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Intervals For most beginning to intermediate guitarists it is less difficult to play accompaniment in the key of G rather than C. Consequently, the intervals presented here will contain the notes of G.

Intervals on Adjacent Strings The interval of a second.

2nds on the B and E strings

2nds on the G and B strings

2nds on the D and G strings

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2nds on the A and D strings

2nds on the E and A strings

The Interval of a Third

3rds on the B and E strings

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3rds on the G and B strings

3rds on the D and G strings

3rds on the A and D strings

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3rds on the E and A strings

The Interval of a Fourth

4ths on the B and E strings

4ths on the G and B string

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4ths on the D and G strings

4ths on the A and D strings

4ths on the E and A strings

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The Interval of a Fifth

5ths on the B and E strings

5ths on the G and B strings

5ths on the D and G strings

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5ths on the A and D strings

5ths on the E and A strings

The Interval of a Sixth

6ths on the B and E strings

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6ths on the G and B strings

6ths on the D and G strings

6ths on the A and D strings

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6ths on the E and A strings

Non-Adjacent String Intervals To produce these dampen the middle string either with an available finger or by being off the fingertips of a fretting finger.

The Interval of a Fifth

5ths on the G and E strings

5ths on the D and B strings

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5ths on the A and G strings

5ths on the E and D strings

The Interval of a Sixth

6ths on the G and E strings

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6ths on the D and B strings

6ths on the A and G strings

6ths on the E and D strings

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The Interval of a Seventh

7ths on the G and E strings

7ths on the D and B strings

7ths on the A and G strings

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7ths on the E and D strings

The Interval of an Octave

8ths on the G and E strings

8ths on the D and B strings

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8ths on the A and G strings

8ths on the E and D strings

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Pentatonic Scale

First Mode

Second Mode-Fingering One

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Second Mode-Fingering Two

Third Mode

Fourth Mode

Fifth Mode

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Pentatonic Exercises These exercises were transposed from the pentatonic exercises in the Clinical Improvisation book for easier fingerings on the guitar.

1).

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2).

3).

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4).

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Japanese Pentatonic Scales Capital Scale

Traditional Japanese Scale

Okinawa Scale

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Sakura, Sakura (Cherry Blossoms)

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Improvising with Church Modes Presented in G for easier playing on the guitar.

Relative Parallel Ionian- G A B C D E F# G Ionian- G A B C D E F# G Dorian- A B C D E F# G A Dorian- G A B C D E F G Phrygian- B C D E F# G A B Phrygian- G A B C D E F G Lydian- C D E F# G A B C Lydian- G A B C# D E F# G Mixolydian- D E F# G A B C D Mixolydian- G A B C D E F G Aeolian- E F# G A B C D E Aeolian- G A B C D E F G Locrian- F# G A B C D E F# Locrian- G A B C D E F G Ways of conceptualizing the church modes: People have different ways of learning modes that they most comfortable with. Some people prefer to use the relative method e.g., Ionian is the 1st mode of the major scale, Dorian is the 2nd etc. So if a mode is C Lydian, the thinking is that Lydian is the fourth mode and then C is the fourth note of what major scale? Another way is to compare the modes in a parallel fashion and modify the notes according to the major scale. Ionian is the same. Dorian has a flat 3 and flat seven when compared to the major scale. Phrygian has a flat 2, flat 3, flat 6 and flat 7. Lydian has a sharp 4. Mixolydian has a flat 7. Aeolian has a flat 3, flat 6 and flat 7 and Locrian has a flat 2, flat 3, flat 5, flat 6 and flat 7. And yet another way is to identify the modes based on major and minor tonalities. Ionian, Lydian and Mixolydian are major modes. When comparing the mode to a major scale, one is the same, one has a sharp four and one has a flat seven, respectively. The minor modes are Dorian, Phrygian, Aeolian and (possibly) Locrian. When comparing these to the minor scale Dorian has a raised 6, Phrygian has a flat 2, Aeolian is the same and Locrian has a flat 2 and flat 5.

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Ionian

Play and sing each mode slowly (Guitar 1). Then either you can play the Guitar 2 part and vocally improvise over the harmonic progressions or record the Guitar 2 part and improvise with the notes presented in Guitar 1.

Dorian

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Phrygian

Lydian

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Mixolydian

Aeolian

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Locrian

Modes In More Contemporary Usage

Ionian/Major

E F#min/E

Ionian/Major

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Dorian

Em F#min/E

Dorian

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Phrygian

Em or E Fma.7 #11/E G6/E

or

Phrygian

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Lydian

E F# ma. 7 #11/E

Lydian

Mixolydian

E A D

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Mixolydian

Aeolian/Minor

Em D C

Aeolian/Minor

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Lorcrian

E half-diminished B-flat half-diminished

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Phrygian Mode into Spanish Idiom Although the previous Phrygian mode was written in B, it is easier to play the Phrygian mode on the guitar in E.

It is common for the tonic in E Phrygian to be major. This gives the mode a Romani sound.

Adding G#

E F (actually F maj.11/E) G (actually G6/E

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E F G F E

Spanish Idiom

Phrygian with Raised Third

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Parallel Motion with Major V Chord

In phrygian the V can be major or minor

Contrary Motion

Creating a Melody for the Pattern

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Improvise Vocally

Spanish 2

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Dance-Song-Dance

Habanera Improvise using the scale over bass line 1. Notice the change in key signature in each example.

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Improvise using this scale over bass line 2

Improvise using this scale over bass line 3

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Organum-Singing Sing freely, using barlines as a guide only

Fifth-interval of balance

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Middle Eastern Idiom Scales

Ostinati

Scale

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Ostinati

Whole-Tone Scales Whole-tone scales consist entirely of whole steps. Consequently this affords only two different scales. They are presented below.

Fingering 1-

Fingering 2-

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This chord shape can be moved around in whole steps.

Aug. 7

A- Scale 1

A1

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Play each interval and its inversion starting on each of the other tones in the scale.

A2

Etc. use all registers

A3- Triads keep the same shape up and down the neck.

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A6- Improvise a melody over the following ostinati.

A7- Create a meter and rhythmic pattern for each of the following ostinati.

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Triad Inversions The chords are presented in a closed voicing. The chords listed begin with B as the tonic. This is done in order to play all the initial chord voicings and all the variations (Maj., min., dim., and Aug.) as close to open position as possible for ease of visualization. Each row and column represents a different direction one can play all the different inversions.

Major

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Minor

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Diminished

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Augmented

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You can also try different and more open voicings. These are presented in major in the key of C.

Bass on 6th string

Bass on 5th string

Bass on 4th string

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Dominant Seventh Resolutions

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Diminished Chords Diminished chords

Here are three common diminished chords. Lower any note by ½ step to create a dominant 7 chord. Consequently each can resolve into a new tonality resolving a ½ higher than any chord tone. Raise any note to create a half-diminished chord.

Harmonizing One Tone G as Root G as 3rd G as 5th

G as 7th G as 9th

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G as 11th G as 13th

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Jazz Chord Major 7 chords Dominant 7 chords

Major 6 chords Minor 7 chords

Minor 6 chords Minor 7 b5 no root

Diminished chords

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Chord Progressions

All other techniques for guitar used in Clinical Improvisation: Expanding Musical Resources can be found In Meyer, De Villers, & Ebnet (2010) Guitar Skills for Music Therapists and Music Educators. Barcelona Publishers: Gilsum, NH.