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
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feature > PaUl GiberT’S Shred CaMP

LESSONS
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

44&b

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

14

15 12
13

12

13 10
11

10

12 8
10

9

10 6
8

7

8 5
6

5

6 3
5

3

5 1
3

2

Fig. 1

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