Download Paul Gilbert Shred Camp Lessom September 2013 PDF

TitlePaul Gilbert Shred Camp Lessom September 2013
Tags Guitars Elements Of Music Chord (Music) Mode (Music)
File Size685.5 KB
Total Pages2
Document Text Contents
Page 1

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feature > PaUl GiberT’S Shred CaMP

andy Timmons
When I learned the modes I never thought
they were different scales. We’re always learn-
ing things in position but I do things that are
a lot more horizontal than vertical. To me it’s
just more lyrical and vocal sounding. What
it did for me was show me the possibilities. I
could be playing “Cry for You,” which is just
in D minor but I relate it to F major.

Fig. 1 is how I apply a modal approach
to this chord progression. It’s just diatonic
triads—D minor, C major, B% major, A
minor, G minor, F major, E dim, D

minor—just triads right down from the D
minor or F major scale.

Paul Gilbert
Give a jazz player an E7#9#5 chord and the
first thing he’ll probably do is whip out the
Super Locrian scale. Paul Gilbert’s got a more
direct way to navigate this scary-sounding
chord. “I’ve heard that term Super Locrian,
but to me it’s just the notes of this chord [plays
the E7#5#9 in Fig. 2],” says Gilbert. “A big
breakthrough for me mentally was realizing
that I don’t have to play every note in a scale.
If I leave some out and pick my favorites,

it aims the sound much more harmonically
accurate. Whereas if I play every note in the
scale you can have the right notes but you’re
not having as much harmonic intention.”

Perhaps the most common guitar voicing
of the E7#9#5 chord is played as the Jimi
Hendrix chord with an added note on the
1st string. From bottom to top the notes
are E–G#–D–G–C.

Gilbert takes the notes of the voicing and
arranges them in alphabetical order, config-
uring the notes in a finger-friendly pattern
that is shown in Fig. 3. “Instead of being
spread out in a chord voicing, here they’re

Fig. 1


D‹ C B¨ A‹ G‹ F Eº D‹


œ œ œ œ
œ œ œ œ

œ œ œ œ
œ œ œ œ

œ œ œ œ
œ œ œ œ

œ œ œ œ
œ œ œ œ

17 13


15 12


13 10


12 8


10 6


8 5


6 3


5 1


Fig. 1

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