/A...) 13 CHAPTER Z Lesson 1 Scale Fingerings for E Lydian 14 Lesson 2 Scale Fingerings for A Lydian 15. Lesson 3 Chard Vaicings for H/E and B/A 16 Lesson 4 Licks in E Lydian (Examples 10-12} 17. Lesson 5 Licks in A Lydian {Examples 13~15) 18 Lesson § — Combination Licks in E and A Lydian (Examples 16-18) 19° Lesson 7 Song Example Using the Lydian Chord (Example 19) 20 —cnnpren THE DORIAN MODE (Emin7. Emin®, Emini...) 2) Lesson 1 Lesson 2 Lesson 3 Lesson 4 Lesson § Lesson 6 Lesson 7 Scale Fingerings for E Doren 22 Scale Fingerings for A Dorian 23 Chord Voicings for E and A Dorian Chords 24 Licks in € Dorian Examples 20-72) 25 Licks in A Dorian (Examples 23-25) 26 Combination Licks in E and A Dorian (Examples 28-28) 27 Song Example Using the Dorion Minor 7 Chords (Example 23) 28 —crnprerg——————THEOMIAN MODE (Emaj7.£(0)..) 29 00 Scale Fingerings for €lonian 30 ‘Scale Fingerings for A lonian 31 Chord Voicings for E and A lonian Chords 32 Licks in E fonian (Examples 30-32) 33 Licks in tonian (Examples 33-35) 34 Combination Licks in E and A lonian (Examples 36-38) 35 Song Example Using the Major 7 Chord (Example 38) 36 ——ganpre-y————THELOCRIAN MODE (Emin7.5, BE, BimajZS/E.) 37 Scale Fngerings for ELocrian 38 Scale Fngerings for A Locrian 39 Chord Voicings for € and A Locrian Chocds 40 Licks in ELocrian (Examples 40-42) 41 Licks in A Loctian (Examples 43-45) 42 Combination Licks in E and A Locran (Examples 46-48) 43 ‘Song Example Using the Locrian Minor 7 Chords (Example 43) 44 —cHapren-¢———————THE PHIYGIAN MODE (Emaj75/E. BE ES(9) BE.) 48 0000 ‘Scale Fingerings for E Phrygian 46 Scale Fngerings for A Phrygian 47. Chord Voicings for Eand A Phrycian Chords 48 Licks in E Phrygian (Examples 50-52) 49 Licks in A Phrygian (Examples S385) 50 ‘Combination Licks in € and A Phrygian (Examples 56-58) 51 ‘Song Example Using the Phrygian Chord (Example 58) 52U “HAPTER ——————THE AEOLIAN MODE (EminZi5, Emin IW#S/E FmajZ/A.) 53 00 Lesson 1 Lesson 2 Lesson 3 Lesson 4 Lesson 5 Lesson 6 Lesson 7 Scale Fingerings for E Aeolian $4 Scale Fingerings tor A Acolian 55 Chord Voicings for E and A Aeolian Chords 56 Licks in E Aeolian (Examples 60-62) 57 Licks in A Avolian Examples 63-65) 58 Combination Licks in E and A Aeolian Examples 66-68) 59° ‘Song Example Using Minor 7#5 Chords (Examples 69) 60 CHAPTER B@————THE LY DIAN'Z SCALE (EIS, Et, E13...) 6) essan 1 Lesson 2 Lesson 3 Lesson 4 Lasson § Lesson 6 Lesson 7 Scale Fingerings for Etycion 7 62 Scale Fingerings for A Lydian’? 63 Chord Voicings for E and A Lydian 7 Chords 64 Licks in Elydien ¥7 (Examples 70-72) 68. Licks in Lygien 7 (Examples 73-75) 66 Combination Licks in € and A Lycian 47 (Examples 76-78) 67 ‘Song Example Using Lydian 7 Chords Exempe 73) 68 —cuaprer-y THE SUPER LOCRIAN SCALE (£7/9,R7i5:9.67.5i0..) 69 00 Lesson 1 Lesson 2 Lesson 3 Lesson 4 Lesson § Lesson & Lesson 7 Scale Fingerings for E Super Locrian 70 Scale Fingerings fr A Supor Locrian 74 ‘hard Voicings for Eand A Super Locian Chords 72 Licks in E Super Losian (Examples 80-82) 73, Licks in A Super Locian Examples 83-85) 74 Combination Lick in € and A Super Locrian (Examples 86-88) 75 Song Example Using 79 Chords Example 89) 76 —crmpre To ————THE-HALE:WHOLE DIMINISHED SCALE (E13.9. EI29UE7I0.) 77 Lesson 1 Lesson 2 Lesson 3 Lesson 4 Lesson 5 Lesson 6 Lesson 7 Seale Fingerings for E Hal-Whole Diminished 78 Scale Fingerings for A HelfWhole Diminished 79 Chord Voicngs for E1349, A13'9, and Other Haf-Whole Diminished Chords 80 Licks in E Helt-Whole Diminished (Examples 90-92) 81 Licks in A Halt-Whole Diminished (Examples 83-95) 82 Combination Licks in Eand A Hal-Whole Diminished (Examples 96-98) 83 Song Fremple Using 1349 Chords (Example 99) 84 ee ear Gin eae eae Lesson 1 Lesson 2 Lesson 3 Lesson 4 Lesson 5 Losson 6 Lesson 7 Scale Fingerings for E Phrygian Major 96 Scale Fingerings for A Phiygian Major 87 Chord Voicings for E and A Phrygian Major Chords 88 {Uk in E Phrygian Major (Examples 100-102) 89 {Licks in Phrygian Major (Examples 103-105) 90 Combination Licks in E and A Phrygian Major (Examples 106~108) 91 ‘Song Example Using Harmonic Minor V Chords (Example 109) 92 IE AED Sete aie eae 7 Lesson 1 Lesson 2 Lesson 3 Lesson 4 Lesson 5 Lesson 6 Lesson 7 Scale Fingerings for E Aeolian 5 94 Scale Fingerings for A Aeolian #5 95 Chord Voicings for E and A Aeolian 5 Chords 96 Licks in € Aeolian 4 (Exemples 110-112) 97 Licks in & Aeolian §5 Examples 113-115) 98 Combination Licks in € and A Aeolian 5 (Examples 116-118) 99 Sang Example Using Aeolian 95 Chords (Example 119} 100 ‘Song Example Using All the Chord Types Used (Examole 120: “Modalawn") 102this twelve-chapter course we'll be looking in-depth at the twelve most important scale sounds you'll need to become @ well-rounded guitarist. Of course we'll be looking not only at scales, but also at the chords and voicings derived from these scales, and licks that will keep you learning and challenged. Il be presenting you with seven lessons per chapter. il be using only the keys of “E” and “A” throughout all of the exomples. | believe that it is an unnecessary waste of time to learn everything in twelve keys on the guitar, mainly because every scale will look the same and incorporate the same fingerings. So “E” and “A” are sufficient to give you a good idea of how the scale shapes overlap on the guitar. At the end of each chord chapter there is a song study of al the information we'tl have leamed in the chapter. There's lots to learn, but take your time, there's no rush. This is a serious course here end I've attemptad to make learning fun and easier. So, on that note (Bi, o's dive right in to Chapter 1, Lesson 1 — good luck. Wee to the Frank Gambale Improvisation Made Easiar course. Over FRANK GAMBALETHE MIXOLYDIAN MODE Would have the same notes as the A major scaie (A B Ct D E F# Gt) because E is the 5th scale degree of A. Therefore, E mixolydian is the notes of A ‘major beginning on the note E: E Ft Gt A B Cé D. An understanding of the interval- lic relationship between each of these notes is necessary in order to understand the character of the mixolydian scale. To do that we must compare these notes to the standard scale from which all music theory is derived: THE MAJOR SCALE. If ‘we compare E mixolydian to the notes of E major we have: T: mmixolydian mode is built on the 5th note of a major scale. E mixolydian E Major: ER GA BOCHOE FGA B CA 12345678 9 01 1213 E Mixolydian: ER GA BCD E ft GA BO 12345 657 8 9 01213 "Now you can see that the only difference is that the 7th degree is fiat (lowered 1/2 ‘step) in the mixolydian scale. By numbering the degrees we get a scale formula we ‘can use which will be consistent with every mixolydian scale in every key. Mixolydian 123456. @ a (13) ‘You can see by this scale's interval content that the chords possible from mixoly- dian are dominant 7th chord characters: E7 (1 3 5 67), E9 (1 3557 9), E11 or D/E (147 911), and €13 (1 347 13), These are just a few of the possibilities for chords available using the mixolydian interval structure: 1 23) 3 4{11) 5 6(13))7. The most popular mixolydian chord is undoubtedly the 1 1th chord, which is more commonly referred to a a major triad over a bass note which is one-whole-step higher. For E11, that would be the same as D/E (verbalized: “D over E"). Here, the: 1D major triad is borrowing three notes from E mixolydian (D67), FH9) and Alt1)) with the E below it functioning as the bass note or root of the chord. Visualizing this chord as a tried over a bass note makes it easier to find these chord voicings ‘on the guitar. Now its time to start putting all this information for mixolydian together, aaa ann gana taaenaHnne on endnsueetan sen entnameasonsen tnsnemtntanee= tesesmtaraonans IMPROVISING MADE EASIER 5Learn all seven seal fingerings for E mixolydian, Notice that the scales are writ- ‘ten out, numbered in one-octave intervals:1 2 3 4 5 6 +7, [think it’s bet- ter for you to learn each scale by intervals rathor than by the note names at firs. The reason is that all the different keys would involve learning many different notes, But since the guitar shapes will remain the same for al! keys, the relation- ship between all those nates remains the same — that is, the intervals from the root will alwaysbe1 2 3 4 5 6 M7. Eventually it will be 8 good idea to [earn the notes too, but for now just get familiar with the intervals. Practice these scale fingerings at a medium tempo. Remember, its better to play accurately at 2 medium tempo than itis to play inaccurately at a fast tempo. Fingering 1 E B G D Fingering 2 A E | Fingering 3 Ee af Fingering 5 EEE Fingering 6 of Fingering 7 oh 10m De FRANK GAMBALE‘Once again, | don't think it’s necessary to learn all 12 keys, but to get used to key changes it's important to see how the scale fingerings averiap on the guitar, In Lesson two we'll learn the scale fingerings for A mixolydian. Once you've played all seven fingerings, combine Lessons 1 and 2 by playing the first fingering of E mixolydian, then the first fingering of A mixolydian, then the second fingering of E mixolydian, etc, This will help you get familiar with the concapt of playing key changes in one fretboard location Fingering 1 E B G D Fingering 2 A E 2 Fingering 3 3 Fingering 4 She Fingering 5 3+ ite EE ect St Fingering 7 e Re___ LESSON 3 __ CHORD VOICINGS FOR D/E AND G/A Itis vite to have a strong chord vocabulary for soloing. Having lots of voicings for the D/E and G/A chords will certainly help. This is @ particularly pleasing chord, as is the mixolydian scale over it, but we'll get to that a little later because now it’s voicing time. Learn these voicings thoroughly. Be able to grab them without missing a beat. ‘Some of the voicings require a bit of a stretch, you may be able to use these voic~ ings to warm up your hand muscles like a warm-up exercise. DIE DIE DIE seer wer Tt 10fr 3 4211 4211 3214 DIE DIE ° o Q Tf 2333 11121 DIE E7sus4 GIA —_— x 2 341 13141 34211 G/A GIA G/A Sonn x x ee 12 fr Oo le 4211 3214 2333 GIA GIA 7 fr 4231 3211 FRANK GAMBALE——LESSON 4__LICKS INE MIXOLYDIAN ‘Now it’s time to get some licks under your fingers. These licks will go from easy to hard and will be over the D/E chord, Remember, be patient. You can always slow any of the licks down or even stop them. Have fun! cm © 494St214 2IFT1IA Bist TSH taaSI4e RYMVAYAVY VAYRVYAVY VAVAVAVAVAVAVAY * Key granu dectes E mbolyeian VOVA Stat res 2141 Fett aTATIAa14142 3 AY OVAVAYAVAVRVAY AYAVAVAV VARA * Kay sigraure dovtas E maciyan £ gr r2grret1ste24r es 29214249141 AVVV AV VV AV AVY AY AV AV RV RV AV AVA 1 134 * Key signature deotes Emiaoiyean - ‘= = 7 7 113 tartar t2ea2rarers ga 30 2918 VAM VVVAAVYYI A OVVVR A RVR AVR IMPROVISING MADE EASIER 9‘More licks, this time in A mixolydian. These licks will go from easy to hard and will all be over the mixolycian G/A chord, Play them as accurately as possible and at your own pace. paraeeaer a sa2312s 4341 S12 F133 13 VAVAVAVAVAVAVVY OVV¥Y AVR oVVR ove * Key sgraur denses A mivoian Example 5 + GA a9 143133191 32 2214312313 13148 moaveavanvVAvaA mmaAVaVvVAnAVVAY AV 7 : ‘ D141 IHF LGTLL TATA SHY VLARVFTSLAGI2IVaHAL IIS AVVAVVARVVVYARAVARAVVN oAVVAVVAAVV VA 2 7 5 . 412941144119 4124412438124 DIK 2TH? RAVVVAVVVRVVVRVV VAY VV VVY anv 10 FRANK GAMBALE——LESSON 6 __COMBINATION LICKS IN E AND A MIXOLYDIAN Even more licks. This time we combine the two scales and chords. Study the notes Carefully and try to get a feo! for licks that have a smooth transition between keys trough i) ‘changes. THIS IS THE VERY ESSENCE OF IMPROVISING THROUGH Example 7 OE ~ 12443 412 ° 38 @ 3 46 2142413 404 1 VmavmAVVVY mAVvVV y¥ Example 8 Ga te 4214239214213 411 4374312352194 87 AV AV AV AV AV AV AVR OAV RV AV VV AVA IMPROVISING MADE EASIER “___LESSON 7__ MIXOLYDIAN SONG EXAMPLE USING ITH CHORDS ___ The last lesson in this fist chapter will demonstrate the use of the 11th chord (usually indicated as a triad over bass note, for example G/A) in a song context. Every chord will be an 11th chord so the corresponding scale for each chord wil be mixolycian, relating tothe chords root. This way the melody will make perfect sense ta you. Ill be using other keys as well as the two we've eared, but as | said befor, it will be ro problem because you already know the scale shapes from the earlier lessons. Enjoy the song ret ® GA abe 2 FRANK GAMBALETHE LYDIAN MODE (FUE, Emaj7tll, B/A...) IMPROVISING MADE EASIER same notes as the B major scale (B Cx Df E Ft G¥ Al) because E is the 4th scale degree of B. Therefore, E lydian is the notes of 8 major beginning on the note €; E Ft GH At B C¥ DI. An understanding of the intervallc relationship between each of these notes is necessary in order to understand the character of the Iydian scale. To do that we must compare these notes to the standard scale ‘which all music theory is derived: THE MAJOR SCALE. If we compare E lydian to the notes of E major we have: T: Iydian mode is built on the 4th note of a major scale. E lydian has the E Major: Ef GA B OCHO E Gt A B Cr 12345 67 8 9 1011 12 13 E Lydian: Ef Ghat B CH Ot © Ft Gt At B CH 12345 6 7 8 9 1091 12 13 ‘Now you can see that the only difference is that the 4th degree is sharp (raised 1/2step) in the lydian scale. By numbering the degrees we get a scale formula we can use which will be consistent with every lydian scale in every key. Lydiar 123% 567 (9) 1) (13) You can see by this scales interval content thatthe chords that are possible from Iydian are major chord characters: Emaj? (1 3 5 7), EmajQ (1 3 5 7 9), Emaj7#11 (137411) and FA/E(1 #469). These are just a few of the possibilities for chords availabe using the iydian interval structure: 1 - 2(9) ~ 3-411) ~ 5 ~ 6113) - 7. ‘The most popular fyian chord is undoubtedly the $811 chord, which is more com- mony fered oa amor ied vera bass note which ane ole step lave For E11), that would be the same 2s FA/E (verbalized: “Ft over E"). Here, the Fi major triad is borrowing three notes from E ydian (F1= 9, AR= #11, Ct =6) with the E below it functioning as the bass note or root of the chord. Visualizing this chord 2.2 triad over a bass note makes it easier to find these chord voicings on the gui- tar. Now it time to start putting allthis information for lydian together. 2Bm>oowm Learn al seven scale fingerings fr E lydian, Notice thatthe scales are written out, numbered in one-octave intervals: 1 2 3 #4 5 6 7. Practice these scale fingerings at a medium tempo. Remember, ivs better to play it accurately at a medium tempo than it isto play inaccurately at a fast tempo Fingering 1 1 Fingering 7 Ha Fingering 2 Fingering 3 2 4 a 4 Fingering 4 Fingering 5 tte Fingering 6 FRANK GAMBALE—LESSON 2_______SCALE FINGERINGS FORA LYDIAN ee IMPROVISING MADE EASIER Once again, | don't think it's necessary to learn all 12 keys, but to get you used to key changes its important to sae how the scale fingerings overlap on the guitar, 0 in this lesson we'll learn the scale fingerings for A iydian. Once you've played all seven fingerings fr A lydian, combine Lessons 1 and 2 by playing the first fn- gering of E Iydian, then the first fingering of A lydian, then the second fingering of E lydian, etc. This will help you get familiar with the concept of playing key changes in one fretboard location Fingering 1 E B G D Fingering 2 A E 2 Fingering 3 Afr Z Fingering 4 ste Fingering 5 4 ite Fingering 6 of Fingering 7 fe____LESSON 3___ CHORD VOICINGS FOR FW/E AND B/A Itis vital to have a strong chord vocabulary. Having lots of voicings for the F4/E and BVA chords will certainly help. This is a particularly pleasing chord, as is the lydian scale over it. Learn these vaicings thoroughly. Be able to grab them without miss- ing a beat. FHE FH/E FE/E x x fr 1 x x Seleétr 7 li fr 1444 2111 21131 FH/E Emaj7#11 FR/E Ox x x oN Xx 1 fr [eee] iif q | 3211 2 341 24111 Emaj7b5 B/A BA x x % x fe See) t 1444 2 111 B/A Amaj7#11 ren 4 fr 1 432 2 341 Amaj7#11 Amaj9#11 xo nN xo 1341 4 fr 4311 ofr 2143 FRANK GAMBALENow it's time again to get some licks under your fingers. These licks wil go from easy to hard and will be over the FAVE chord. Remember, be patient. You can always slow any of the licks down or even stop them. Have fun! Example 10 i ad z2arasr24 31 424 1aatrareeg at 2r4giad VmAVAR AVY mA VAVAAVA VY AV VVVAV A ——+ * Koy lgnature dertes E oan tian Example 12 + Me loca ar2arr2s113 211841 18 err aerrae2erraat VRAAVmRAAVAAAVAAR VARA AVA Ava e+ + ——H Koy sqrauredonoos E yan 2799413241243 213 3119411 errr aegnead VVRVAVAVAVAVAVAY AVAVAVAVAA AAV 68 IMPROVISING MADE EASIER "7LESSON 5 LICKS IN. A LYDIAN [More licks, this time in A lydian. These licks will go from easy to hard and will all be ‘over the lydian B/A chord, Play them as accurataly as possible and at your own pace. Example 13 gra 4 39131 3734 3 183531313 8183114 nv¥YnmVv VAVAVYAVY AVY VA myny vnva * Key snare dates Ayan Example 14 geo or 21 er e221 S141 gr21 2143262 AVVVARAVVVAVAVV VR VARVARA VV VA Key sgrature derctes A yan Example 15 BA 21 21a 21 2ar 214212 63123144 tee Te aT MV AVAVAVAVAVV AVY AVA “Kay sgnane denotes Ayan arate 2s arrears 2 4342631 841244 ET MVVAVVAVVAVVYAVAV AVY AVA van is FRANK GAMBALEEven mare licks. This time we combine the two scales and chords. Study the notes carefully and try to get a fel for lcks that have a smooth transition between keys through chord changes. Example 16 a2 arse 2241231432 FH 24 zr at1 a1 as AVVV VAAN AVV VV An VV VV AV eee gr 43 ya err essr4a gtr Pra gtertrraaaraa r MVVAVVYAVAVV AV VAY AV VAY VA VVV =e INPROVISING MADE EASIER 19——LESSON 7 ___LYDIAN SONG EXAMPLE USING IITH CHORDS This lesson will demonstrate the use of the lydian chord in @ song context. Every chord will be a lydian chord, so the corresponding scale for each chord will be lydian, relating to the chord’s root. This way the melody will make perfect sense to you. I'l be using other keys as well as the two we've leamed, but as | said before, it will be no problem because you already know the scale shapes from the earlier lessons. Enjoy the song Example 19 Fe 0 FRANK GAMBALEIMPROVISING MADE EASIER THE DORIAN MODE he dorian mode is built an the 2nd note of a major scale. E dorian would have the same nates asthe D major scale (D E F#G A B Ci) because Eis the 2nd scale degree of D. Therefore, E dorian isthe notes of D major beginning ‘on the note E = E F#G AB C$ € dorian). An understanding of the intervallc rela- tionship between these notes is necessary in order to understand the character of the dorian scale. To do that we must compare these notes to the standard scale which all music theory is derived: THE MAJOR SCALE. f we compare E dorian to ‘the notes of E major we have: E Major: ERGABGODAE GA BG 1234567 89 011 1213 E Dorian: EHGABCGDERGABG 12534 5 67 8 9 Oil 12 73 ‘Now you can see that the only difference is that the 3rd and 7th degrees are fat (lowered 1/2 step) in the dorian scale. By numbering the degrees we get a scale formula we can use which will be consistent with every dorian scale in every key, Dorian: 1284569 9) (11) (13) ‘You can see by this scale’ interval content that the chords possible from dorian are minor chord characters: Emin? {1 +3 5 47), Emin9 (1 13 5 47 9), and Emint7 (1 1347 11). These are just @ few of the possibilities for chords available using the dorian interval structure: 1 2(9) 43 (11) 5 6(13) 47 The most popular dorian chord is undoubtedly the minor 7 chard. 202 Leam all seven scale fingerings for E dorian. Notice that the scales are written out, numbered in one-octave intervals: 1 2 53 4 5 6 7. Practice these scale fingerings at a medium tempo. Remember, its better to play it accurately at a medium tempo than itis to play inaccurately at a fast tempo. Fingering 1 E B G D Fingering 2 A E te Fingering 3 3h Fingering 4 ste Fingering 5 it Fingering 6 Sie 4 Fingering 7 10% FRANK GAMBALE‘Once again, | don’t think its necessary to learn all 12 keys. Once you've played all ‘seven fingerings for A dorian, combine Lessons 1 and 2 by playing the first finger- ing of E dorian, then the fist fingering of A dorian, then the second fingering of E dorian, etc. Fingering 1 ey nen 2 Fingering 3 Ea Fingering 4 avs ste Fingering 5 Fingering 6 Ls a Fingering 7 FFE 12 IMPROVISING MADE EASIER 23 m>ouowm___LESSON 3__ CHORD VOICINGS FOR E AND A DORIAN CHORDS __ It is vital to have @ strong chord vocabulary. Having lots of voicings for the Em7 and Am7 chords will be useful. Learn these voicings thoroughly. Be able to grab ‘them without missing a beat. Emin7 Q n 3 fr 43211 Emin9 Ox 8fr 2413 Emin13 x 9 fr 4121 24 Emin7 xx 1322 Emin7 ‘eat (Q) Sfr 21341 Emin9 x x Chetry 5 fr 1 224 Emin11 x 7 10 fr 2 341 Emin11 ° oO 13 24 Amin7 )8 fr 43211 Amin9 (9) s Sfr 2143 at Amin7 ma (0) (0) yt Sfr 2 333 FRANK GAMBALENow it’ time again to get some licks under your fingers. These licks will go from easy to hard and will be over the Em7 chord. Remember, be patient. You can ‘always slow any of the licks dawn or even stop them. Have fun! Example 20 + en 22621242 42 Si 211343 san AVYVVAVVVAV AVY VY VR oA AVA AV VV * Key gra dares E dorian Example 22 * Kay signature dante E dvan 31231 421 413 115941164 3937 sara ae VAVVYAVVVAV A VV AR VV VY ave oma 25 IMPROVISING MADE EASIERLESSONS LICKS IN. A DORIAN ‘More licks, this time in A dorian. These licks will o from easy to hard and will all bbe over the Am? chord. Play them as accurately as possible and at your own pace. * Koy signature denotes A dorian | Example 24 ere ft. fe = 5 fe — SS ariiratiacurrnea treaty etn ori teerea tare eet ta ree AVVVAVVY AVVV AVY mv VV Av vv VO * Key signature denotes koran Example 25 24243931311 are2grst nVAVAVAVAVAVAVAVY oVAVAR VA * Key signals dorces Kran $3rea1e 11 3taarat tras at 248 813 ARVOVAVVAVV AVA VA vn vA Avo 26 FRANK GAMBALE——LESSON 6 __ COMBINATION LICKS IN E AND A DORIAN Even more licks. This time we combine the two scales and chords. Study the notes, carefully and try to get a fea! for lcks that have 2 smooth transition between keys through chord changes En? ant rag 143814123 2 VVV AMAA V AV AAV VAVAVAVAVV VA IMPROVISING MADE EASIER 2___ LESSON 7____—DORIAN SONG EXAMPLE USING MINOR 7 CHORDS __ ieee This lesson will demonstrate the use of the dorian chord in a song context. Every chord will be dorian chord. Enjoy the song, 12tee 1919392 1 12149 14824162 8 AVAVO VVAVV AY me AVA vv ov 7s. = Soe eee mvavn vVAVV Avo 0 apa tte eee atraea tases eee mvAvVA VVnVVY AV vVovVV VnOVAVV AVA 28 FRANK GAMBALEIMPROVISING MADE EASIER major would obviously have the same notes as the E major scale. Therefore, ‘the notes of E major are: EF Gt A B Ci Dt. The intervallic relationship between each of these notes reveals the character of the majar scale E Major ERGABCGOE RGA BO 12345678 9 on 1213 By numbering the degrees we get a scale formula we can use which will be con- sistent with every major scale in every kay. lonian: 1234567 @ an 43 You can see by this scales interval content that the chords possible from major are ‘major chord characters: Emaj? (1 3 5 7), Eladd9) ( 13. 9), Emaj9 (1.3.5 7 9), and Emaj13 (1 3 7 13), These are just a few of the possibilities for chords available Using the major interval structure: 1 2(8) 3. 4{11) 5 (13) 7. The most pop- lar major chords are undoubtedly the major 7 chord and the majariadds). »30 Learn all seven scale fingerings for the E major scale. Once again the scales are written out, numbered in one-octave intervals: 1 2 3 4 5 6 7. Practice these scale fingerings at a medium tempo, Fingering 1 mProoawnm 2fe Fingering 3 Fingering 2 Fingering 4 FRANK GAMBALE——LESSON 2____SCALE FINGERINGS FORAIONIAN, In this lesson we'll learn the scale fingerings for A major. Once you've played al seven fingerings for A major, combine Lessons 1 and 2 by playing the fist finger ing of E major, then the first fingering of A major, then the second fingering of E majo, etc Fingering 1 cat rr 2 4 Fingering 3 te Cr | si mpuomwm Fingering 5 Te Fingering 6 Fingering 7 Eee : ate RMPROVISING MADE EASIER 31LESSON 3 CHORD VOICINGS FOR E AND A IONIAN pore Eee ‘Now it time to Look at the most useful voicings derived fram the major scale. It will be mostly major 7 chords and some other variations. Have fun! Emaj7 Emaj7 Emaj7 ox ~ ° 11 fr [1 99} fr 7 fe TTT 4321 43111 13241 Emaj9 Emaj9 E(9) O° ° oO o LS) 7 fr [et e7 fr 1} ? a 21433 13211 241 or31422 E(9) E(9) rf = Trrery Pitre 2 fr 12431 3214 4231 Emaj7 Amaj7 Amaj9 ox xO xo 1333 A(9) 5fr 134211 2 3214 6fr 2143 AQ) x 4131 FRANK GAMBALE——LESSON 4 ___LICKS IN EJONIAN ‘Now its time again to get some more licks under your fingers. These licks will go ‘from easy to hard and will be aver the Emaj7 and E(9) chords. Remember, have fun! Example 30 Example 31 Enaiz ee srr rr eee grrr re aes err rs eaaaarrta a VVVAVVVRVVVYRVV VR VVV AV VV AV VV AVA Example 32 IMPROVISING MADE EASIER 3More licks, this time in A major. These licks will go from easy to hard and will ll be over the Amej7 chord, Pay them as accurately as possible and at your own pace. maj? 143321843183 6147 €41 434 TH G14 R1E VOMAAAVVVAVVVAVVY ARV ARV AA Example 35 ® Tease grat #2re rear es zagrs aa2 VMOAVARAVAVVVAVYVY MV AV AVA Br FRANK GAMBALEEven mare lcks. This time we combine the two scales and chords. Study the notes ‘carefully and try to get a fee! for licks that have 8 smooth transition between keys through chord changes. Example 36 ema avait Dna Example 37 Example 38 Sear Dmaj? 1 7 1 2 1412421 4139997408 Vo AVYAVYAYRV RV ARAVA * ee ee zeae AVVYAVYA VY AV VVAVY A Dra? . ° 4 " 9199192192312912991 6 461642 4424212419821 1 MV VARY OVARY VARVARA VY RV VA VV VAVAVVVAY on IMPROVISING MADE EASIER 35‘This lesson will demonstrate the use of the major chord in @ song context. Every chord will be a major-type chord so the corresponding scale for each chord will be ‘major, relating to the chord's root. This way the mefody will make perfect sense to ‘you. Enjoy the song, Example 39 eo) 89 49) Bai? fr are ce grz2r ar s21s 414 VAVAVVVYAVVARV AVA VAV AV VV AV VV va 131242 12312 FRANK GAMBALE 36JHPROVISING MADE EASIER THE LOCRIAN MODE have the same notes as the F major scale (F G A Bb C 0 E) because E is the 7th scale degree of F. Therefore, E locrian is the notes of F major beginning ‘on the note E: E FG A Bs C D. An understanding of the intervaliic relationship between these notes is necessary in order to understand the character of the ‘ocrian scale. To do that we must compare these notes to the major scale. if we ‘compare E locrian to the notes of E major we have: Major: EF GA B CHO E FGA B Gt 12345678 9 01 1213 T: {ocrian mode is buitt on the 7th note of a major scale. E locrian would E Locrian: EFGABCDEFGABEC 1:52 13 4 15 46 17 8 9 10 11 2 48 Now you can see that the differences are that the 2nd, 3rd, Sth, 6th, and 7th degrees are flat (lowered 1/2 step in te locrian scale, By numbering the degrees we get a scale formula we can use which will be consistent with every locrian scale in every key. Locrian: 15253 4 $5 be 7 3) (11) 613) You can see by this scale’s interval content that the chords possible from locrian ‘are minor chord characters: Emin716 (1 b3 #547) and Emin? (1 $3 97 11). These are. just a few of the possibilities for chords available using the locrian interval struc- ture: 1 $268) #3 4(11) 48 48613) 7. The most popular locrian chord is undoubtedly the minor 75) chord. 37——LESSON | ___SCALE FINGERINGS FORE LOCRIAN 00 Lear all seven scale fingerings for E locrian. Notice that the scales are written ‘out, numbered in one-octave intervals: 1 42 $3 4 45 46 47. Practice these scale fingerings at a medium tempo. Fingering 1 ae Fingering 2 a>roowm a Fingering 5 Fingering 6 Fingering e ~ 38 FRANK GAMBALE——LESSON 2_____SCALE FINGERINGS FORALOCRIAN Once you've played all seven fingerings for A locrian, combine Lessons 1 and 2 by Playing the fist fingering of €locrian, then the first fingering of A lorian, then the second fingering of E locrian, ete Fingering 1 E B pie: G D Fingering 2 7 Z am bf Fingering 3 Free Fingering 4 st Fingering 5 3 of Fingering 6 Fingering 7 FE ; te IMPROVISING MADE EASIER 39Having lots of voicings for the Emin7+5 and Amin7+6 chords will be useful. Learn these voicings thoroughly. Be able to grab them quickly. Emin7b5 Emin7>5 Bb/E = ty Erste lot 6fr +#) Leer) 2 341 3 4121 Emin75 Bb/E % | x Prog C Cl 7 fr 6fr Ty +H aaa te ml i 4211 1324 2 311 Bbmaj7b5/E = Amin7b5 Amin7b5 Ox wn xo x Xx Tfr 4311 1222 or 1333 Amin7b5 x Ax 3 4121 Amin7b5 EbIA ce jetloe 3124 40 FRANK GAMBALE——LESSON4 _LICKS INE LOCRIAN Now it’ time again to get some more licks under your fingers. Once again the licks will go from easy to hard and will be over the Emin765 chord. Remember, have fun! Example 40 + Emmis) 124 1424624421 39243 1 ene 1 21424 MVM VVYAVVY AVR AVY AV VR VV Vv & * Key sgnate denotes Elcran Example 41 Ents) 42975412413 12912 S12 er 24r eet ares MV VAVVAVAVV AVY RV RAV VV RV VV VARY Se =" * Kay signature denotes Elonran Example 42 © E75) 4are23121 $323 12 203 —— r 2 o1ad 34 vnvy VY AVYVAVV AV VV nv 31363434 per arest 21943429 ro 2 mYMVYOMVVY AV AVY AV VY AV AV AVVO ov IMPROVISING MADE EASIER 4__ LESSONS LICKS IN. A LOCRIAN More licks, this time in A locrian. These licks will go from easy to hard and will ll be over the Amin745 chord. Play them as accurately 2s possible, Example 44 + amtbs) Key sqnanze donees A locian Example 45 ‘Antb5) * key grate Gencies Aoctan FRANK GAMBALE aEven more licks. This time we combine the two scales and chords. Study the notes Carefully and try to get a feel for licks thet have a smooth transition between keys through chord changes. Example 46 En7(95) ore or areore ster «e3t2arar1sr2arad VAVVAVV AV V MYR Y VR VA VV ARV VAN VA VA Example 47 En7(65) Anttb5) T4er2 131341544 VannavaAVvVAY vary Example 48 Enib6) IMPROVISING MADE EASIER aThis lesson will demonstrate the use ofthe locrian chord in a song context. | will also use some other chord types to make the example more musical and realistic. Enjoy! _ Example 49 Env camps) Fenris) a8 en? cmnbs) Fam7(b5) “a FRANK GAMBALEIMPROVISING MADE EASIER THE PHRYGIAN MODE have the same notes as the C major scale (C 0 EF G A B) because E is the 3rd scale degree of C. Therefore, E piygian is the notes of C major begin- ning on the note E: EF G AB C D. An understanding of the intervallic relationship between these notes is necessary in order to understand the character ofthe phry gian scale. Todo that we must compare these notes to the major scale. if we com- are E phrygian to the notes of E major we have: T: phrygian mode is built on the 3rd note of a majar scale. E phrygian would E Major: ERGABGDERGASBG 12345678 9 01 1213 E Phrygian: EFGABCDEFGABC 1218 4 5 66 7 8 19 O11 1243, Now you can soe that the differences are that the 2nd, 3rd, 6th, and 7th degrees ate flat (lowered 1/2 step) in the phrygian scale. By numbering the degrees we get a scale formula we can use which will be consistent with every phrygian scale in every key. Phrygian: 16253 4 5 6 69) (11) 13) You can see by this scale's interval content that the chords possible from phrygian ‘are minor chord characters: Eminb (1 '3 5 18) and Fmaj7+5/E (1 4 5 9). These are just @ few of the possibilities for chords available using the phrygian interval structure: 1 $2(59) 53 4(11) 5 46613) 57. The most popular E phrygian chord is undoubtedly the Fmaj745/E chord. 45___ LESSON | SCALE FINGERINGS FOR E PHRYGIAN —________ Leam all seven scale fingerings for E phrygian, Notice that the scales are written cout, numbered in one-octave intervals: 1 52 63 4 5 $6 47. Practice these scale fingerings at a medium tempo. Fingering 2 Cer cE Ee Fingering 4 5 CE i Fingering 5 Fingering 7 46 FRANK GAMBALE——LESSON 2 __SCALE FINGERINGS FOR A PHRYGIAN ‘Once you've played all seven fingerings for A phrygian, combine Lessons 1 and 2 by playing the ist fingering of € phrygian, then the fist fingering of A phrygian, then the second fingering of E phrygian, ete Fingering 1 E B G D Fingering 2 A mo bh E ie Fingering 3 EEE Fingering 4 Str Fingering 5 Fee rer She Fingering 7 10m ae IMPROVISING MADE EASIER atLESSON 3___ CHORD VOICINGS FOR E AND A PHRYGIAN CHORDS __ Here are some voicings for the Fmaj7#11/E, Bimaj7411/A, and other chords avail able to us from the intervals unique to the phrygian scale. 97 f 1244 Bo/E $ Sir 3421 1 432 E°/A x _>x 4121 48 Dmin3/E 59 Ter 10f 2 3144 1234 Fmaj7>S/E Fmaj7>5/E ox 6 fr 132 3412 Bb/A —__Gmins/A Tenpit ™ Tames fe OP 1444 2 3144 Bbmaj7/A Bbmaj7b5/A oes = Ewes tr 4321 4311 C13/A Gmin(add9)/A eee O8 fr Sfr i 41231 3241 FRANK GAMBALE——LESSON 4 ___LICKS INE PHRYGIAN, Now its time again to get some mor lcks under your fingers. Once again the licks will go from easy to hard and will be over the Fmaj7t11/E chord. Have funt Example 50 + Fmaiib5ye 4241841431634 AVYmMAVARV AV AVvVAVYAVAVAVA AY * Kay Sgn denotes € phrygian Example 51 ® + Fmaib5ye 121s te ere eter ree st are2r2aarr 13 VRAV AV ARRAY AVV AV VV AV AV VA VA “Key signature dnote Ephygian Example $2 ® |, Palos t 3143563956313 6 21 31251312491 951 9 aVVOMV YOAV AVY AVA AVY AV VV VA VA VA * Key signature GectesE pirygian mvym mvVAVV AV IMPROVISING MADE EASIER 9LESSON § LICKS IN. A PHRYGIAN, ‘More licks, this time in A phrygian. These licks will go fram easy to hard and will all be over the Bhnaj7#11/A chord, Play them as accurately as possible, Example 53 + BbmayA 1242778142 1394498 1 94198 69 6 VANVAVVVAVYAVV VV AVY mM vA * ee Kay signee denotes Aphygian Example 54 * Boma(b5vA Key snare dnotesAphrygian Example 85 + BbmaiTbsia g143 142th e erat 2Ezeraarre sera AVVM VAVAVYVAVYVR AFV¥AVAY AVA 5 ey Senate dnote A phngian 4 ott ae2rrgarr1 ares nmvvvVmAVVVAVV Yoav ,a4ar ee 134 mVVAVVR AVY 50 FRANK GAMBALE——LESSON 6 __COMBINATION LICKS IN E AND A PHRYGIAN, More licks. This time we combine the two scales and chords. Study the notes carefully, being sure to read the notes accurately. Good luck! Example 56 FraitbSVE Bbma7ibsyA Example 57 FnaitbSve Bha7ibsyA Example 58 Frrln(oSVE IMPROVISING MADE EASIER 5st——LESSON 7___SONG EXAMPLE USING THE PHRYGIAN CHORD This lesson will demonstrate the use of the phrygian chord in a song context. t've docided to use only the chords we've leamed so far inthis musical example. Have fun! Example 59 Bic Fair Bhmai(b5yA vs 19a r er sd gt nvn nv 42 13 nyvn ana bic Bo? Bbmai? BbmeiTb5VA FRANK GAMBALE 52IMPROVISING MADE EASIER THE AEOLIAN MODE @ aeolian made is built on the 6th note of a major scale. E aeolian would hhave the same notes as the G major scale (G A B C D EF because Eis the th scale degree of G. Therefore, E aeolian is the notes of G major begin- ning on the note E:EFt 6 A BC D. An understanding ofthe intervallic relationship ‘between thase notes is necessary in order to understand the cheracter ofthe aeo- lian scale. To do that we must compare these notes to the major scale. If we com- pare E aeolian tothe notes of € major we have E Major: EH GHA B Ct Ot € Ft Gt A B Cr 1234567 8 9 01 12 13 E Aeolian: ERGABCDERGABC 12:33 4 5 647 8 9 O11 1243 ‘Now you can see that the differences are that the 3rd, 6th, and 7th degrees are fiat (lowered 1/2 step) in the aeolian scale. By numbering the degrees we get a scale formula we can use which will be consistent with every aeolian scale in every key. Aeolian: 12:03 4 5 M6 7 (9) (1) 13) ‘You can see by this scale’s interval content that tha chords possible from aeolian {are minor chord characters: Emin7#5 (1 3 #5 17). This is just one of the possibilities for chords available using the aeolian interval structure: 1 29) 13 4(11) 5 +6(+13) 47. The most popular aeolian chord is undoubtedly the minor 7{45) chord. ee 33LESSON | SCALE FINGERINGS FOR E AEOLIAN Leam all seven scale fingerings for E aeolian. Notice that the scales are written out, numbered in one-octave intervals: 1 2 43 4 5 46 57. Practice these scale fingerings at a medium tempo. Fingering 1 mrpovowm Fingering 2 2 Fingering 3 3h Fingering 4 ste Fingering 5 ite Fingering 6 Sie Fingering 7 Fr 12 34——LESSON 2___CHORD SCALE FINGERINGS FORA AEOUIAN Once you've played all seven fingerings for A aeolian, combine Lessons 1 and 2 by playing the fist fingering of E aeolian, then the fist fingering of A aeolian, then the second fingering of E aeolian, etc. Fingering 1 E B G D Fingering 2 A E Me Fingering 3 3h Fingering 4 Sie Fingering 5 Fingering 7 IMPROVISING MADE EASIER 35__ LESSON 3 CHORD VOICINGS FOR E AND A AEOLIAN CHORDS Here are some voicings for the Emin745, Amin745, and other chords available to us from the intervals unique to the aeolian scale. Emin7#5 12 fir 141111 Emin7#5 ax Tft 1 234 Emin7#5 Ox ° 341 Amin7#5 pore» (0) ret 5 fr 11121 Amin7#5 tetey] 12m 1 234 Emin7#5 e 7 fr 14121 Emin7#5 10fr 2 1341 Emini 1#5 T Pap RRIF 311211 Fmaj7/A t 2fr (os ) 14321 Amin7#5 xo 1341 Emin7#5 9 1422 Emin7#5 © x 3fr 4231 Amin7#5 —_—— 5 fr 141111 Amin7#5 x! Tir 1422 Amin7#5 a 8fr 2314 FRANK GAMBALE——LESSON 4 LICKS INE AFOUIAN Now its time again to get some more licks under your fingers. Once again the licks will go from easy to hard and will be over the Emin745 chord. Have fun! Example 60 i EnTt45) 122392 13812121 235 12444 123894 844 vvvve VRVYAVVYA VO VAV VR VA VV Example 61 Enid) 144393 rae ae erty 1133231134113 VRRP AVV AV VY AAV VaAAvAnAVvAVY A Example 62 Enmig5) 1eren2dd.3 p2rarze preraraaa 1srrd3 VVAVY AV AVAVAnAA vynvny fat 4atad 4243 AvYmvYnAVA IMPROVISING MADE EASIER 37__ LESSON 5 LICKS JN. A AEOLIAN: ‘More licks, this time in A aeolian, These licks will go from easy to hard and wall all be over the Amin7#9 chord. Play them as accurately as possible. Example 63 AT) ‘Example 65 mmr yee a eeEeneee SEH EH EO eee gee Bag ee ONC ea VVVvnnAAAVvy onanAVv om mARy oan VA tt e— 58 FRANK GAMBALE——LESSON 6 _____COMBINATION LICKS INE AND A AEOLIAN ‘More licks. This time we combine the two scales and chords, Study the notes Carefully, being sure to read the notes accurately. Good luck! Example 66 ents Ao VV OV VY ARV VY AV AVR VA VV AV AV RV ¥ ample 67 ® en7445) ‘AesTt85) Example 68 enras) Pe grass agrees r ear aerari err araeriane AV OVAVAVAY AVY AV AVY AVA VAV AV AVA Ani) Sat eat ae raat gers Pre oaar sar eer sata PY MV OV AVY AV AV AV RV AV AV AV VV VA 72 IMPROVISING MADE EASIER 59__LESSON 7 SONG EXAMPLE USING MINOR 7(#5) CHORDS 2 ____ This lesson will demonstrate the use of the aeolian chord in a song context. Once again youll see mixed chord types. Hava fun! Example 69 An? env oe Ebnrias) co cama) abe emi45) FRANK GAMBALETHE LYDIAN $7 MODE Elydiané? would have the same notes as the B melodic minor scale because E is the 4th scale degrae of 8 melodic minor. The notes for melodic minor: 8 O& D E 4 Gt As. fwe begin these notes on E (the 4th note) we have the notes for the Elydian 7 scale: E F Gt At B C4 D. To understand the char- acter ofthe lydian 17 scale we must compare these notes to the major scale. we ‘compare Elydian ¥7 tothe notes of E major we have: T: Iydian 47 mode is buiit on the 4th note of a melodic minor scale. E Major: ER GAB COE MGA B CF 1234567 8 9 01 1213 E Lydian 47: — Fe GH At B OCH D E Ft Gt AS B CE 123 45 6 7 8 8 104912 13 Now you can see that the only differences are the #4th and ¥7th in the lydian 47 scale, By numbering the degrees we get a scale formula we can use which will be Consistent with every iydian +7 scale in every key. Lydian 67: 1234 5 6 7 (9) #11) 13) You can see by this scale’s interval content that the chords possible from lydian 57, are dominant 7 chord characters: E? (1 3.57), E9(1 3547 9), E13(1 347 13), and £13411 (1 347 411 13). These are just a few of the possibilities for chords available Using the Iydian 17 interval structure: 1 - 2(9) — 3 — 4(111)— 5 ~ 6{13}—47. The most popular iydian $7 chords are undoubtedly the Sth, 13th, and 13(¢11) chords. Peete ote Eee SE SeH eee ee Peer ee eee ee Sete Sca reer rere eee START OF CD 2 IMPROVISING MADE EASIER 6LESSON | _SCALE FINGERINGS FOR E LYDIAN $7 Learn all seven scale fingerings for Elydian +7. Notice that the scales are written ‘out, numbered in one-octave intervals: 1 2 3 #4 5 6 7. Practice these scale fingerings at a medium ternpo. Fingering 1 E B G D Fingering 2 A E 2 Fingering 3 - 5 at 5 | Fingering 4 Sie Fingering 5 Fingering 6 Fingering 7 PFE Re a FRANK GAMBALELESSON 2 SCALE FINGERINGS FOR A LYDIAN +7 Once you've played all seven fingerings for A Iydian 47, combine Lessons 1 and 2 by playing the first fingering of E lydian +7, then the first fingering of A lydian +7, then the second fingering of Elydian 47. etc. Fingering 1 E t B G D Fingering 2 A E Ea Fingering 5 | ; Fingering 6 St Fingering 7 FE : 7 ae IMPROVISING MADE EASIER 6LESSON 3 __——CHORD VOICINGS FOR E AND A LYDIAN +7 CHORDS _ Here are some voicings for the E1311 , A13411 , and other chords available to us from the intervals unique to the lydian 7 scale 64 E13#11 x ofr 3 4221 E13#11 o x Sfr 1423 E13 1342 A13#11 xO Sfr 1423 A13#11 * 7" 34211 E9#11 E13#11 ( aa ° > Xo li fr 21311 3314 F13#11 E13 fo} °o Seg + 6fr 12234 21334 A311 Thr joa e 3 4221 11 fr 21334 A13 1 2344 3314 FRANK GAMBALE——LESSON 4__ LICKS INE LYDIAN }Z Now its time again to get some more licks under your fingers, These licks will go from easy to hard and will be over the E9 chord, Have fun! sree? 81 a1er1 at eee 4124412242? > AVMVAV VV AV VY RV RV AV RV AV VV AVA Fe 1253 343 414947212 12123 3184284 VAVV VV AVY AV AV RVR VV VA A —— 142465 32212941225 2435425 e491 94 VV AMV VAAV VV RAV VV VV VA V VV Pcl IMPROVISING MADE EASIER 6‘More licks, this time in A lydian 57. These licks will go from easy to hard and will all be over the A13 chord, Play them as accurately as possibie. cm ® aS Example 74 aS Batata ts ot gt t 21 eteee at 18 vaVvVVVAVAVAV YT nvaAVaVV Avy avon Example 75 aS Fo 2 reer e2rre2s 239 21 e Fr 2eegrr)saa 4 mvynAnVvAVvAAAVA AA VY RV AV Vo gy 24494189 84 4263 TIFT 1G Vvnmnvyvn 2 44 AVvVAVAVAVAV A vvYmAverny - 66 FRANK GAMBALE‘More licks. This time we combine the two scales and chords. Study the notes carefully, being sure to read the notes accurately, Good luck! Example 76 5 a3 414222 442134124 1 124d ae2tes VOVMVVVVY RV AV ARAVA oR VA VA VVM AVY AAV V AAV VA VV RAV VV VV Example 78 ® 8 pe2agrtre2er gress 192 11st aetrrsegt aia VV RAV RV AVY AVY VV VY AVY RVR VV ORV — aS year e ery erat ats tterarerares MVMAVAAAY VV RM RV VY AV RVR IMPROVISING MADE EASIER 67This lesson will demonstrate the use ofthe lydian 67 chord in a song context. Once ‘again you'll see mixed chord types. Have fun! Example 79 emai? arent) oan? onan) 68 FRANK GAMBALEIMPROVISING MADE EASIER THE SUPER LOCRIAN MODE locrian would have the same notes as the F melodic minor scale because E is the 7th scale degree of F melodic minor. The notes of F melodic minor = FGAbBbC DE. If we begin these notes on E (the 7th note) we have the notes for ‘the E super locrian scale: E F G Ab BbC D. To understand the character of the super locrian scale we must compare these notes to the major scale. If we compare E super locrian to the notes of E major we have: E Major: ER GHA BGO E Ft Gt A B Gt 12345 6 7 8 9 0 12:13 A super locrian scale is built on the 7th note of a melodic minor scale. E super E Super Locrian: EFG@BCDEFGG&BC 11213 3 8 6 7 8 8 9 10819 Now you can sae that the differences are that the 2nd, 3rd, 4th, Sth, 6th. and 7th are flat (lowered 1/2 step) in the super locrian scale. This scale has some peculiar intervals which I'd fike to take @ moment to explain. The +2 and 3 are the same Notes as the b9 and £9, the latter of which you'll see occurring the most in chord symbols. You've no doubt seen a 79} chord more often than a 7ladd +2). So ‘remember that point. Another thing to remember is that this scale also has a +5 ‘and b6. The ¥6 should be regarded as a #5 which is the way you'll see it appear the ‘most. You'll never see a m7 +6 chord. So be aware of this point also. One more thing: this scale also has a natural 3rd as well as a ‘3rd. In a 7(49) chord both notes are used, but remember that the +3 in this case is regarded as a #9. The formula, for this chord is 1 3 57 48. By numbering the degrees we get a scale formula we an use which will be consistent with every super locrian scale in every key. ‘Super Locrian; 132 933 18 15 67 69) 11) 613) You can see by this scale's interval content that the chords possible from supor locrian are dominant 7 chords with @ 5 and/or 5, 49 andor }9 (and any combina- tion thereof); E749 (1 357 #9), E749 (1 37 b9), and E7459 (1 3 454759). These are just a few of the possibilities for chords available using the super locian interval ‘Structure: 1 $28) $3 b4(3) 65 46(b13) 67. The most popular super locrian chord is undoubtedly the 7149).Leam all seven scale fingerings for E super locrian. Notice that the scales are writ- ten out, numbered in one-octave intervals: 1 $2 43 3b4) 55 45/66) 47. Practice these scale fingerings at a medium tempo, then gradually play them faster. Fingering 1 Fingering 2 Fingering 3 af Pr rd I] Fingering 4 af Fingering 5 ‘i a Fingering 6 a Fingering 7 tof FRANK GAMBALE 10——LESSON 2__SCALE FINGERINGS FOR A SUPER LOCRIAN ‘Once you've played all seven fingerings for A super locrian, combine Lessons 1 ‘and 2 by playing the fist fingering of € super locrian, then the fist fingering of AA super locrian, then the second fingering of € super locrian, etc. Fingering 1 E B G D Fingering 2 A E 1 Fingering 3 oof af Fingering 4 “ 5 Fingering 5 of : Fingering 6 8 Fingering 7 = us IMPROVISING MADE EASIER 1——LESSON 3___CHORD VOICINGS FOR EF AND A SUPER LOCRIAN CHORDS Here are some voicings for the £749, A7#9, and other chords available to us from the intervals unique to the super locrian scale n E7#9 E7#9 El H9 in Cer or . 2133 2134 2144 E7#9 E7#5#9 E7#5#9 rt Tyee3 fr eR 12fr Ofr 3 221 43211 E7#5#9 E7b5#9 A749 $ T Tet ee T et fr 1 6f coor cory $f 12234 1342 2144 A7#9 A7#559 AT#5b9 i af € aye The ne 3314 1 2444 4321 A7#5b9 us HH 21314 FRANK GAMBALE——LESSON 4 __LICKS INE SUPERLOCRIAN Now its time to get some more licks under your fingers. Once again the licks will 90 from easy to hard and will be over the E7#9 chord. Have fun! Example 80 E89) 13e1 Pr areas esi 24 r24raartr 204 VVAVYAVY AVY AV VV AV V VY AVA Vm VV Example 81 Eng) Example 8 ena, AVY AV AVY AY AV OV AV AV RVR VV 9) CHORDS This lesson will demonstrate the use of the half-whole diminished chord in e song ‘context. Once again you'll see mixed chord types. Have fun! Example 99 DE cem7i65) Far3b9) DE Emb5) 169) mt Envios) Arab) nbs) arabs, onal 384 FRANK GAMBALEIMPROVISING MADE EASIER THE PHRYGIAN MAJOR MODE 3 phrygian major scale is built on the Sth note of @ harmonic minor scale The scale formula for harmonic minor is: 1 2 43 4 5 16 7. E phry- Gian major would have the same notes as A harmonic minor because E is the Sth scale degree of A harmonic minor, The notes ofA harmonic minor are A B CD EF Gt. so the notes for E phrygian mejor would be E F Gt A B C D. To under- stand the character of the phrygian major scale we must compare these notes to ‘the major scale. if we compare E phrygian major to the notes of E major we have: E Major: ER GHA B COE HOGA B Ct 1234567890 12:13 CDEFGABC E Phrygian Major: EF GAB 142304 5 7 8 8 10 11:12 43 2 Now you can see that the only differences are the b2nd, 4th, and '7th in the phry- Gian major scale, By numbering the degrees we get a scale formula we can use ‘Which will Be consistent with every phrygian major scale in every key. Phrygian Major: 123 4 5 6 Ww 63) (11) 13) You can see by this scale’s interval content that the chords possible from phrygian ‘major are dominant 7 chords with a9 and a #5th and/or natural Sth: Eb9)(1 3.5 69), ‘and £7+9 (1 3 47 $9), These are just a few of the possibilities for chords available using the phrygian major interval structure: 1 $269) 3 4(11) 5 ¥6jb13) 47, ‘The most popular phrygian major chord is undoubtedly the major ($9) or 7(+9) a5LESSON | __SCALE FINGERINGS FOR E PHRYGIAN MAJOR Leam all seven scale fingerings for E phrygian major. You'll notice that the scales are written out, numbered in one-octave intervals: 1 52 3 4 5 $6 17. Practice these scale fingerings at a medium tempo, then gradually play sem faster Fingering 1 E B G D Fingering 2 A E Fingering 3 eT Fingering 4 she Fingering 5 tt Fingering 6 ah Fingering 7 42 10% 126 a6 FRANK GAMBALE——LESSON 2__SCALE FINGERINGS FORA PHRYGIAN MAJOR Once you've played all seven fingerings fr A phrygian major, combine Lessons 1 and 2 by playing the first fingering of E phrygian major, then the fist fingering of ‘A phrygian major, then the second fingering of E phrygian major, et. Fingering 1 mProvownm Fingering 2 ie Fingering 3 Me Fingering 4 ste Fingering 5 om Fingering 6 8 6 Fingering 7 = te IMPROVISING MADE EASIER 7CHORD VOICINGS FOR Here are some voicings for the Ef), As), and other chords available to us from the intervals unique tothe phrygian major scale, E(b9) Esus4(»9) oE(o9) do 1243 E(b9) E79 E7sus4(b9) ellie ox oe 10fr 1333 23144 A(b9) A(b9) A(b9) xo xo —~ Tere 8fr eet | \@ “S314 1243 A(b9) A(b9) Has Copy CAH ties 4211 3412 A7b9 A7>9 li fr 2 3144 FRANK GAMBALE— LESSON 4 _____LICKS INE PHRYGIAN MAJOR Now its time again for some more licks. These licks will go from easy to hard and will be over the E79 chord, Have fun! Example 100 Erba) e 2s rerarete2ret gare sr assert arreran MV AVAVY AV AV AV AV AV AV VA VV VV VV VA Example 101 E79) 21s 2s aera errs 2 1 4212212143974 8 AVY AVY AVY AV AVR VR VR VV RV Vn 4022524495334 316 tI rst te ads 1414 AVY VAMMY AV VV AAV VV VV AV VV VO a eet errr aera ere e eet e trees rtarare es mVv¥VVARAY RV VV RAV AV VV VV VV 4 Ey IMPROVISING MADE EASIER, ay‘More licks, this time in A phrygian major. These licks will go from easy to hard and will all be over the A7#9 chord. Play them as accurately as possible. Example 103 ari) 7 ° ' 61341321 231297211 3 #494732 1 BB142132 MVVAVVAY VAVVAVYAY Vo AVY VV oF Example 104 Ariba) 2 4r4r2t4ar at ae 4 mvnvaAVvVVAVV A mVvVAVAVV AV Vm 1a4y27ertada Example 105 ara) i $3 1421231914315 3 2 2 VOAVAVVAVYAAVAVV A VR AV AV VV 12319743123 344 —— 2o44242 91 813 41 4 212 4642514 312 4 nmvvV vavVAnVAV VAVVAVV AV AV FRANK GAMBALE——LESSON 6 __ COMBINATION LICKS IN E AND A PHRYGIAN MAJOR More licks. This time we combine the two scales and chords. Study the notes carefully, being sure to read the notes accurately. Goad luck! Example 106 E709) 79) Example 107 Erba) 79) vot gaat ers 21 22242 F2t24strs sitreira VOVAVAY RM AVY AY AVM VARVARA AvAVvAne Example 108 ® A708) Prete 21 get erent e Gd 2 42134 211324 AVY AVY OAVV AY AVY AAV AV VV RV VV AV AV AV IMPROVISING MADE EASIER ”SONG EXAMPLE USING ___LESSON 7 __—HARMONIC_MINOR V(5) CHORDS This lesson will demonstrate the use of the phrygian major chord in @ song con- text. Once again you'l see mixed chord types. Have fun! e Frat a Fai? 3 1432 1421 1994 t2t 4 2142 1422 1421 1392 nvvn vvnnm v¥n vvnn movvan vvynnm vvYR vn Vv = 2 FRANK GAMBALEIMPROVISING MADE EASIER THE AEOLIAN 55 SCALE lian +5 would have the same notes as the G melodic minor scale because E isthe 6th scale degree of G melodic minor. The notes of G melodic minor = GABSCDEFt. If we begin these notes on E we have the E aeolian +5 scale (E Ft GABP D), To understand the character of the aeolian #5 scale we must compare these notes to the major scale. If we compare E aeolian #5 to the notes of the E major scale we have: T: 5 fF Tfr 4231 Emin9b5 fe) 3 fr . 2314 Emin9b5 ve 7h ° 4211 Emin9b5 Ox 8fr 1413 Amin9b5 ¢ 4fr 2 3314 Amint1b5 xo Teste 3141 Emin9b5 ; 1 fr 2 3314 Emin11>5 ° Oo 10fr 4321 Amin11b5 Tien 8fr 2143 Amin11b5 t loft [el i 24331 Amin11b5 Soe 4 fr 2314 FRANK GAMBALENow it's time again for some more licks. These licks will go from easy to hard and will be over the Emin9#5 chord, Have funt cong Example 111 Ena4es) arad Pree 191923281 212412164313 413712 AVAVAVYAVAVAVAV AVY AV ARV VA VAY Example 112 nas bg 2124 reer 1242126 4129123412 43532 MVAVYAVYAV AY AVA AV AV VAY VV AV VV A IMPROVISING MADE EASIER 7——LESSON 5__LICKS IN A AFOLIAN 5 ‘More licks, this time in A aeolian '5. These licks will go from easy to hard and will all be aver the Amin9'5 chord. Play them as accurately as possible. Example 113 ‘Ano(65) Hee tate Pe eer ata ta eect ates ea ean oe ee ta tee a VaVV VAM VAY VV AA VA VV Example 114 mi @ Exomple 115 ‘Ans(b5) cl Tere par aaaes seas 4 28 tat rzeeanate2e1 as VOVMVAYAVY AV AVY AVR RV VV AV VV VV = 4271344149194 2 439 4691397439784 3 95 VOVVAVV AVY AV RV MV VAY YA V AV VV 1 1 8 FRANK GAMBALE——LESSON 6 __ COMBINATION LICKS IN E AND A AEOLIAN »5 More licks. This tima we combine the twa scales and chords. Study the notes carefully, being sure to read the notes accurately. Good luck! Example 116 eniib5) amb) Example 117 Enmihs) amiss) Sees ae eie ee eea eee res etter Mm oVMAVV mR RPV RV RV VOR VV OV 7 = Example 118 En7ibs) 42122 4207? 4202 2 42422 Biareris VOVVV VRAVVYV VAVVY Vo VAVVVY mV¥ AVA — ‘Anit{b8) 42422 42173 2273 & 43742122447 VAVVVY VAVVVY VAVVY Vo VAVVY AVA IMPROVISING MADE EASIERThis lesson will demonstrate the use of the aeolian #5 chard in a song context. Once again you'll see mixed chord types. Have fun! Example 119 Avait amb; cara) m 7 Fanrib8) B79 Ena be ‘Anal? Gtn769) Fm7ibs) B79) Emai? be too FRANK GAMBALEMODALAWN (d +125) + Ja GIA (mixalydian) |n this last section | wrote a pretty challenging piece entitled, “Modalawn,” which incorporates all that we have learned throughout the entire Improvising Course. {f you made it this far you must be ripping up that fretboard by now! There's a great deal of information in this book to digest, but if you follow the procedure of inputting each lesson in each ofthe chapters, you can really accelerate asa player ‘and overcome those ruts tht we fall into from not knowing exacty what to prac- tice or which direction to go in to become a better player. Stick with this intense improvisational course and | guarantee you'll come out ahead ofthe pack. Good luck and happy picking to all! Frank Gambale gE BIA (yan) IMPROVISING MADE EASIER torDbma7bsi¢ (Cohygian) BES StH HitS tet alte Ciara street asta te a tra cea ita ate BH mv¥nmVvVV¥YAVY Av VA Vv VA Vv vA AVR Vv o = Ebmn7bs (Eb aeotan bs) ‘AbIGbS (Ab haliwholecrsished) — as — 102 FRANK GAMBALEFrin45(Favolian) 819911 (Bb idan 67) Enintt € doran} A789 (A sper oan) TSie2ssieress Vavmava vray vnvoa VaavVAnVAnVAA 6 E769 (Ephygion mao) “ Brin7 SE (Ehsan mejor IMPROVISING MADE EASIER. 103ATION AND TABLATURE | SCALES AND MODES: Chop Bui The Ultimate Guitar Workout (REH859) Modes: No More Mystery (VHO100) Monster Licks & Speed Picking (VHO41) IN