Preview 101322088774

The pages below are a preview/sample of
the contents of my book, Play Skillfully.

This large volume was 4 years in the making
and combines volumes 1, 2, and 3 into one
book.
Table Of Contents
INTRODUCTION............................................................................................... 1
The Purpose Of This Book..................................................................... 2
The Scope Of This Book........................................................................ 3
How To Use This Book.......................................................................... 4
Description Of Notation........................................................................... 5
Rest, Relaxation, and Rest.................................................................... 7
Finger Independence............................................................................. 9
The 6 Fret Chromatic Concept.............................................................. 11
THE MAJOR SCALES...................................................................................... 13
The 15 Major Scales.............................................................................. 14
Modes Of The Major Scale.................................................................... 20
Diatonic 7th Chords Of The Major Scale.............................................. 21
Diatonic 6th Chords Of The Major Scale............................................... 22
Fingerings Built On 6th String, 4th Finger............................................. 23
Fingerings Built On 6th String, 3rd Finger............................................. 33
Fingerings Built On 6th String, 2nd Finger............................................ 41
Fingerings Built On 6th String, 1st Finger............................................. 49
Fingerings Built On 6th String, 1st Finger-extended............................. 57
THE HARMONIC MINOR SCALES.................................................................. 121
The 15 Harmonic Minor Scales.............................................................. 122
Modes Of The Harmonic Minor Scale.................................................... 128
Diatonic 7th Chords Of The Harmonic Minor Scale............................... 129
THE MELODIC MINOR SCALES.................................................................. 227
The 15 Melodic Minor Scales.............................................................. 228
Modes Of The Melodic Minor Scale.................................................... 234
Diatonic 7th Chords Of The Melodic Minor Scale............................... 235
TYING IT ALL TOGETHER.............................................................................. 333
WHERE DO WE GO FROM HERE?............................................................... 337
Half-Tone/Whole Tone Fingerings........................................................ 338
Whole Tone/Half-Tone Fingerings........................................................ 339
Whole Tone Fingerings........................................................................ 340
Minor Pentatonic Fingerings................................................................ 341
APPENDIX...................................................................................................... 343
Modes Of The Major Scale.................................................................. 344
Diatonic 7th Chords Of The Major Scale............................................. 348
Diatonic 6th Chords Of The Major Scale............................................. 352
Modes Of The Harmonic Minor Scale................................................. 356
Diatonic 7th Chords Of The Harmonic Minor Scale............................ 360
Modes Of The Melodic Minor Scale.................................................... 364
Diatonic 7th Chords Of The Melodic Minor Scale............................... 368
Spiritual Insights
Making Tents.............................................................................................. 59
Gear Acquisition Syndrome......................................................................... 63
Musical Bookends To The Age Of Rebellion............................................. 99
Submission And Patience.......................................................................... 103
Hidden Treasure........................................................................................ 115
If I Only Had More Time To Practice!........................................................ 119
Laying On Of Hands................................................................................. 165
Jacobs Ladder.......................................................................................... 167
Playing In The Spirit.................................................................................. 169
Engaging The Holy Spirit With Your Guitar............................................... 204
Receiving................................................................................................... 207
The Meanings Behind Praise and Worship.......................................... 209
The Tabernacle Of David (Part 1).............................................................. 220
How Worship Changes A Nation................................................................ 223
The Tabernacle Of David (Part 2).............................................................. 225
Receiving Your Inheritance........................................................................ 270
Gods Glory Fills The Temple..................................................................... 274
Selah (Part 1)............................................................................................. 310
Selah (Part 2)............................................................................................. 315
The Song Is Mightier Than The Sword...................................................... 326
Hezikiah Follows Davids Example............................................................ 330
3
In order to arrive at the place where you can easily reflect your mood, your heart, your message
through your guitar, there are several areas which should be addressed concurrently. These
areas include, but are not limited to:
1. Developing strong solid technique on your instrument
2. Acquiring the tone that reflects your personality
3. Obtaining a solid grasp of music theory
4. Building a firm knowledge of the guitar fretboard
5. Amassing a large repertoire of songs and arrangements
6. Composing original songs, arrangements, solos, and ideas
7. Refining overall musicianship (e.g. timing, phrasing, improvisation, etc.)
This book primarily deals with item 4 above, building a strong knowledge of the guitar fretboard,
while at the same time strengthening technique and broadening the knowledge base of music
theory (items 1 and 3).
I would encourage you to make this book only a small portion of your musical journey. I would
spend no more than 1 hour per day on this material - or 20% of your practice time, whichever is
less. The material in this book is a means to an end, and not an end in itself. Take what you
learn in this book and apply it to the music you enjoy. The scales, modes, and arpeggios in this
book are not music - they are merely small fragments of heaven waiting to be assembled and
ingrafted into the music that is in you.
As you undertake this exhaustive study of the fretboard, be sure to continue learning new songs,
working on your tone, and developing your musicianship. For when you get down to the foundation
of great music, fretboard knowledge, music theory, and technique may be the least important of
all the items listed above. However, the acquisition and refinement of fretboard knowledge, theory,
and technique will enhance your ability to communicate on the guitar.
If you are tackling this book, you are most likely a guitarist with some significant experience
behind you. If anyone working through this material happens to be a novice or beginner, I would
strongly encourage you to first obtain a teacher or some of the many fine teaching materials on
the market today and learn to play some simple blues guitar - and learn to play with your heart
and with feeling. Once you have come to a level of being able to play with emotion, then undertake
the material in this book. Music without emotion and heart is not really music.
Due to space constraints, the scale, mode, and arpeggio fingerings presented in this book are
demonstrated using the 5th fret as a launching point for each fingering. Obviously, each fingering
pattern can be shifted to other positions up and down the fretboard to allow for playing in other keys.
The Scope Of This Book
4
Before you awaits a large amount of information and truth, eagerly awaiting being ingrafted into you.
But how to best approach this significant undertaking in a manner that is efficient and encouraging?
I recommend the following approach to mastering the several hundred fingering patterns presented
in this book.
1. Learn all the notes on the fretboard of the guitar (see appendix, page 372)
2. Learn to spell (name all of the notes within) the 15 major scales
3. Learn the fingerings of the 15 major scales (see pages 14 - 19)
4. Learn the concept of modes and diatonic chords (see pages 20 - 22)
5. Learn the 6 fret chroatic fingering concept (see page 25)
6. Memorize the fingering patterns of the major scale, its modes, and corresponding
arpeggios which are built on the 6th string.
7. Memorize the fingering patterns of the harmonic minor scale, its modes and
corresponding arpeggios which are built on the 6th string.
8. Memorize the fingering patterns of the melodic minor scale, its modes and
corresponding arpeggios which are built on the 6th string.
9. Repeat steps 6, 7, & 8 for the fingering patterns built on the 5th, then 4th strings.
But how can all those hundreds of fingerings be memorized? Fortunately, the more you memorize,
the easier it gets to memorize. Try approaching the memorization of these fingering patterns like
this:
1. Memorize your first pattern.
2. Once you have it learned well, memorize the second pattern.
3. Now play patterns one and two until you have them both down solid.
4. Now memorize the third pattern.
5. Now play patterns one, two, and three until you have them down good.
6. Continue adding one pattern at a time - each time appending the newly learned pattern
to the end of the entire list of previously memorized patterns. By the time you get to the
end of the book, you will have them all memorized with no problem.
Once you have worked on this material for about an hour, then go back to the music you enjoy and
experience a fresh release of creativity in your playing. Even if you are just noodling around with a
pentatonic scale, you will find melodies and ideas springing forth from your hands which are at a
higher level of creativity than you previously experienced.
How To Use This Book
2
When I sat down to write this book, I tried to create the book I wish someone had written for
me back when I was15 years old and an avid student of the guitar. It is my hope that the
contents and message of this book will encourage guitarists for years to come and help to
equip them in their calling as musicians - whether they play for fun at home or make their
living as a professional musician. I hope that this book will help to unlock and release the
abundant creativity that lives in us all.
As you initially flip through the pages of this volume, the amount of information may appear
overwhelming, yet I assure you that this book is simply a compilation of many simple things.
Just take in a little each day. The weeks, months, and years ahead will come and go whether
or not you are developing the gift of music which has been placed within you. Why not meet
the future with a musical and spiritual paradigm which will position you for making a great
contribution to the world.
Too much of the music being produced and heard today is the product of monetary profit, mar-
keting, computer processing, and corporate machines. The non-computerized world many of
us grew up in is quickly disappearing as a new age of technology dawns upon this planet.
The systems that enhance communication are actually isolating us from the face-to-face
encounters which have been the foundation of social interaction from the beginning of history.
Yet as our world rushes head first to who-knows-where, the power and influence of an anointed
minstrel speaking through his or her instrument will have more influence on the flavor,
atmosphere, and spiritual environment of our cultures than any of us currently realize.
I assure you that there is a vast and infinite storehouse of musical treasures waiting to be
discovered. Many of these treasures have been hidden within the scales, modes, and
arpeggios which are laid forth in this book. As you initially dig into this musical mountain, you
may feel that you are digging through solid rock, with no gold or silver in sight. However, as
you keep digging deeper, you will find what you seek. It may not look like what you thought it
would look like - it may not sound like what you thought it would sound like. Your ears, hands,
mind, and heart will undertake a journey into rooms that have not been visited for a long, long
time. May this book be a lantern to light your way as you wander these forgotten places.
The musical content of this book is not new to the scene. The concepts presented here have
been around for a long time. However, I have endeavored to present the material in such a
way as to simplify the learning process. Mastering the material in this book is not a prerequisite
to being a great guitarist - it is merely an option that is presented to you for your consideration.
In all honesty, you can take three or four chords with a simple melody and a few lines of verse
and change the world. The acquisition of musical knowledge and skill is ultimately dust in
the wind. However, the road traveled to gain that knowledge and skill is a path that will
change you from the inside out, and it will be you - God in you - that really changes the world.
Your music is simply a manifestation and presentation of all that is in your heart.
So I send this book out into the world as a seed, trusting that many strange and wonderful
vines will take root, grow tall, and bear a great harvest.
The Purpose Of This Book
5
Description Of Notation Used In This Book
As different people learn differently, I have presented the material in this book in three different
ways. Each fingering pattern is shown graphically in a block diagram, in tablature, and in stan-
dard notation - each with fingering designations.
As an example, consider the harmonic minor fingering presented below.
Block Diagrams
The block diagram shows the fingering
pattern graphically. Each note on the
neck designated by 1 would be played
by the first finger, 2 would be played
by the second finger, 3 would be
played by the third finger, and 4 would
be played with the 4th finger.
The encircled note designates the
beginning and ending point in the
fingering pattern.
The standard notation and tablature should be self-explanatory to the experienced guitarist.
The finger to be used for each note is noted below the tablature.
Finger designations
16
17
21
Diatonic 7th Chords of the Major Scales
The concept of diatonic chords is very simple. Diatonic chords are made up exclusively of
notes in a scale. For example, consider the G major scale:
By starting with the first note (G) and building a chord using every other note in the scale
(G, B, D, F#) a GM7 chord is constructed. Moving to the second note in the scale (A) and again
building a chord using every other note (A, C, E, G) produces an Am7 chord. Using this principle
to build a chord upon every note in the scale yields the following results:
When building diatonic chords using major scales, the chords built on the first and fourth notes of
the scale will always be a major 7th chords, those built on the second, third, and sixth notes in the
scale will always be minor 7th chords, those built on the fifth note in the scale will always be
dominant 7th chords, and those built on the seventh note in the scale will always be minor 7th -
flat 5 (half-diminished) chords.
Diatonic chord built on 1st note in major scale: Major 7th
Diatonic chord built on 2nd note in major scale: Minor 7th
Diatonic chord built on 3rd note in major scale: Minor 7th
Diatonic chord built on 4th note in major scale: Major 7th
Diatonic chord built on 5th note in major scale: Dominant 7th
Diatonic chord built on 6th note in major scale: Minor 7th
Diatonic chord built on 7th note in major scale: Minor 7th - flat 5
By memorizing the table above, you will be able to quickly identify and construct diatonic chords
from any major scale.
The diatonic 7th chords for each of the 15 major scales are presented in the Appendix.
25
1st Mode - Major Scale
AM7 Arpeggio A6 Arpeggio
Make His Praise glorious!
(Psalm 66:2)
Major Scale: 1st Mode (Ionian)
With Amaj7 and A6 arpeggios
Built on 6th String/4th Finger
58
2nd Mode - Major Scale
Am7 Arpeggio Am6 Arpeggio
Dont crank up and jam during sound check while the sound man is trying to set levels for the rest of the band. Rather than
impressing everyone with your licks, theyre probably wishing youd be quiet.
Major Scale: 2nd Mode (Dorian)
With Am7 and Am6 arpeggios
Built on 6th String/1st Finger Extended
122
123
135
A7 Arpeggio
Sing aloud to God our strength;
[Psalm 81:1]
Harmonic Minor Scale: 5th Mode
With A7 arpeggio
5th Mode - Harmonic Minor Scale
232
280
D7 Arpeggio
I will pray with the spirit, and I will also pray with the understanding. I will sing with the spirit, and I will also sing with the under-
standing. [I Corinthians 14:15]
Melodic Minor Scale: 4th Mode
With D7 arpeggio
4th Mode - Melodic Minor Scale
344
348

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