Scott HENDERSON rock ‘n’ roll dominated popular music and guitarists dominated rock ‘n’ rll Henderson was influenced >y Jimmy Page. Jeff Beck, Jimi Heudrix, Ritchie Blackmore, and the great blues guiterisis Albert King, Albert Collins, and Buddy Guy. ‘Although he considers himself a blues-rock player, Henderson was inspired by jazz and the Mahavishnu Orchestra ro ereate the ir provisational style for which he fs now known, B= IN 1954, SCOTT HENDERSON GREW UP IN AN ERA WHEN "A Tot of te jaze I heard in high selwol just sounded like a blur of notes to me,” says Henderson. “It didn’t hold my attemion. Then I heard Miles and Wayne Shorter and knew these guys had the sense not to play anilion notes anid have the next guy come up and do the same thing, To me, be great bands have a sense of space and melody an thoir music, as well as sense of adventure.” Henderson's own sense of adventure led him from Florida Ailantic University to Lox Angeles. Since 198? he bas played with Chick Corea (inthe first Elektric Band}, Jean Luc Ponty. bassist Jef Berlin's grouy Players. and Weather Report's Joe Zawinul. Currently, Henderson and bassist Gary Willis ¢0-Jead the critically aclaimed Tribal Tech, which recently released its sixth album, “Face First” (Bluemoon: Records). In some ‘ways, Tribal Tech personifies Henderson's “dream band,” ani his rock, jazz, ad blues-inflected playing nd compos ing have brought praise from both jarz and rock circles Constant couring Keeps Tribal Tech inthe Forefront of new music and Scott Henderson on the curing edge of modern playing, He was named Best Jzzz Guitarist by Guitar World magazine in 199), and also came in irs in Guatar Player's 1992 Reader's Poll Scott is a member of the faculty of Musician's Institute in Hollywood and has writren columns far Guitar Wortd and Guitar Schoo! magazines, Ho is the author of The Scout Henderson Guitar Book, « election af his compositions (available from Hal Leonard Publishingkand has released instructional videos on REH, “Jazz Fusion Tinprovisati and "Melodie Phrasing,” In his ehapter, Scott reviews common chord types with an eye to soloing options. The fol- Jowing examples provide valuable insizht into his style of improvisation. as<Scott HENDERSON ‘Whar do T play over this chord? I hear that question a ot, but ICs @ hard one to answer ‘quickly because usually there are many eboices. In this chapter we'll look at the most eom= smusichord types andl explore the solning choices ‘The basic tools of improvisation are chord tones with arpeggios, scales, andl chromatic pass Ing notes. Most soles combine all ef these. A good solo also incorporates good shy thie and melodie phrasing, which is notcasy o teach in a book (my video Melodic Phrasing on REH might be more helpful in that area), Transcription is also very important, because the tools described inthis chapter are merely “words,” and when you transcribe, you see these words "used in musical sentences. A major scale as presented here may not sound like much; but in the hands of a great player using hip phrasing and a few chromatic passing notes, a major scale can be awesome! So it's very mportant not to just learn the words, but to learn how good players uso thom, and leaen fro that as well Let's start, First, 'l give you the chord type, then we'll ook ata list of choives. Each choice \will have an explanation, and a musical example. To make iteasie, all clio lypes will have Cas the oo, EXAMPLE 1 — MAJOR SCALE (ALSO CALLED THE IONIAN MODE) eg ey EXAMPLE 2 — MAJOR 7 ARPEGGIO. ‘usualy include the ninth in this apeggio. You should learu to play iin all ive positions, 2 2 p46Scott HENDERSON EXAMPLE 3 — MAJOR TRIADS ON 1, 4, AND 5 ‘The major triads C,F, and Gall contain notes from the C major scale. The major triads very srang sound and s great improvisetional wool, Over a Cra the G triad ereates the 3th, 7th, and 9th, The F triad, like the F in the major scale, is better in passing. I creates the 4th. 6th. and root. EXAMPLE 4 — MINOR PENTATONIC SCALES ON 2, 3, AND 6 Because ve played alot of blues, Ise the pentatonic scale as minor. These three pentatonic scales ll contain notes from the C major scale, Over Cmaj7, the D minor pentatonic seale aves a CO/Y sound. Be careful this scale has passing F. The E minor pentatonic sea ere ates a Cinaj13 sound. Carlos Santanalss used this really well. The A minor pentatonic scale isa bit “country” sounding. Techrically, the A minor pentatonic seale played over Cmaj? would be called C major pentatonic, but Tall it the “Allman Brothers seal. ‘A minor pentatonic 1 minor pentatonic B minor pentaronie . - * * i oe - —* 25 — re Ee 2 - rm oF Fe a7Scott HENDERSON ‘Tho following ideas Will give you seunds that are common extensions on major 7 ehords. EXAMPLE 5 — LYDIAN MODE Tiss simply a major scale up a fifth, Over Cmj7, play the G major scale. You're now play ing the C Lydian mode. The 7th of theG major scale (F#) isthe £11 of the Cmaj7 chord. EXxaMPLe 6 — MAJOR 7 ARPEGGIO UP A STH ‘This works the same way the Lydian riode does. By playing a Gmaj7 arpeggio over Cmaj?. you create a Cmaj7# 1 sound. “Chromane passing tone EXAMPLE 7 — MINOR PENTATONIC ON 7 “The D minor pentatonic scale contains notes from the G major seal, which isthe C Lydian node For yo blues players, we naw wave Fi minar pentatonic sales play over Cra: Bm, \m, Dm, and Em. Try yourblucs licks inall four. Some will work beter than others, but ‘you'll eventually learn which ies sound best in each seal basScott HENDERSON EXAMPLE 8 — MAJOR TRIAD ON 2 AD major iad over C gives the sound of C6/9#11. Composers cammonly use the chord symbo! D/C, meaning a D triad over a C bass, fo ereate the 69411 sound, The simple, open sound of atriad sometimes sounds more modern thawa fll vuiciag (and D/Cis fasterto wee than 60411), EXAMPLE 9 — MINOR 7/5 ARPEGGIO ON |S. Playing the Gsm7s5 arpeggio over Cmaj? is another way 0 get a 611 sound, The m7S arpeggio is not onc of my personal favorites, but I've found a ew good uses for i _— 4 i Poa o— ‘The maj7#5 chord functions uifTereatly than the maj7 chord. Adding 86,9, #11 toa maj? ‘extends the chord, but raising the Sih ates.an entirely new chor type. The Following ideas ‘can be played over a Cmaj7#5. or they ean be used over a Ca? chard to create tension. EXAMPLE 10 — MELODIC MINOR SCALE ON 6 ‘his seale is called the Lydian augmented, Ifthe chord is Cmaj745. you would play aut A. ‘melodic nor scale. This sane of tie modes ofthe melodie minor seale, You'll see more of these modes later ane tte Gaertn te = — I oP 494Scott HENDERSON EXAMPLE 11 — MINOR 9 (MAJOR 7) ARPEGGIO ON 6 ‘This is simply a melodie minor scale without he 4th and Gus, Any melodic minor seale you can use this arpeggio. It's writen thre p ime you can use the ons below 7100 "Chromatic pasting mes EXAMPLE 12 — MAJOR TRIAD ON 3 ‘As you ean see from the chord disg-um of Conaj745 this chord is simply an B triad over aC ‘oof, $0 playing the notes of an F triad wil define the chord perfectly. Many times you would see this written as BIC. ‘The following ideas can be played over a Cin? chord EXAMPLE 13 — DORIAN MODE ‘This is simply a major scale downa whole step, in this case B} major This isthe seae that's usually played over minor 7.Scott HENDERSON EXAMPLE 14 — AEOLIAN MODE (NATURAL MINOR) Playing an Es major scale overa Cav? gives you the C Aeolian mode. Its the same ws Dorian {except that it has a }6 (Ab) insteado® a 6 (A), I's lille darker-sounding than Dorian *Ohromaric passing tones EXAMPLE 15 — MAJOR 7 ARPEGGIO ON |S ‘An Ebay arpeggio will give youthe sound of Cm9. EXAMPLE 16 — MINOR 7.5 ARPFGGIO ON 6 ‘An Am7}5 arpeegio will give you a C6 sound, which sounds darker than the Fimaj?arpegeio. _ ybottScott HENDERSON EXAMPLE 17 — MINOR PENTATONIC SCALE ON 1, 2, AND S ‘The C minor pentatonic over CmiTis obvious. D and G minor pentatonic add a more Dorian sound, All three pentatonic scales scntain notes from the Bk major see, which ig € Dorian G minor pentatonic lee ort minor pentatonic be Demin pentatonic EXAMPLE 18 — MAJOR TRIADS ON |3, 4, AND +7, The notes inthe Eb, and B> major triads can be found in the Bb major scale (C Dorian). Eb \viad gives youa plain Cm?, while F and Bb triads adda more Dorian sound. >s2Scott HENDERSON ‘The following ideus use the 47 instead of the 7 over Cm One obvious reason todo this is the chord has « major seventh init (Cux(n1a/?)]. However, these ideas ean also work over c EXAMPLE 19 — MELODIC MINOR hecause the major seventh will create some tension, ‘This ale can be seum asa Dorianmode with a tT instead of ab’. oo f * ote £ S os eee be ete Ee 5 a = = eo Gon psig ones EXAMPLE 20 — HARMONIC MINOR ‘An Aeolian mode with 47 instead ot a7 produces th hamvoni minor scale 4 he —e—e_be_# be f fte phe 2 6 = i= EXAMPLE 21 — MINOR WITH MAJOR 7 ARPEGGIO Play the melodie minor scale without the th or 6th 534Scott HENDERSON EXAMPLE 22 — MAJOR TRIAD AGmajoriid over Cmereatesa Cnn) sound, ‘The following ideas can be played ever a Crs7bS chord EXAMPLE 23 — C MINOR 7,5 ARPEGGIO ‘This is obviously the direct approach. be ——— EXAMPLE 24 — LocRIAN MODE This isa major scale up a hal sep. Play a D> major scale over Cmn745, be be “This seale works, but its nats hipas... 54Scott HENDERSON EXAMPLE 25 — SUPER LOCRIAN As you probably guessed, is @ Loerian mode witha 2. Actually, it's a melodic minor sale starting on b3, and yes, it is another mode ofthe melodie minor scale, Play E» melodie minor over Cm745, ye Dae be a + - Se ey *Chramane passing tones EXAMPLE 26 — MELODIC MINOR ARPEGGIO ON | Note that you can play the Ebm9imaj2) arpegyio any scale. I's got a wider, more open sound, —_——— EXAMPLE 27 — MINOR P: ITATONIC ON 33, 4, AND }7 ‘These three scales, Eb, F, and Bb minor pentatonic, contain notes from the 3b major scale, Which is C Locrian Eb minor pentatonic F minor pentatonic he be be be bbe be © ® = a 1 = 6 -— 554Scott HENDERSON ‘All ofthe above Cm75 ideas can also be used over Cnx7 to take it alittle “out.” The Cm 75 arpeggiound the Bs melodic minor seslefaspeggio aven’t really ‘which isa bluesy’ note. The minor pe tatonie seales and the Locrian mode tak because they contain Db (the /9). Another way to get outside diminished seale overCm you get 1nese “out” notes Sth, £5 2 and 7 sound cool over minor chonis. Try D (Example 27a) and B (Exampi acs over Co: while you're ait, check outa B whole tone seale over Cm. EXAMPLE 27A (NOT ON CD) “Chromatic passing tone EXAMPLE 278 (NOT ON CD) Ba ae Say ra Be ps6 “The following ideas can be played over @ C suspended chor. EXAMPLE 28 — MAJOR 7 ARPEGGIO ON |7 ‘The Bhmaj7 arpeggio creates the seud of C13sus4Scott HENDERSON EXAMPLE 29 — MAJOR TRIADS ON L7 AND 4 Bb and F triads create a tre © suspended sound — no thirds. a EXAMPLE SO — MINOR PENTATONIC ON 2 AND 5. D and G minor pentatonic scale ass ereaue a tue € suspended sound — no thirds D minor pematonic . G-nmor pontatonie —=S—— SS ee no ‘The following ideas can be playcd over C Phrygian ehouds. Csus4(59) or Bsc. EXAMPLE 31 — PHRYGIAN MODE, ‘This isa major scale starting on the 36, For Csus4l9), play Ab major scale 57<Scott HENDERSON EXAMPLE 32 — MELODIC MINOR ON 7 “This another mode of the melo minor scale, For Csus4(69), play the Bo scale, The result is Phrygian mode with a 36(A) instead of a 6(Ab) cpestcbe nage BEC eE riety Ww LU EXAMPLE 33 — MINOR (MAJOR 7) ARPEGGIO ON +7 Play the Bhn(maj7) arpeggio over Cs 184(49) EXAMPLE 34 — MINOR 7:5 ARPEGGIO ON 5. A Gm arpeggto played over Csuy2(+9) vutliues dhe chord seally well, babe 58Scott HENDERSON The following ideas canbe played over aC7 chord EXAMPLE 35 — MIXOLYDIAN MODE ‘Thisis a major scale starting on the “ourth degree. For C7, play an F major scale. You can add Ep to tis scale t make it sound Hues, EXAMPLE 36 — MINOR 7:5 ARPEGGIO ON 3 ‘An EmT,5 arpegeio played over C7 will give you a C9 sound ba *Scott HENDERSON EXAMPLE 37 — MINOR PENTATONIC ON 1, 2, 5, AND 6 ‘Experiment with those blues licks again! The D and G minor pentatonie scales have the pass- ing F (which is an “avoid” note).soC and A minor pentatonic are the best choices. All ofthe notes tha ie across the 3rd, Sth 8th, 1th, 1Sth, 20th, and 22nd fretseomtain notes from these four scales, Experiment by stretching out und playing the notes on those frets over C7 C minor ps Daninor pentatonic nor pentatonic A minor pentatonic leh ‘The following ideas will add the #11 © the C7 chord, which isa common extension. EXAMPLE 38 — LYDIAN DOMINANT SCALE This s the Lydian mode with a7. Acmally, i's just melodic minor scale strting_on whe Af dggrce. For C7, play a G melodic minor scale —yes, it's another mode of melodic minor j fhe 60Scott HENDERSON EXAMPLE 39 — MINOR (MAJOR 9) ON 5 ‘The Gun(inaj9) arpeggio ereates Uk: 13411 sound when played over 7. tbe 2 o fbey te j je EXAMPLE 40 — MAJOR TRIAD ON 2 The Dtriad over C7 covers the npper extensions of the C13#1 1 chor rast ms spe te tet *Ohnomaric passing tones EXAMPLE 41 — MINOR 7.5 ARPEGGIO ON }5 Play Gbm755 over C13EL and see Low it works for you. This isnot one of my favorites, but hte itis anyway. ei<Scott HENDERSON ‘The following ideas can be played over C altered dominant (Cah) chords; the best chords for each application are indicated EXAMPLE 42 — HALF-STEP DIMINISHED ‘This isu diminished! senle starting with ahalf-step. It works best over C7#949 a eo be tie y be *Ohronatie passing tones EXAMPLE 43 — ALTERED SCALE Here is another mode of the meladic minor seale. Over altered dominant chords, play the melodic minor scale up x half step. For C7alt, play D melodie minor. This works best over C745 annd C745,949, be be * be b EXAMPLE 44 — MINOR [MAJOR 7) ARPEGGIC UP A HaLF-STEP odScott HENDERSON EXAMPLE 45 — MELODIC MINOR ON $7 ‘The sume Bb melodie minor sca we used over the Phrygian chords will work for C1319 *Chromanic pasing tones EXAMPLE 46 — MINOR IMAJOR 7) ARPEGGIO ON |7 Bom(maj7) works great over C1339, EXAMPLE 47 — MINOR 7:5 ARPEGGIO ON 7, ‘A Bhn745 arpeypio played over Tal outlines the C7#SL9 chord. be ba MScott HENDERSON EXAMPLE 46 — MINOR PENTATONIC ON 1 ‘The nows in the C, Ps, F,and By minor pentatonic scales sound great over C745, © minor pematonic Emin pemutonic ba Fmorpematane be be be be be be * be nin pnt bee be EXAMPLE 49 — MAJOR TRIADS ON 1, |3, 15, AND 6 ‘Thenotesinthe' ished seale redScott HENDERSON EXAMPLE SO — HARMONIC MINOR ON 4 ‘An Fharmonie minor scale played over C7 gives you the sound of C759. “Chromatic passing tones EXAMPLE 51 — WHOLE TONE SCALE Since there is a D nstural in the C whole tone seale, st doesn’t sound good over C7 chords ‘with a9 or #9. It sounds best over CO4S, CH EXAMPLE 52 — DIMINISHED ARPEGGIO ‘You can play a diminished arpeggin of the rd, Sth, 7th, or Mth of an altered dominant chord. I gives you the 749 sound. babe teScott HENDERSON “The following canbe played over C diminished EXAMPLE 53 — C DIMINISHED SCALE, WHOLE STEP FIRST = babete # EXAMPLE 54 — MAJOR TRIADS ON 4, 7, 9, AND 16 Fora Climinished chord, try F,B, D, and A, iad arpeggios, B D> F Ab wo Remember: All the example lines sre interchangeable, For example, the A melodie minor lhok (example 10) could be played cver AL? altered, D7#11, B Phrygian ete, Finally, my suggestion fortis lesson is: take it slow! Work on one concept at atime Instead of just playing the scales or arpeggios up and down, try t0 create melories with them and incorporate mythmie ideas — in oLier words, make them song like. Everything you study should be put into the context of attne, so you can develop your phrasing and musicality as, well. Often when players try to expand their vocabulary, t comes atthe expense of their phrasing. So ty to practice these ideas in musical way, Make a practice tape und play, and ‘mst important ofall —nave fun!KEVIN EUBANKS »20 studying violin at age seven. Over the next five years he also became proficient on the piano and trumpet, bw finally fel in love with the guitar after seeing James Brown. When his parents turned down his request for guitar lessons, Kevin started teaching mself to play, i eaten PHILADE-PHIA, GUITARIST KEVIN EUBANKS BEGAN Kevin augmented his work in hishigh school music program by playing in local funk aaklwock bands, After graduation, he attended the Berklee School of Music in Boston, In 1980, through connections made at Berklee, Kevin auditioned for and joined drummer rt Blakey's band “The Jazz Messengers, He appearson the Messengers [980 album Live at Momireu Kevin built his career as a solo anit while keeping a busy schedule as sideman, recording ‘with Dianne Reeves, Dave Hollata Project G 7 (a Wes Montgomery trite), and with his brother, wombonist Robin Eubanks. Kevin has also recocded ten albuins with his oven group. starting with 1983's Guitarist (Elctra Musician Records). number of GRP roleases fol owed, including Sundance, Openir-g Night (with Branford Marsalis and Buster Williams), Face to Face (with Dave Grusin, Marcus Miller apd Ron Carer), Hea of Heat, The Searcher and Promise of Tomorrow. His 1883 album Shadow Prophets eceived more radio air pla than any other jazr recording of tat year. Kevin joined Blue Note Records in 1992 and released Turning Point with Marvin “Smitty” Smith and Dave Holland. The composition “Banh Party,” which Kevin refersccin his lesson, appears on his latest album, Spirit Tak Kevin's innovative righthand teclnigue allows for great ar Inervallie and thythmie freedom and contributes (0 the ‘unique sound for whieh he is famous. Although common in eles- sical guitar, counterpoint and polye'ythms are not usually foond in jazz guitar work (though they occur more frequently on the piano). Kevin's compositions demonstrate his interest in and facility for odd meters, ostinato Hhytms and a new choral style. Early in his career, Kevin spent a sco leu of time wanserihing {jazz solos; ths provided a solid bass later, when his interest ina ‘variety of musical styles led him w examive different leanne concepts. Although his sound and seis deeply rooted in jit is also casy to trace the influcnee of well-known players such as ‘Wes Montgomery, John McLaughl n an Jimi Hendrix, whom Kevin counts as major musial infusnces Kevin has enjoyed a long association with renowned saxophon: ist Branford Mansalis, whom lie wet at Berklee. Wi Branford, Kevin has been a member of NBC's Tonigh: Show with Jay Leno band since it was founded in 1982. Accompanying the variety of nists featured on the program serves to showease Kevin's versa- tility and vast musical knowledge, In his lesson, Kevin guides you tough two of his more chal Tenging campositions and provides valuable insight into his musical though processes,KEVIN EUBANKS In the brief time that we have (ogstier, 'd Tike 10 offer you some of my idews and experi= fences, I wish it was possible to converse with you and watch a you listen and hopefully react to what I have (o say, I ach it feels aTictle weird to ry and “talk” through the pages of book: it would he herter to be in situation where we could hang, sit down and exchange ideas. But since that’s not possible, Pil do my best to communicate what Thave wo say through these prigied! wurds, und trust thatthe meaning eames across Remember, hough: theres silliwofushere! A book is only a hook. Itean tum you on, but you've got fo give up some energy. 100. Bring something to reading this book and you'll probably leave with something postive. In oxher words, you get back wliat you put ia, so ary !and work with this book the same way you would work with a ive teacher and you'll see 200d results, Ire struetured this section ofthe bock around two original compositions. Each composition is broken down im several lessons, wich should he smdied bit hy bit Idd this so thatthe examples could be seen and heard dn the context of the compositions, not just isolated as. fechnique exercises. This also makes possible a discussiui of eomnpasitional ideas and how. yy ark. ‘The irs piece, Farth Party,” (rommy new Blue Note recording Spirit Talk) was inspired by ‘atypical “basement band jam in the "70s, or what [cal the classie“Jam in E.” My technique \vas illucaced by sume of dhe bussits I playeet with growing up. The great Larry Graham created a whole new sound with Sly and the Family Stone. Luse my thumb the same way he did, as an “anchor” or main picking digit of de rit hand. The boom note in voicing is What I refer to asthe “bass” note. ‘Fe thumb ean be very funky, if you know how to use it Many great bass players know all about using thei thumbs w pioducesetious funk, and far ‘gitar legend Wes Montgomery usec his thumb exelusively Let’ look wt the song from the top. “The phrase in second bar ean be Voiced in one of several ‘ways, suggest extracting he bass “voice” and playing it asthe bassline. Jaron it, Get the feo it. Mess around with the lineand come up with other phrases that feel good: maybe try sing chords that accompany the roots. But keep that “basement” feeling —dhat looses funky groove — going. Also, pay attention to the mete, whic is 974. Find phrases that work well Inthat mete. As you addother notes you also will see why the bass pattern is so important, ‘The bass partis the eohesive element that keeps this song moving, ‘Throughout the entire Piece, your thumb is playing that bass part and acting as the anchor. Remember, i's very imporvant ro establish it with authority! + - “The “folk” sound of bars 15, 17 and | Srominds mo o!™Blackbird” by Lennon and McCartney. “This seetion is meant to be more delicate, bul keep the bass Fine pumping, ‘Those of you who do not use the fingers of your picking hand as individual voices will find pats ofthis piece impossible to play as writen hore: but fee free to adap ito your own par. ticular way of playing. Some technical excteiscs may help improve your strength and dex- terity, and if $0, Fenciurage you ind=vor time ro them. But the most important thing isto find what works for you, Personally [think that playing with your nose, teeth, or whateveris fine. if ou fee! good doing it an ifyau ean proxluce music that Way. Don't let any person or school dictate how you execute — if you huve.a way chat works, useit. I's about musi, and as long as you use your heart, you ca play any way you want and it will uch other people ac well as yourselfKEvIN EUBANKS p22 ‘Moving on, the motif of de first wr beats of dhe maim phrase (bar 2) returns in bas 39, 42 and 43, Un bats 39 and 43, is eapressod in dominant harmony: G749 and 8729.) These sections are good ones to practice, Bar 42 outlines the D Lydian and G Lydian harmonies. suggest going through a harmonic cyele of some kind with this Try moving it im acyele of fourths.orpethapsa minor thd and fourth, Use the same motif with different harmony and intervals in harmonic cycles — fer example, a dominant seven. You should apply this con- cept to music oF songs you are already familiar with, such as jazz or rock standards. Personally, when I firs started to develop thistype of phrasing. I would use it over jazz stan- dards. That was one of my ways of digesting new material, ome, the important sections ofthis song are in burs 2, 16-18, 42 and 43. IF you can master those, the whole thing will come together for you. ‘A good fricnd of mine, Ted Dunbar, taught me the importance of the op and bottom notes in 4 Chord voicing. One day, when ke was showing me ow to concepnualize chor solos, it clicked: my picking hand could be used to express different voiees, OF course, playing: the lagers is not new by any meas its furan element oF elasival guitar ehinigue. it amazes me how many of she great guitarists of our time — Jimi Hendrix, Led Zeppelin’s Jimmy Page, Sly Stone, Gorge Benson, John McLaughlin — who listened tothe ‘same music growing up, never wally played with teir fingers. They use the pick almost exclusively highly recommend learning how to use all four fingers ofthe picking hand. I have gotten nothing but positive feedback from guitarists who ineorporated sore finger technigue into their playing, or who have discarded the pick altogether. Most guitarists seer to think of fin- cr picking a useful on los-iype jazz, OF course, this is nonsense, If you want 10 know what good finger techniqueean do, check out blues guitarist Albert Collins or the la- ‘menco guitar work of Paco de Lucia, As faras my own right-hand finger styl is eoneemed, my thumb plays the downstroke and ‘my index and middle fingers play the upstroke. I dan‘t use fingemails and T do all my prac- ticing om an acoustic guitar. The thumb is very interesting to me — it has strength and pres cence and power, butalso warmth an the subtlety of flesh caressing the sing. A broad range ‘of dynamics can be aclieved using the thumb. ‘With regard to chord playing, [use ‘he thumb and three fingers, excluding the fourth finger. ‘This enables me to teat each note as a single voice in the harmony, and to apply concepts such as moving inner volces, contrary motion, ete. Ifa guitar player onl which is not ocessarly a bad thing, he she can only sound a chord, so a Lotof harmonic subilety is lost Imagine a pianist always having 1o play each nove ina voicing, atthe same ime.There ‘would be no harmonic counterpoint only block chords. It would be rhythmically monot- ‘Try playing bars 42 and 43, sustaining each note so that you can hear each individual voice ‘of the chord. Injazz-and other formsof contemporary musie, when the guitar plays harmony, ‘most ofthe time its in block chord form, Personally, I fee] that the guitar would be much ‘more effective if the expression of ie relationship between two noces did not depend on the use ofa pick. 'm talking now about the physieal aspect of playing: applying the guitarist’s Iknovwledge of heron ind theory tthe guitar Finger picking allows guitarist more phys- ical contoct with the instrament, which in tur leads assay jrom merely accompanying with chords toward accompanying witk Farmany. Fingers orchestrate: it's the difference between touching a pick and touching a note In notating this piece I purposely di not use finger or ret markings because I think i's bet- ter for you to keep an open mind. Eperiment with fingerings; find what works for you. For lease of reacting, Ihave writen oor this piece in quarter time, but once you Hecome familiar ‘with it, you will hear how it can easily be felt in phrases of eighths. When improvising over, this tune, take out the phrases tha lean award te “basement-jan” Feeling. Get into the dif> {eront metors and do your thing. The metronome marking I recommend is—168.KEvIN EUBANKS. ‘The second song, entitled “Opening Night,” was written for gutar and tenor saxophone. It ‘comes from my album Upening Night (GRP Records), which features Branford Marsalis, (saxophone). my brother David Eubanks (bass), and Macvin * Slits” Sth (drums), Although it has straight-ahead feel, notice again that the meter changes throughout the piece, saitis very important to familiarize yourself with different groupings. Inbars 34, and 48, for example, the groupings are in 7. [have puta lot of cneray into understanding time sig natures. and fel that thi particular composition reflects my interest in jszz and other types ‘of musi. | think of itas.a very natural integration of different rhythmic ideas. ‘The harmony outlined ba 3 isGmandC, and in bards A and D. One good exerise might be to-continuc this same pattern up the ncek: also, uy different sing gioupings. Notice the imerval leaps and how they resolv; ry toereate more pater like these. so, keepin md ‘what I sid earlier about diffrent voices. The bassline in bars 3 and 4 would be B,C, Cad 1D. Use these wo harsas a vamp ant do the “basement thing” —1 guess for suburban cas should say the “garage thing” ~ you know winaT mean ust jamon it! What aboot combine ars 3 and 4 with ba from de fis pleco? Ty the samething with ars 47 nd 8 Once again, picking with your fingers may be a wire natural way of handling dhs material, ‘but whatever way you play i, hope it opens up some new possibililies for you ‘Ope.dea that Lam working with bee is melodic eythm — phrasing, Throughout the piece you ean hear rhythmic resolutions as well ss harmonic and melodic ones. The harmonies indicated also outie te mythic phrases ofthe song. Melodic rythm opens up many pos sibilities, and its vital davelop an ear fort's not just pitch that's important; rhythm is equally important. Inauine somone speaking ins mono.onous voice. with no spaces between their Words. Dull ight? That's what playing.» stream of notes without any Hh islike. Remember: phrasing rseonersaiion ‘Those of you who are familiar with chord solos may find it easy to incorporate the Voi ‘of the melody. In ars 9 and 10, the barmony is A3759. The melody. however, can be used on ‘many different types of dominart chords. In bars 24-26, the melody is based on the J Lydian scale. Try this pattern over same oxher major chorus Because move attention is paid we Larmoniv or melodie resolution, we have a tendency 10 think of rhythms as not having natural resolutions, but they do. As Youcan see, the anticipa. tions of bars 6,9 and U1 all work together and resolve into bar 15 at lees A. Bars 15 und 17 are working together, as are bars 21 and 23, and the whole first section resolves into har 27 ‘This ereatesa direction” — 2 fecire that the musi is being propelled forward. Inthe same way, bars 31 and 9S establish the B section. The amticipations of bars 33,41, 42 and 44 estab. lish arhythmic continuity. Bars 45 and 46, which set up a°3 fel,” build into bars 47 and 48, ‘an dhe back into the ani pation st bar 50, Inboth tis pieoe and “Earth Party” hope Ihave made clear to you the importance of rhyth- ‘mie resolutions as wellas melodicand harmonic ones. the guitar isa highly rhythmic instru ment and can be effective in many different contexts, After years of study and building technical proficiency find that iis more effective to play only what is necessary, instead of ‘everything I am capable of playins — all the scales and sixieenth-notes and emotionally ‘empty patterns wich scem to dorsinare contemporary guitar musi. [am also attracted (0 musicians wh) create a natura? feeling of rension and release, rather than calculating or writing out overy melody or solo. A primo example is B.B. King, whose sound and message is identifiable even through a single note. The sume eould be sad For ‘many great musicians — Miles Davis, Thelonious Monk, John Bonham (the lato Led Zeppclin drummer), Billie Holiday and many others. This is not t say that musicians such as Coltrane, Oscar Peterson, Steve Vier John McLaughlin are in any way less musical sitn- ply because they tend to play more. It sill sounds like they are plaving what's necessary ‘because that is what's in their beans 234KeEvIN EUBANKS ‘My points chat eh ignorant inmusicoranythingelse. Sometimes itseems ome that muste schools chum out musickans from a blueprint, Some so-called great tnusicins find i impossible wo ply simple chords and melodies. If you can't appreciate a Simple musical form, or if you think you're above earying express yourself musically. IF you want a high evel of technique — by that I mean the ability o play anything you heat inoroutsde of your bead —then my suggestion isto practice and play for many. many hours toch day. IF you are serious about musi you will reach a pomn where you are willing vo put Inmnskind of esr, adit wil probably contin for several years, ani itan'ta whole lot of fun to doit then you're in trouble. Bur regardless of whether music is your life or your hnoby, or whether you play fast o slow, rinember that i's what's in your heart that makes Tope these thoughts have been of come heIp fo you, and that Lhaven't been oo presume cousin conveying my opinions. Thanks for your lime and enerey. EARTH PARTY Freely play 4 vimes aie a “ae fe Tet ring throughout —-——~ p24 AMER Rend "Used y PerioKEVIN EUBANKS f EB te # te 25<KEVIN EUBANKS 26KEVIN EUBANKS 274KEVIN EUBANKSKEvIN EUBANKS OPENING NIGHT roa)? ami? #11 Dangj74tt maiz be cite = ‘OPENING NIGHT Wes by KEVIN ELBANKS AllRigirosnal Cady Ranke 2o<Kevin EUBANKS , Gmaj7411 ETasd Bymaj7#ll SM ber Finai?4tt g z Fag? -———— i= 1s + { t ee eo] b] Fai? eR BB Bus et ret [nif ot 4 a]Kevin EUBANKS En amt Am? Gm arisi9 f£ 2 EysusaKevin EUBANKS Am? Qipsz 427 1 eae e BLL EEL LEENA FOTN DEBS © Dm? Ero Amt Do? En Am? Dwr ng? maj Et9 ng nm a Am? Dm? Cm? Fai? E79 Boonaj74U1 Form for soloing: AB p32