Interest in Barry Galbraith “Jazz Guitar Study 1 -- The Fingerboard Workbook” Study G

[jessencan]

Hey there! I think starting a study group for Galbraith's Fingerboard Workbook is a fantastic idea. That book contains so much invaluable knowledge that it's perfect to go through systematically with others.

I'd definitely be interested in participating. Galbraith's approach to visualizing and navigating the fingerboard has been a huge help in my own jazz guitar learning. Being able to discuss the exercises and concepts with other enthusiasts would make the learning even more rewarding.

Some things we could focus on in the group: setting goals for certain sections/pages to cover each week, sharing recordings of exercises for feedback, and working on applying the ideas to improvisation and pieces. Having a forum here to discuss questions and discoveries along the way would be great too.A "2024 calendar with holidays" refers to a structured representation of the 12 months of the year 2024 calendar , annotated with specific dates designated for various public holidays, observances, and celebratory events. Such a calendar provides an organized system for individuals, businesses, and institutions to efficiently track and plan around these dates. Typically customized to suit the requirements of a particular country or culture, these calendars offer insights into national holidays, religious festivities, and other key events of significance. Utilizing such calendars fosters enhanced planning and facilitates the acknowledgment of cultural or national observances.


If you do decide to organize a Galbraith Fingerboard Workbook study group, count me in! Maybe we could start a new thread here for it to coordinate the details. I think it will be a really enriching experience diving deep into that material with others. Let me know if you need any help getting things started!

[Travelrock]

G to C is a perfect fourth.






I didn't see the blues scale connection here. It definitely sounds like that might be where that's coming from. I had absolutely no idea how to see this section.







How did you arrive at C°, here? C° is the same notes as D h/w diminished or Eb°. I'm just wondering how you ended up thinking about it as being based on C.







Did you mean Ebm7, here? Bb Gb Eb C#(Db)






The G is still sharp in the second half of the measure, so G major scale doesn't work, here. I see this entire measure as coming from A melodic minor (D Lydian dominant).






C° would have an Eb. I'm seeing the first half of this measure as a continuation of Ab melodic minor. C E G# B






C° works for the first half of the measure but would need B natural for the second half of the measure. I'm seeing Cm7b5, here Bb Gb Eb C, which I just realized is coming from Eb melodic minor (Db altered scale).


.

Please, excuse my delay in eesponding, but this week and next I’m overhelmed with work. I wanted tocask you for a few days to continue addressing our stydy sessions. I hope it’s not an inconvenience for you.

[Travelrock]

Hey there! I think starting a study group for Galbraith's Fingerboard Workbook is a fantastic idea. That book contains so much invaluable knowledge that it's perfect to go through systematically with others.

I'd definitely be interested in participating. Galbraith's approach to visualizing and navigating the fingerboard has been a huge help in my own jazz guitar learning. Being able to discuss the exercises and concepts with other enthusiasts would make the learning even more rewarding.

Some things we could focus on in the group: setting goals for certain sections/pages to cover each week, sharing recordings of exercises for feedback, and working on applying the ideas to improvisation and pieces. Having a forum here to discuss questions and discoveries along the way would be great too.

If you do decide to organize a Galbraith Fingerboard Workbook study group, count me in! Maybe we could start a new thread here for it to coordinate the details. I think it will be a really enriching experience diving deep into that material with others. Let me know if you need any help getting things started!

Hello!

The study group yas been operating for a few months. We have analyzed the examples of the beggining and the exercises in Major mode. Now we have just finished analyzing exercise D7, and shortly we will continue on the next one.

You are invited to join and make any proposals you deem appropiate.

All the best

[FwLineberry]

Please, excuse my delay in eesponding, but this week and next I’m overhelmed with work. I wanted tocask you for a few days to continue addressing our stydy sessions. I hope it’s not an inconvenience for you.

It's not a problem. It will give me some time to catch up, as well.

.

[FwLineberry]

G7

Line 1 -

Bar 1:

Beats 1 & 2 - Scale with b3 passing tone

Beats 3 & 4 - Scale

Bar 2:

Beats 1 & 2 - ''

Beats 3 & 4 - G Lydian dominant scale

Bar 3:

Beats 1 - 4th interval

& 2 - Chromatic

Beats 3 & 4 - ''

Line 2 -

Bar 1 (m4):

Beats 1 & 2 - G Lydian dominant scale sequence

Beats 3 & 4 - ''

Bar 2 (m5):

Beats 1 & 2 - ''

Beats 3 & 4 - ''

Bar 3 (m6):

Beats 1 & 2 - F major pentatonic

Beats 3 & 4 - Diatonic 3rds

Line 3 -

Bar 1 (m7):

Beats 1 & 2 - Scale with passing tone

Beats 3 & 4 - Scale with approach note to...

Bar 2 (m8):

Beats 1 & 2 - Bm7b5 arpeggio

Beats 3 & 4 - Diatonic 3rds

Bar 3 (m9):

Beats 1 - 4th interval

& 2 - Chromatic

Beats 3 & 4 - ''

Line 4 -

Bar 1 (m10):

Beats 1 & 2 - Dm7 arpeggio

Beats 3 & 4 - Approach note into Em triad arpeggio

Bar 2 (m11):

Beats 1 & 2 - Major 3rd interval and chromatic notes

Beats 3 & 4 - Minor 3rd interval into major 2nds descending chromatically

Bar 3 (m12):

Beats 1 & 2 - ''

Beats 3 & 4 - Major 3rd interval and chromatic notes

Line 5 -

Bar 1 (m13):

Beats 1 & 2 - Scale

Beats 3 & 4 - Am7 arpeggio

Bar 2 (m14):

Beats 1 & 2 - ?? (not sure what to consider this)

Beats 3 & 4 - Am7 arpeggio

Bar 3 (m15):

Beats 1 & 2 - F major pentatonic

Beats 3 & 4 - Scale

.

[FwLineberry]

Points of interest:


First half of this exercise is mostly diatonic notes and chromatic notes. The main exception is the extended Lydian dominant sequence in mm4-5.


Line 5, bar 2 (m14) is an enclosure the author has used several times to set up an ascending arpeggio. This time, however he adds a couple of scale notes leading into the arpeggio.

.

[FwLineberry]

G7 continued

Line 6 -

Bar 1 (m16):

Beats 1 & 2 - Minor 3rd interval with chromatic notes

Beats 3 & 4 - Major 3rd interval with chromatic notes

Bar 2 (m17):

Beats 1 & 2 - Scale

Beats 3 & 4 - G h/w diminished scale

Bar 3 (m18):

Beats 1 & 2 - 4ths sequence with diatonic 2nds mixed in

Beats 3 & 4 - ''

Line 7 -

Bar 1 (m19):

Beats 1 & 2 - ''

Beats 3 & 4 - ''

Bar 2 (m20):

Beats 1 & 2 - F Lydian pattern **

Beats 3 & 4 - ''

Bar 3 (m21):

Beats 1 & 2 - 4ths sequence

Beats 3 & 4 - ''

Line 8 -

Bar 1 (m22):

Beats 1 & 2 - ''

Beats 3 & 4 - ''

Bar 2 (m23):

Beats 1 & 2 - ''

Beats 3 & 4 - H/W diminished scale

Bar 3 (m24):

Beats 1 & 2 - ''

Beats 3 & 4 - ''

Line 9 -

Bar 1 (m25):

Beats 1 & 2 - Sequence of 4ths and 3rds

Beats 3 & 4 - ''

Bar 2 (m26):

Beats 1 & 2 - ''

Beats 3 & 4 - Fmaj7 arpeggio

Bar 3 (m27):

Beats 1 & 2 - Scale with passing tone

Beats 3 & 4 - H/W diminished scale

Line 10 -

Bar 1 (m28):

Beats 1 & 2 - ''

Beats 3 & 4 - ''

Bar 2 (m29):

Beats 1 & 2 - Sequence of 4ths and 3rds

Beats 3 & 4 - ''

Bar 3 (m30):

Beats 1 & 2 - ''

Beats 3 & 4 - ''

Line 11 -

Bar 1 (m31):

Beats 1 & 2 - Am7 arpeggio

Beats 3 & 4 - Dm7 arpeggio

Bar 2 (m32):

Beats 1 & 2 - Scale

Beats 3 & 4 - E major triad arpeggio

Bar 3 (m33):

Beats 1 & 2 - G note and rest

Beats 3 & 4 - Cmaj7 chord

.

[FwLineberry]

Points of interest:


Line 7, bar 2, m20 - This is the same "Lydian" pattern we saw in the final measures of the C major exercise. Here, it's used from F were it was used from C in the C major exercise.

The E major triad showing up in line 11, bar 2, m32 is a surprise. It looks like the author is homing in on the shift to the tonic chord (C major) only to dip back into the G h/w diminished (major triads in minor 3rd intervals G, Bb, Db, E) at the last second before landing on the G root and finishing with the Cmaj7 chord.

.

[FwLineberry]

Was thinking about that E major triad at the end of the G7 exercise....

If you look at the key of C, E would be the secondary dominant to the relative minor (Am). Am and Cmaj are both considered versions of the same tonic, so putting that E triad in there could be looked at just being a V - i type movement superimposed over the C major harmony.


Anybody else have any ideas?

.

[Travelrock]

G to C is a perfect fourth.






I didn't see the blues scale connection here. It definitely sounds like that might be where that's coming from. I had absolutely no idea how to see this section.







How did you arrive at C°, here? C° is the same notes as D h/w diminished or Eb°. I'm just wondering how you ended up thinking about it as being based on C.







Did you mean Ebm7, here? Bb Gb Eb C#(Db)






The G is still sharp in the second half of the measure, so G major scale doesn't work, here. I see this entire measure as coming from A melodic minor (D Lydian dominant).






C° would have an Eb. I'm seeing the first half of this measure as a continuation of Ab melodic minor. C E G# B






C° works for the first half of the measure but would need B natural for the second half of the measure. I'm seeing Cm7b5, here Bb Gb Eb C, which I just realized is coming from Eb melodic minor (Db altered scale).


.

Looking at my notes I’ve found my mistake confusing Bbmaj with Bbmin keys, hence the Cº (ii of Bbmin).

I’m starting the G7 exercise just now.

[Travelrock]

G7

Line 1

M1:
B1-3: chromatic
B3-4: Cmaj scale tones

M2:
B1 - 2: Cmaj scale tones
B3-4: Cmaj scale tones with passing note

M3:
B1: Cmaj scale tones
B2-4: chromatic

Line 2

M4:
B1-3: Cmaj scale tones
B3-4: Dmin melodic scale

M5: Dmin melodic scale (cont.)

M6:
B1-2: Dmin melodic scale (cont.)
B3-4: Thirds

Line 3

M7: Cmaj scale tones with passing notes

M8:
B1-2: Bm7(b5)
B: F arpeggio

M9:
B1: Fmaj arpeggio (cont.)
B2-4: C blues scale

Line 4

M10:
B1-2: Fmaj arpeggio
B3-4: Emin arpeggio

M11:
B1-2: Dmin scale with passing tone
B4: Major seconds

M12:
B1-2: Major seconds (cont.)
B2-4: Dmin scale with passing tone

Line 5

M13:
B1-2: Cmaj scale tones
B3-4: Amin7 arpeggio

M14:
M1-2:
M3-4: Amin7 arpeggio

M15:
M1-2: Fmaj arpeggio
M2-4: Cmaj scale tones

Line 6

M16: Cmaj scale tones with passing notes

M17
B1-2: Cmaj scale tones with passing notes (cont.)
B2-4: the last dour notes lick repeated a disminished 5th up

M18
B1-2: Fourths lick (C pentatonic)
B3-4: lick resollution

Line 7

M19-20: Cmaj scale tones

M21:
B1-2: Fourths lick
B3-4: lick resollution in thirds

Line 8

M22: Fourhs lick (just the heather)


M23:
B1-2: Fourhs lick (just the heather)(cont.)
B3-4: Dº scale

M24: Dº scale (cont.)

Line 9

M25: lick based in a 4th and a 3rd

M26:
B1-2: lick based in a 4th and a 3rd (cont.)
B3-4: Fmaj arpeggio

M27: Cmaj scale with passing notes

Line 10

M28: Major seconds in fourths

M29-30: lick based in a 4th and a 3rd

Line 11

M31:
B1-2: Amin7 arpeggio
B3-4: Dmin7 arpeggio

M32:
B1-2: Cmaj scale tones
B3-4: Emaj arpeggio

M33:
B1: G
B3-4: Cmaj7

[Travelrock]

G7 - Points of interest

The lick in the M18 appear in the Gmaj exercise, M14 and other places.

I wonder the sense of this 7th exercises since aren’t based in a key, like the major exercises, but in a chord. Any idea?

[FwLineberry]

I wonder the sense of this 7th exercises since aren’t based in a key, like the major exercises, but in a chord. Any idea?

I come from more of a chord/scale background, so I even see those major exercises as being based on a static chord. Those exercises were all about things you can do to play inside and outside of a maj7 chord sound.

These latest exercises are all about things you can do to play inside and outside of a dom7 chord sound.

The difference, as I see it, is that the dom7 is the V chord in the key, so its sound is never resolved until it moves to the tonic of the key. This is why I originally arranged the exercises to lead from dominant to tonic:

D7 to G major

G7 to C major

C7 to F major

F7 to Bb major

Bb7 to Eb major

Eb7 to Ab major

Ab7 to Db major

I think it's no coincidence that the author provided just the right number of exercises to allow for this arrangement.
.

[Travelrock]

I come from more of a chord/scale background, so I even see those major exercises as being based on a static chord. Those exercises were all about things you can do to play inside and outside of a maj7 chord sound.

These latest exercises are all about things you can do to play inside and outside of a dom7 chord sound.

The difference, as I see it, is that the dom7 is the V chord in the key, so its sound is never resolved until it moves to the tonic of the key. This is why I originally arranged the exercises to lead from dominant to tonic:

D7 to G major

G7 to C major

C7 to F major

F7 to Bb major

Bb7 to Eb major

Eb7 to Ab major

Ab7 to Db major

I think it's no coincidence that the author provided just the right number of exercises to allow for this arrangement.
.

Interesting ideas. I agree with you, but In this case, what is the reason for not include exercises in other scale grades, for example the IV or vii in a major key? Both are important grades.

[FwLineberry]

M8:
B1-2: Bm7(b5)
B: F arpeggio

M9:
B1: Fmaj arpeggio (cont.)
B2-4: C blues scale

...

M14:
M1-2:
M3-4: Amin7 arpeggio

MM8-9, I completely missed seeing the F major triad, there. I was too focused on all the 3rds the author used in that exercise.

It looks like we both drew a blank on what to label the first half of M14.

Most of the rest matches pretty well with only different ways of labeling the same things.


I'm ready to post C7, but I may not get to it right away.

.

[FwLineberry]

Interesting ideas. I agree with you, but In this case, what is the reason for not include exercises in other scale grades, for example the IV or vii in a major key? Both are important grades.

I'm not able to do more than speculate, but I'd guess that the other grades of the scale don't really take much more than what is covered in the major exercises. The V being a special case due to the ways it might be treated, as I posted before (altered dominants).

Also, the ii V I progression is fundamental to jazz, where other additional chords are secondary in importance.

Some aspects of the vi chord as the tonic are covered in the second volume on harmonic and melodic minor scales.

.

[FwLineberry]

C7

Line 1 -

Bar 1:

Beats 1 & 2 - Scale

Beats 3 & 4 - ''

Bar 2:

Beats 1 & 2 - ''

Beats 3 & 4 - Enclosure to...

Bar 3:

Beats 1 & 2 - First half of "6th lick"

Beats 3 & 4 - Bbmaj7 arpeggio

Line 2 -

Bar 1 (m4):

Beats 1 & 2 - Diatonic triads Gm, Am, Bb, C

Beats 3 & 4 - ''

Bar 2 (m5):

Beats 1 & 2 - ''

Beats 3 & 4 - Scale with passing tone

Bar 3 (m6):

Beats 1 & 2 - Scale

Beats 3 & 4 - 3rds (up, down)

Line 3 -

Bar 1 (m7):

Beats 1 & 2 - 4ths (down, up)

Beats 3 & 4 - 3rds (down, down)

Bar 2 (m8):

Beats 1 & 2 - Up 4th, down 3rd

Beats 3 & 4 - Dm7 arpeggio

Bar 3 (m9):

Beats 1 & 2 - Gm7 arpeggio

Beats 3 & 4 - Descending diatonic 3rds with chromatic enclosures

Line 4 -

Bar 1 (m10):

Beats 1 & 2 - ''

Beats 3 & 4 - ''

Bar 2 (m11):

Beats 1 - ''

& 2 - Variation of "3rd enclosure"

Beats 3 & 4 - ''

Bar 3 (m12):

Beats 1 & 2 - Em7b5 arpeggio

Beats 3 -Enclosure

& 4 - Bbmaj7 arpeggio

Line 5 -

Bar 1 (m13):

Beats 1 - ''

& 2 - Scale

Beats 3 & 4 -Em7b5 arpeggio

Bar 2 (m14):

Beats 1 - Enclosure

& 2 -Bbmaj7 arpeggio

Beats 3 - ''

& 4 - Scale

Bar 3 (m15):

Beats 1 & 2 - 3rd and enclosure to...

Beats 3 & 4 - 3rd and chromatic to...

Line 6 -

Bar 1 (m16):

Beats 1 & 2 - 3rd and enclosure to...

Beats 3 & 4 - Scale with passing tone

Bar 2 (m17):

Beats 1 & 2 - 3rd and enclosure to...

Beats 3 & 4 - 3rd and enclosure to...

Bar 3 (m18):

Beats 1 & 2 - Scale with passing tone

Beats 3 & 4 - Bb major pentatonic

.

[FwLineberry]

C7 continued

Line 7 -

Bar 1 (m19):

Beats 1 & 2 - ??

Bar 2 (m20):

Beats 1 & 2 - Scale

Beats 3 & 4 - C#° triad leading into...

Bar 3 (m21):

Beats 1 & 2 - Dm7 arpeggio leading into...

Beats 3 & 4 - Am7 arpeggio leading into...

Line 8 -

Bar 1 (m22):

Beats 1 & 2 - Gb major triad arpeggio

Beats 3 & 4 - Chromatic

Bar 2 (m23):

Beats 1 & 2 - Scale

Beats 3 & 4 - C Lydian dominant scale

Bar 3 (m24):

Beats 1 & 2 - ''

Beats 3 & 4 - Scale

Line 9 -

Bar 1 (m25):

Beats 1 & 2 - F major triad arpeggio

Beats 3 & 4 - Bb major triad arpeggio

Bar 2 (m26):

Beats 1 & 2 - Scale with passing tone

Beats 3 & 4 - Scale

Bar 3 (m27):

Beats 1 & 2 - Scale with passing tone

Beats 3 & 4 - C Lydian dominant scale or C h/w diminished

Line 10 -

Bar 1 (m28):

Beats 1 & 2 - C h/w diminished

Beats 3 & 4 - ''

Bar 2 (m29):

Beats 1 & 2 - ''

Beats 3 & 4 - ''

Bar 3 (m30):

Beats 1 & 2 - ''

Beats 3 & 4 - ''

Line 11 -

Bar 1 (m31):

Beats 1 & 2 - ''

Beats 3 & 4 - ''

Bar 2 (m32):

Beats 1 & 2 - Bbmaj9 arpeggio

Beats 3 - ''

& 4 - Dm7 arpeggio

Bar 3 (m33):

Beats 1 - ''

& 2 - Enclosure

Beats 3 & 4 - 3rd and enclosure into...

Bar 4 (m34):

Beat 1 - F Tonic

.

[FwLineberry]

Points of interest:


A couple of out old friends show up - the first half of the "6th lick" (m3) - and one we haven't seen for a while - "3rd enclosure" (m11). The "3rd enclosure" (5th to 4th, then chromatic up from the 2nd to the 3rd) begins with a chromatic walk-down from the 6th to the 5th, this time around.

Use of several diatonic 3rds surrounded by chromatic enclosures - mm 9-11 and mm 15-17

Measure 19 is a complete mystery to me. Why did the author include a 2/4 measure just to insert that weird augmented(?) lick in there?

MM 27-28 - it's interesting how both C Lydian dominant and C h/w diminished share six of the same notes. I was aware that the altered scale is sometimes called the diminished whole tone scale (starts out diminished, finishes whole tone), but this is the first time it occurred to me that the Lydian dominant and h/w share those same notes.

.

[Travelrock]

C7

Line 1

M1-2: F maj scale with passing tone

M3:
B1-2: 6th lick
B2-4: Bb arpeggio

Line 2

M4:
B1-2: Gmin arpeggio
B2-3: Amin arpeggio
B4: Bb arpeggio

M5:
B1: Bb arpeggio ( cont.)
B1-2: Cmaj arpeggio
B3-4: chromatic

M6:
F maj scale (1st measure but octave up

Line 3

M7: lick (the same that in Gmaj ex. mm. 11-12)

M8:
B1-2: lick (cont.)
B3-4: Dmin7 arpeggio

M9:
B1-2: Gmin7 arpeggio
B2-4: Eº scale tones

Line 4

M10: sequence starting in 3rds

M11:
B1: sequence (cont.)
B2-4: F maj scale tones with passing tones and ending in a leading tone to E

M12:
B1-2: Em7 arpeggio
B2-4: Fmaj scale tones

Line 5

M13:
B1-2: Fmaj scale tones
B3-4: Em7 arpeggio

M14:
M2-3: Bbmaj7 arpeggio

M15:
M1-2: Eº scale tones (the same that M9 but different accidentals)
M2-4: Fmaj scale tones with passing tone

Line 6

M16:
M1-3: Fmaj Bebop scale tones
M4: passing tones

M17
B1-2: Dmaj arpeggio
B3-4: repeat Fmaj Bebop scale tones octave down

M18
B1: Fmaj Bebop scale tones (cont.)
M2-3: chromatic
M4: Dmin7 arpeggio

Line 7

M19:
B1: Dmin7 arpeggio (cont.)

M20:
B1-4: Eº scale tones
B4: Dmin7 arpeggio

M21:
B1-2: Dmin7 arpeggio (cont.)
B2-4: Amin7 arpeggio

Line 8

M22:
B1-2: Db arpeggio
B2–4: chromatic

M23: Fmaj scale tones ending with a leading tone to G

M24:
B1: enclosure to G
B2-4: Gmin scale tones

Line 9

M25:
B1-2: Fmaj arpeggio
B2-3: Bb arpeggio
B4: Dmin arpeggio

M26:
B1: Dmin arpeggio (cont.)
B2-3: chromatic
B3-4: Fmaj scale tones

M27:
B1-3: Fmaj scale tones with passing tones
B3-4: Eº scale tones

Line 10

M28-30: Eº scale tones with passing tone (D)

Line 11

M31: Eº scale tones

M32:
B1-2: Fmaj scale tones
B2-3: Bb arpeggio
B4: Dmin7 arpeggio

M33:
B1: Dmin7 arpeggio (cont.)
B2: leading tone to G
B3: Gmin scale tones
B4: encosure to F

M34: F

[Travelrock]

How interesting the comparison of the two exercises. I have had an mistake in the Db arpeggio of measure 22.

I have understood the diminished scales in E (vii in Fmaj).

[FwLineberry]

How interesting the comparison of the two exercises. I have had an mistake in the Db arpeggio of measure 22.

I have understood the diminished scales in E (vii in Fmaj).

Yes, very interesting. You seem to be coming from a key center point of view while I am coming from a modal, chord/scale viewpoint. That's my rock and fusion background showing through.

Line 3

M7: lick (the same that in Gmaj ex. mm. 11-12)

Good catch on that.

M12:
B1-2: Em7 arpeggio
B2-4: Fmaj scale tones

Line 5

M13:
B1-2: Fmaj scale tones
B3-4: Em7 arpeggio

Those should be Em7b5 arpeggios. Both contain Bb.

M16:
M1-3: Fmaj Bebop scale tones

How do you spell the Fmaj Bebop scale? I know it as the F major scale with the b6 (Db) added.

M19:
B1: Dmin7 arpeggio (cont.)

I didn't see the Dmin7 arpeggio hiding there, but that 2/4 measure still makes no sense to me.

M20:
B1-4: Eº scale tones

I also didn't see the diminished scale hiding there. That spot makes a lot more sense, now.


.

[Travelrock]

Yes, very interesting. You seem to be coming from a key center point of view while I am coming from a modal, chord/scale viewpoint. That's my rock and fusion background showing through.



Good catch on that.




Those should be Em7b5 arpeggios. Both contain Bb.





How do you spell the Fmaj Bebop scale? I know it as the F major scale with the b6 (Db) added.





I didn't see the Dmin7 arpeggio hiding there, but that 2/4 measure still makes no sense to me.




I also didn't see the diminished scale hiding there. That spot makes a lot more sense, now.


.

It is very interesting that we are analyzing these exercises from both the modal and tonal perspectives, given that they are the two main lines of harmonization (and subsequent analysis) that predominate in our Western music.
I come from the background of classical music, and now I am beginning to understand the ins and outs of modal music. For example, when you write that it is a dominant Lydian scale, I really don't know what it means or the function it has in the harmonic context. But I find it interesting that at times we propose valid and complementary alternatives.

I agree with you also in the other points of your last message, included of course this m7b5 chord. It's easy to skip a note in that tangle of eighth notes!

[FwLineberry]

For example, when you write that it is a dominant Lydian scale, I really don't know what it means or the function it has in the harmonic context.

Are you familiar with how altered dominant chords work?

I'm sure you already understand the basics of how the V chord can lead to the I chord due to the tritone contained within the V chord:

C7 = C E G Bb

Fmaj7 = F A C E

E and Bb form a tritone that resolves by half step to F and A.

Altered dominant chords work by adding more potential half step movement from the V to the I chord.

Lydian dominant, for example adds another half step by raising the F in the diatonic scale to F#:

C D E F# G A Bb

Now, you have the potential for both the E resolving up a half step to F and the F# needing to resolve down a half step to F.


Where modal or chord/scale thinking comes in is seeing that F# as a raised 4th over the C7 chord rather than merely as the tonic of the key raised a half step.

The #4 has a dual purpose over the C7 chord.

Along with providing more opportunity for resolution to the I chord, it also removes the conflict of the unaltered 4th when used over the C7 chord. The F note in the diatonic scale has the potential to form an undesirable minor 9th interval with the E note in the chord. This is known as an avoid note.


The remaining altered scales - h/w diminished, altered and whole tone all work in the same manner by adding various altered tones to the V chord.

C w/h diminished keeps the F# of the Lydian dominant scale and adds more half step potential by splitting the D note into Db and D#:

C Db D# E F# G A Bb or R b9 #9 3 #11 5 13 b7 as compared to the C7 chord


C altered keeps the F#, Db and D# and adds more half step potential by combining G and A into G#:

C Db D# E F# G# Bb or R b9 #9 3 [b5 or #11] [#5 or b13] b7 as compared to the chord


The whole tone scale works like the first part of Lydian dominant (C D E F#) combined with the last part of the altered scale (F# G# Bb):

C D E F# G# Bb or R 9 3 [#11 or b5] [#5 or b13] b7 as compared to the chord.

Notice that each scale keeps the C7 shell chord intact (C E Bb)


Altered tones may be added as part of the chord suggesting which scale to use to improvise over the chord...

C7alt, C7#9, C7b9b13, etc.

...or you might find a soloist using these alterations over an unaltered C7 chord to create more tension even if that chord is not resolving to the I chord.

That's how I hear these exercises... as the author weaving in and out of the diatonic tonality over the static chord. It's only at the end of each exercise that he, finally, resolves to the tonic chord. I have yet to really study how the dominant chord exercises relate to the major exercises already covered. I'll probably be studying this book and the next in the series for years to come.

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[Travelrock]

I’m very impressed with your detailed explanation. I have to read it one more time while play on the guitar this theory and test how it sound! Thank you very much!