content.alfred.com of these is nica’s dream,a famous jazz standard by horace silver. the first...
TRANSCRIPT
It should be noted that by changing the F∂ to an F natural the tonality becomes C major.Later, for convenience, we will take advantage of this alternative.
Now, go back and play exercises 1 through 5 with an F natural rather than an F∂.
Notes:
12· · · · · ·
Melodic Playing in the Thumb Position
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Exercise 4
Exercise 5
Examples from Bars 3 and 4
Notice that the target note is not necessarily played first. On bars 2, 4, 6 and 8 continueprevious patterns from the earlier bars.
Notes:
24· · · · · ·
Melodic Playing in the Thumb Position
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C# position
C# position
C# position
C# position C position B position Bb position
Bb position
Bb position
Bb position
C position
C position
C position
B position
B position
B position
A Dream – Solo Example
Now, create your own solo by hitting the targets.
25 · · · · · ·
Part I
Track 2
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q = 160B position C position
B position C position
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2
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2 2
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Lazy Frog – Solo Example
Notice in bars 3, 4 and 5, the G position is targetted on the D string. Now, create yourown solo an Lazy Frog using the target positions.
33 · · · · · ·
Part I
Track 6
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B position D position G position
B position Bb position
B position D position G position, target on D string
B position Bb position
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A –7 D7
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C –7 F7
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The Harmonic Minor Scale
Until now all the modes we have played have been derived from the major scale. Wehave seen that when there is a I, VI, II, V, I, in a major key, the one major scale will
sound good throughout the progression.
We will now employ the harmonic minor scale. This scale functions in a minor key justas the major scale does in a major key. For instance, in a I–, VIø, IIø, V+7, I–, the one har-monic minor scale will work throughout the progression. Before moving on, practiceplaying the harmonic minor scale in all the keys. The scale is constructed like this:
1, 2, ∑3, 4, 5, ∑6, ∏7, 1.
The B Position HM
We now go back to the B position to incorporate the harmonic minor scales acrossthe strings in the thumb position – the target finger again will be the second fin-
ger on the B natural above the G harmonic on the G string. The first finger will be overan A and the thumb will now be over a G∂. The third finger will again be on the C natu-ral one half step above the B natural. As we cross to the D string however, the secondfinger will play an F natural. The G∂ to the F natural is the interval which gives us theharmonic minor tonality.
Now we will study the complete A harmonic minor scale in the B position.
The Notes in the B Position (A Harmonic Minor Scale)
34· · · · · ·
Melodic Playing in the Thumb Position
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3
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2
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1
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G string D string A string E string
Target
3
Now, improvise your own solo on Now Here by hitting the targets and giving specialattention to the A hamonic minor portion of the tune.
Notes:
40· · · · · ·
Melodic Playing in the Thumb Position
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G∆
2
w
2
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Bb–7
2
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2
Harmonic minor
In this next example, we see at first looks like I, VI, II, V, I, in the key of G. However, theVI chord is a dominant seventh with a ∑9. This is a very common progression andshould be studied carefully. For the last two beats of bar one, we use the A harmonicminor scale by targetting the B natural on the G string. The next sequence is II-V, in thekey of G major. So, we are still targetting the B natural, but return to the G major tonal-ity. The same thing occurs again in bar three.
Altered Rhythm Changes in G Major
Now, transpose this exercise to as many keys as possible.
Notes:
43 · · · · · ·
Part I
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B position B position HM B position B position HM
B position B position with F natural D position
C# position C position B position Bb position
q = 160
Track 10
The C Position HM
The Notes in the C Position (B∑ Harmonic Minor)
44· · · · · ·
Melodic Playing in the Thumb Position
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Target
Exercise 1
Exercise 2
Hosts and Guests – Solo Example (Bridge)
50· · · · · ·
Melodic Playing in the Thumb Position
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q = 184
D# position C# position HM
C# position B position HM
B position A position HM
D# position C# position HM
C# position B position HM
B position A position HM
Track 11
The Melodic Minor Scale Used Over a Minor/Major Chord
This melodic minor scale can be used over any of the inherent modes found within thescale. The first we’ll examine is the minor /major seventh chord, formed from the root ofthe melodic minor scale.
A minor/major chord is used quite frequently as a I chord in a minor song or cadence.Many times it is used at the discretion of the piano or guitar player (Ex: C minor/majorchord over the first five bars of Invitation vs. a C–7). There are also songs that use thischord particularly and specifically. One of these is Nica’s Dream, a famous jazz standardby Horace Silver.
The first six measures of the following example specifically call for the melodic minorscales of B∑ and A∑. Target the major 7th of each minor/major chord, in this case the Anatural and G natural, respectively.
Nica - Solo Example
74· · · · · ·
Melodic Playing in the Thumb Position
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G position MM
B position
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Track 16
Here is another example of a blues chorus in B∑, using these melodic minor modes.
84· · · · · ·
Melodic Playing in the Thumb Position
Track 22
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Chili Dogs at MidnightMichael Moore
Transcribed by Robert Sabin
96· · · · · ·
Melodic Playing in the Thumb Position
Track 27
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