shapes begin to appear as inversions and
transpositions across different areas of the
fretboard. You can see Fig. 4 as an example
of how to combine two separate linear
arpeggios—both of the forms illustrated
with vertical brackets in Fig. 1 now appear
horizontally. The arpeggios appear in red
(vertically beamed lower) while the upper
beams hold melodic additions completing
the full pattern.
Once again, it’s essential to remember
that the pattern in Fig. 4 is not in any way
related to scalar or modal techniques. It is
the result of many years of familiarity with
chordal inversions, their shapes, substitutions, as well as their positions. Fig. 5 is
Often, we use inversions that embody identities that
are very recognizable. These shapes are the very skel-
etons that reside within an improvisation.
the pattern we’ve discussed when viewed in
a standard format. It includes the addition
of an Em9 as the improvisational topic
because within the pattern we have an F#,
and it suggests a shape that’s very close to
that particular chord form.
Last but not least, it’s absolutely
essential to bring to your attention that
although this particular study on pattern
construction is effective, it’s not how I
build a solo. What I’ve chosen to share is
more like the analysis of a pattern after it’s
been played. Remember, it emerged at a
moment’s notice and the most important
facets of its description hopefully convey
greater insight on alternatives, as well as
on the prerequisites that have prevailed.
I’ll see you next time!
Fig. 4
5fr
E‹7/B
T21314
wwwwww
ÊÂ
3‰
oejoe# oe# oe# oe#
‰Â
44 &
Ó
‰
oeoe
oeoe
„‚
oeoeoe oe# oeoe
·
oeoe˙
3
Fretting-hand
fingering:
4
131
34141214
34313
Em7
G6
Fig. 5
5fr
E‹ 9
44 &
2134wwww
Ó
3‰
oejoe# oe#oe# oe#
oeoe oeoeoeoeoe oe oeoeoeoe˙
3
7
˙
7
5
7
7
7875
47
4
4745
Fretting-hand
fingering:
4
131
7
46
34141214
67
3431 3
