t by Mick Goodrich I f you’re into improvising, you under-

stand the importance of scales.

They provide a discipline for your fin-

gers and expose your ears to melodic

possibilities you might otherwise ignore.

Of all the chord types, dominant 7ths

seem to support the greatest number of

scales. Let’s explore some of them.

Play through Examples 1-9, slowly at

first. Gradually increase the tempo as you

determine workable fingerings and begin

to hear each scale. Play the examples

backward too, resolving to whatever

*he soia vofice 1 MASTERING DOMINANTS

Cmuj7chord tone that sounds best to you. (That’s why I use so many accidentals. When you play the exercises forward, the extra accidentals seem redundant. But when you shift into reverse, they come in very handy.)

As you work through the scales, keep these points in mind: l Examples 1-7 are derived from seven-note scales, while Ex. 8 comes from an eight-note scale and Ex. 9 from a six-note scale. l Ex. 6 is Ex. 5 transyrsed up a minor third.

: l Examples 5 and 7 work best against a G7sus4.

Ex. 1

G7 Mixolydian (C major scale) Cmaj7

En 2

G7 Lydian b7 (D melodic minor) Cmaj7

G7 Phrygian major (C harmonic minor) Cmaj7

Ex.4

G7 Mixolydian b6 (C melodic minor) Cmaj7

66 HOW TO PLAY GUITAR / JAZZ

MASTERING DOMINANTS 1 h + 0 solo vorce

Ex. 5

G7 Phrygian t]6 (F melodic minor) * I

Cmaj7

Ex. 6

G7 altered (A b melodic minor) Cmaj7 I

Ex. 7

G7sus4bg (G Phrygian - &major) Cmaj7

Ex.8

G7 (F symmetrical diminished) Cmaj7

I JAZZ / HOW TO PiAY GUITAR 47

*he solo voiice 1 MASTERING DOMINANTS

Ex. 9

G7 (G whole-tone) Cmaj7

These scales represent the typical “inside” choices you’re likely to encounter. Now let’s touch on some “outside” options. Before you tackle these lines, notice that Examples lo-13 are derived from seven-note scales, while F.x. 14 is from an eight-note series. The

nine previous scales plus these new examples encompass some of the usual sources for melodic material, as well as a few atypical possibilities to keen vou thinking.

Ex. 10

G7 (E 1, melodic minor) Cmaj7

I I U

Ex. 11

G7 (F # melodic minor) Cmaj7

Ex. 12

G7 (B melodic minor) Cmaj7

48 HOW TO PLAY GUITAR / JAZZ I

MASTERINGDOMINANTS 1 *he SOI= v-fee

Ex.13

G7 (E b harmonic minor) Cmaj7

Ex.14

G7 (C symmetrical diminished) Cmaj7

To put these scales to use, I’ve written a pair of tricks blues heads “Inside” (Ex. 15) employs our first nine scales, whiie “Outside” (Ex 16, next page) tests the stranger-sounding options. Start these exercises slowly, then work up speed so you can hear the color of the scales. (The circled numbers indicate the scale types listed on the next page.) The sound of these typical 12.bar blues chords should be familiar to you, but record- ing the changes to play over will be a big help when the scales get more outside. When you get the sound of the scales in your head, cut loose with some improvising and play your brains out!

‘Inside’ Ex.15

JAZZ / HOW TO PLAY GUITAR 49

thee, solo vdfice MASTERING DOMINANTS

Ex.16 ‘Outside’

c7 @ F7 c7 F7

@ Mixolydian @ Lydian b7

@ Phrygian major @ Mixolydian b6 @ Phrygian i~6

0 6 Altered @Phrygian

@ Symmetrical diminished

0 9 Whole-tone

@ Altered up a perfect 5th @ Altered down a major 2nd

0 2 Altered up a minor 3rd @ Harmonic minor up a minor 6th

@ Symmetrical diminished up a perfect 4th

@ Lydian b7 up a minor 3rd

Mick Goodrick teaches at New England Con- servatory and is the author ofAdvancing Gui- tarist [Hal Leonard]. He also gives clinics and perjorms worldwti, His recent albums include Rare Birds (withJoe Diorio) and Sunscreams, and a new album with WolfgangMuthspiel is in the works.