romain pilon masterclass malta 2013

7/27/2019 Romain Pilon Masterclass Malta 2013

http://slidepdf.com/reader/full/romain-pilon-masterclass-malta-2013 1/5

Romain Pilon Jazz Guitar Masterclass 18 Jul 2013

1

Practice Tips

Sing while practising!!

The goal is not SPEED but ARTICULATION and KNOWLEDGE OF THE FRETBOARD.

Work on LEGATO!!

Always play CHORD with scale!!

Switch exercises the minute you feel you’re becoming mechanical.

Use as many notes per string as you deem necessary. 4 notes per string seem to

work best but sometimes 3, sometimes 5. Do not worry too much about fingering.

Avoid adhering to a method.

Try sliding the first finger into the second note on the string. Try sliding the 2 first

notes on each string too.

Work on building your own phrases/clichés.

Combine

Visual (place on neck)

Aural (know your scale sound)

Intellectual (know which flats and sharps feature in this key)

Knowing the Fretboard

The Mick Goodrick Single String System

Scales on one string. String by string: linear. e.g. start with C major on B string then cycle thekeys e.g. F (include Bb), Bb (include Eb), Eb (include Ab), Ab (include Db), and so on.

Digital Patterns with Metronome

1 2 3 4 / 4 3 2 1 on all strings

Many combinations of above e.g. 1 3 2 4 / 4 2 3 1

Pick alternately

Major Scales and Chords

Use positions on Diatonic Modes rather than CAGED

e.g. GΔ7, A-7, B-7, CΔ7, D7, E-7, F#Ø

Play important tensions for each position e.g. 13 in Dorian, b9 in Phrygian, #11 in Lydian

Follow up with diagonal scales along the neck in such a way as to utilise the whole of the

fretboard.

Play alternate 3rds, 4ths, 5ths, 6ths, 7ths, octaves all along the WHOLE fretboard, both as

intervals and as double stops.




2

Hitting the same note on two adjacent strings will not sound exactly the same, giving an

interesting feel, just like sax players' false fingering.

Being Able to Switch from one scale to another on the Fretboard

Try ascending in one key and descending in another say a relative minor or a fifth below

and so on, first staying in the same neck area and then using the WHOLE fretboard.

Try the cycle of 4ths as a basis e.g. up in C, down in F, up in Bb, down in Eb, and so on.

Start with Ionian, then Dorian, then Phrygian, etc, always relating the key you’re in with the

ROOT.

Repeat all of the above with Melodic Minor, Harmonic Minor (possibly only 5th degree

important)

Play 3s and 7s to changes in a standard on all strings

Pentatonic Scale fitting

Major and Minor Pentatonic scales on the 1st

, 2nd

and 5th

degrees will fit chords with a root

on the 1st degree. So, for instance, C, D and G major pentatonic will fit CΔ7#11 and D, E and A

minor pentatonic will all fit Dm7.

Major CΔ7#11

chord 1 2 3 #4 5 6 7 Resultant

chord ext. Major scale Maj Penta : 1 2 3 5 6 C D E F# G A B

C C D E F G A B C D E G A x x x x x 6, 9

D D E F# G A B C# D E F# A B x x x x x 6, 9, #11

G G A B C D E F# G A B D E x x x x x 6, 9

Note: C, D, G major pentatonics are respectively equivalent to A, B, E minor pentatonics.

Minor C-7 chord 1 2 b3 4 5 6 b7 Resultant

chord ext. Nat Min (b3, b6, b7) Min Penta : 1 3 4 5 7 C D Eb F G A Bb

C C D Eb F G Ab Bb C Eb F G Bb x x x x x 11

D D E F G Bb C D F G A C x x x x x 6, 9, 11

G G A Bb C D Eb F G Bb C D F x x x x x 9, 11

Note: C, D, G minor pentatonics are respectively equivalent to Eb, F, Bb major pentatonics.i

Both Major and Minor Pentatonic scales will fit DOMINANT chords on the same root.




3

Dominant C7 chord 1 2 3 4 5 6 b7 Resultant

chord ext. C D E F G A Bb

C major penta C D E G A x x x x x 9, 13

C minor penta C Eb F G Bb x x x x #9, 11

Also, the Major pentatonic scale on Bb will fit the DOMINANT (sus4) chord on C.

Dominant C7sus4

chord 1 2 3 4 5 6 b7 Resultant


Bb major pentatonic Bb C D F G x x x x x 11 (sus4)

Bb minor pentatonic Bb Db Eb F Ab x x b9, #9, #5

Additionally, the Major pentatonic scale on F will fit the DOMINANT (13) chord on C.

Dominant C7(13)



F major pentatonic F G A C D x x x x x 13

F minor pentatonic F Ab Bb C Eb x x x #9, #5

Conversely, as is the case with major and minor pentatonic scale fitting, taking Bb as the 1st

degree, its major pentatonic scales on the 1st

, 2nd

and 5th

degrees will all fit the dominant

chord with a root on the 2

nd

degree (C7):

Degree Major Pentatonic Dominant Chord on 2nd

degree

1st

Bb C7(sus4)

2nd

C C7(9,13)

5th F C7(13)

Furthermore, the major pentatonic scale on C’s tritone substitute F# will fit the DOMINANT

(altered, possibly also b9, #9) chord on C.

F# major pentatonic: F# (b5 in C), G# (#5 in C), A# = Bb (b7 in C), C# (b9 in C), D# (#9 in C).

Dominant C7(alt)



F# major pentatonic F# G# A# C# D# x x x x x b9, #9, b5, #5




4

Extending all the above pentatonic scale chord fitting further, one can end up using

pentatonics on ii-V7-Is as illustrated in the following example in CΔ7:

ii V7 I

Dm7 G7 CΔ7

options Minor pentatonics

on 1st

, 2nd

, 5th

degrees

(taking D as the 1st

degree)

Major pentatonics on

1st

, 2nd

, 5th

degrees

(taking G as the 2nd

degree)

and on tritone substitute

Major pentatonics

on 1st

, 2nd

, 5th

degrees

(taking C as the 1st

degree)

D, E, A minor penta F, G, C, C# major penta C, D, G major penta

equiv. to D, B, A, A# minor penta A, B, E minor penta

Choice 1 A minor penta (Dm11) A minor penta (G13) A minor penta (CΔ7)

Choice 2 A minor penta (Dm11) A# minor penta (Galt) B minor penta (CΔ7#11

)

For Half Diminished chords, one can use the minor pentatonic on the 4th

degree (e.g. F

minor pentatonic = Ab major pentatonic on Cm7b5

) while taking good care not to be trapped

by the b9 (and b13).

Half Diminished Cm7(b5)

chord 1 b2 b3 4 b5 b6 b7 Resultant

chord ext. C Db Eb F Gb Ab Bb

F minor pentatonic F Ab Bb C Eb x x x x x b13

It is worth trying practising pentatonics skipping notes, alternating in thirds, fourths, fifths

and so on and also mixing them with other scales such as bebop and altered. Pentatonicssound angular while bebop scales sound more linear.

Bebop Scale fitting

Bebop Dominant adds the natural 7th

to the Mixolydian. i.e. 1 2 3 4 5 6 b7 7

The natural 7th

is never to be played on an important beat.

The Bebop Dominant scale will fit the 5th

degree of any key and also the 2nd

, 4th

and 7th

degrees of the same key. e.g. C Bebop Dominant scale will fit:

C7 (V in F) G-7 (ii in F) BbΔ7#11 (IV in F) Em Ø (vii in F)

Bebop scale in F 1 2 3 4 5 6 b7 7

F G A Bb C D Eb E

C7 C E G Bb V7 x x x x

G-7 G Bb D F ii x x x x

BbΔ7(#11)

Bb D F A IV x x x x

EmØ

E G Bb D vii x x x x




5

Using Scales as Chord Voicings to build Modal Voicings (Chord Scales)

Modal voicings are built by starting with a scale and taking 3 or 4 intervals from it, e.g. root,

2nd

, 5th

(6th sounds happy, 7th sounds unstable) and creating chords with those intervals

from each note of the scale.

For instance, with the C major pentatonic scale: 1, 2, 3, 5, 6 = C, D, E, G, A. Taking every

other note in the scale (treating the scale as a looping list) yields C E A D as the first chord,

then moving the up the scale a step at a time yields: D G C E, E A D G, G C E A, A D G C.

Similarly, for the C minor pentatonic scale: 1, 3, 4, 5, 7 = C, E, F, G, B. Alternate notes up a

step each time gives: C F B E, E G C F, F B E G, G C F B, B E G C.

Try the same concept with other scales e.g. dorian (major), altered (melodic minor)

Experiment with Drop 2 and Drop 3 voicings.

i http://www.jazzguitar.be/forum/theory/27138-scales-over-2-5-1-progression.html

https://www.google.com.mt/webhp?hl=en&tab=ww#hl=en&q=pentatonic+on+ii+v+i&safe=off

http://www.jazzguitar.be/forum/theory/27138-scales-over-2-5-1-progression.html







romain pilon masterclass malta 2013

Documents