MELODIC CONCEPTS
Discover a multitude of ideas and concepts that can help you unlock the wonders and secrets of the guitar and everything it has to offer as a melodic instrument. Technical studies and etudes, modern improvisation concepts and technique, phrasing, melodic vocabulary development and much more.
MODERN MELODIC PHRASING AND VOCABULARY
PAINT-A-TONIC (ABSTRACT DOMINANT 7 PENTATONIC SKETCHES)
by Hristo Vitchev
In this book I present to you some of my very favorite dominant pentatonic scales through a series of abstract melodic sketches that can give you new creative ideas as to how to practice and generate interesting melodic vocabulary in a five note tonal system.
Each scale targets a specific coloration of the V7 chord; from its very basic and consonant sound to the very edgy and dissonant altered variation of this very essential harmony. Included you will find fretboard diagrams with all five mode patterns for each one of the nine scales presented here.
Each abstract sketch was designed to exploit the particular melodic hues and colors of the given scale, but once you learn it you can apply it to all the remaining scales as well. This way you will be able to end up with nine abstract sketches over each one of the nine dominant pentatonic scales presented here.
The pentatonic scales (with all their five modes) covered in the book are: Mixolydian Pentatonic, Mixolydian Pentatonic #2, Sus4(b9) Pentatonic, 7(b9) Pentatonic, 7(b9#11) Pentatonic, 7(b9b13) Pentatonic, Altered Pentatonic, 7(#9) Pentatonic, 7(b13) Pentatonic.
MELODIC METAMORPHOSIS (THE EVOLUTION OF THE MELODIC PHRASE)
by Hristo Vitchev
In this book I will be presenting a concept and methodology I use when learning and practicing new melodic vocabulary. These ideas are wonderful for developing a complete sense of the internal architecture and building blocks of any melodic line and its full implementation within each one of our own personal voices on the instrument.
I will illustrate all steps of the process by taking a very simple melodic fragment in the key of G Major. To keep things organized and to the point all examples will be presented in the same key, but keep in mind that this way of practicing can be applied to any tonal/scale system.
Using these methods we can develop an in-depth and extremely extensive study and practice program for any melodic idea we are trying to incorporate into our own musical dictionary. I believe that it is through these intense explorations and studies that we can really immerse ourselves in the very essence and musical meaning of any melodic vocabulary we are involved with and find its designated place in our own musical world.
MELODIC METAMORPHOSIS (APPLICATION OVER II-V7ALT-I PROGRESSIONS IN MINOR KEYS)
by Hristo Vitchev
In this study I will present different musical phrases that are produced by taking the concepts and methods from my book “Melodic Metamorphosis: The Evolution of the Melodic Phrase” and applying them over a ii-V7alt-i progression in the key of C minor.
I will retain the original basic melodic line that was used in the first book of this series so you can easily see its metamorphosis from a simple linear six note melody to intricate and complex intervallic lines that address each harmonic change in the progression.
Using combinations of all the 17 different metamorphosis options presented in the first book of this series, here I present 10 “ii-V7alt-i” phrases that will hopefully give you new ideas as to how to incorporate this way of practicing and melodic vocabulary development over basic chord progressions.
ENCLOSED - 10 "II-V7ALT-I" PHRASES (PENTATONIC ENCLOSURES)
by Hristo Vitchev
n this study I apply some of the enclosure concepts and ideas presented in Part II (Pentatonic Fury) of the ENCLOSED book series over basic ii-V7alt-I progressions in a major key.
These phrases are great for internalizing the concepts over standard chord progressions and developing a sense as to how to build your own improvisatory vocabulary from them.
All phrases presented in the key of C Major.
ENCLOSED - PART II (PENTATONIC FURY)
by Hristo Vitchev
The most basic explanation of an “enclosure” is the insertion of the surrounding pitches (above and below) of a selected note before the note is sounded. The relationship of these surrounding notes to the target note can be diatonic, chromatic or both. In some of the classic melodic vocabulary of the be-bop era this process was applied often on the chord tones of the various harmonic structures that were commonly used in tunes but the same process can be applied to any melodic fragment, scale, etc.
The order of the surrounding notes can also be changed. You can start with a pitch above the target note, then a pitch below the target note and then resolve to the target note. Vice-versa, you can start with a pitch located below your target note, then follow with a pitch above the selected note and finally descend to your target pitch.
The three enclosure ideas I will be working with throughout the book are diatonic step higher / chromatic step lower, chromatic step higher / diatonic step lower and diatonic step higher / diatonic step lower (than the target note).
ENCLOSED (MELODIC ENCLOSURE IDEAS FOR THE MODERN JAZZ GUITARIST)
by Hristo Vitchev
The most basic explanation of an “enclosure” is the insertion of the surrounding pitches (above and below) of a selected note before the note is sounded. The relationship of these surrounding notes to the target note can be diatonic, chromatic or both. In some of the classic melodic vocabulary of the be-bop era this process was applied often on the chord tones of the various harmonic structures that were commonly used in tunes but the same process can be applied to any melodic fragment, scale, etc.
The order of the surrounding notes can also be changed. You can start with a pitch above the target note, then a pitch below the target note and then resolve to the target note. Vice-versa, you can start with a pitch located below your target note, then follow with a pitch above the selected note and finally descend to your target pitch.
Another way to use enclosures is to surround a “non-diatonic” note with pitches that are diatonic (fit within the harmony or scale system at play). I call this type of melodic ornamentation “Negative Enclosures” as it shifts the focus of the melodic cadence from the inside/consonant character of the harmony or scale to its outside/dissonant side. The “Negative Enclosures” are a great tool that can be used to create a more modern “outside” sound even when playing over basic major and minor sonorities.
NONLINEAR 9TH ARPEGGIOS (PART II)
by Hristo Vitchev
In this study I cover some of my favorite ways to construct "nonlinear" 9th arpeggios throughout the entire range of the fretboard. These shapes are great to expand your intervallic playing and improvisational vocabulary as well as improve your melodic technique and articulation.
The study covers the basic 4 chord types: Major 9, Dominant 9, Minor 9, and Half-Diminished 9 with a 3rd intervallic variation (expanding on the two already covered in the first volume of this series) and all harmonic inversions.
NONLINEAR 9TH ARPEGGIOS (PRACTICE GUIDE & PATTERNS)
by Hristo Vitchev
In this book I cover some of my favorite ways to construct "nonlinear" 9th arpeggios throughout the entire range of the fretboard. These shapes are great to expand your intervallic playing and improvisational vocabulary as well as improve your melodic technique and articulation.
The book covers the basic 4 chord types: Major 9, Dominant 9, Minor 9, and Half-Diminished 9 in two different intervallic variations and all harmonic inversions.
I also present different tonal exercises that are great for the internalization and assimilation of the material.
MELODIC SPIRALS (10 II-V7ALT-I PHRASES)
by Hristo Vitchev
In this study I present the implementation of the material from my "10 Tonal Exercises (Volume 5: spirals)" book over a ii-V7alt-i progression in a minor key.
Here I extract the melodic spirals from 3 different melodic minor scales and create fun and challenging intervallic lines that can serve as great technical exercises and can also further expand you improvisatory vocabulary.
All phrases are presented in the key of C minor.
ALTERED DUALITY VOLUME 2 (MELODIC MINOR) - APPLICATION OVER "II-V7ALT-I" PROGRESSIONS IN MINOR KEYS.
by Hristo Vitchev
In this study I will be demonstrating how to apply the melodic concepts covered in “Altered Duality Volume 1” in constructing interesting phrases and lines over "ii-V7alt-i" progressions in minor keys.
We can divide the melodic minor set of 7 notes into two different sonorities that do not share a single note in common. With having two contrasting colors over each harmony we can create a very interesting and colorful sound when utilizing all possible inversions and voice- leading options between the pairs.
I invite you to explore this concept and find your own musical personality within it. Have fun!
All examples are presented in the key of C minor.
ALTERED DUALITY VOLUME 1 (MELODIC MINOR) - APPLICATION OVER DOMINANT 7 CHORDS.
by Hristo Vitchev
In this study I will be exploring a concept I use often when playing melodically over altered dominant chords. As such chords belong diatonically on the seventh degree of a melodic minor scale we can divide the set of 7 notes into two different sonorities that do not share a single note in common.
We can extract an "augmented triad" from the 7th degree of the scale and a "minor 7" chord from the 2nd degree. To me the augmented triad displays one of the brightest sound colors and the minor 7 chord brings to the table a dark and silky flavor.
This way of dividing the sound of the melodic minor scale in two contrasting melodic units has always been very attractive to me as it presents us with a vast array of melodic possibilities and improvisational vocabulary. With the use of all inversions of both harmonies (arpeggios) the potential for melodic sequences and motif development is impressive.
SHORT MELODIC SKETCH #10 (DAILY PRACTICE IDEAS AND PHRASES) - "FIERY TRIPLETS"
by Hristo Vitchev
With the material presented here I seek to illustrate some of the ideas and ways in which I like to practice and develop both the melodic and harmonic characters of the instrument.
These are very short phrases that combine different melodic/harmonic and technical elements to make for a fun, musical and challenging way to practice.
Sketch #10 uses melodic concepts from my book "Opposite Sonorities" to create an inside/outside balanced phrase over a Gmin9(11) harmony.
10 INSIDE / OUTSIDE MELODIC PHRASES (II-V7ALT-I)
by Hristo Vitchev
In this study I want to demonstrate how I apply the concepts from my recently released book “Opposite Sonorities Volume 1 - Melodic Contradiction” (which I co-wrote with Ezequiel Ocampo) to produce interesting ii-V7alt-I melodic vocabulary that navigates between the “inside” and “outside” character of each harmony.
The goal here is to try to visualize and find the closest modes/inversions of each original minor pentatonic scale and its "opposite" major counterpart so that you can maintain the smoothest and most efficient voice-leading when you switch between these opposing sonorities.
All examples in the study are in the key of C major so the chords are Dmin7, G7 and Cmaj7.
OPPOSITE SONORITIES - VOLUME 1 (MELODIC CONTRADICTION)
by Hristo Vitchev and Ezequiel Ocampo
Finding different ways to play “outside” the harmony and express different levels or density of tension against any given chord has been for long a major quest of every serious improviser.
In this book we seek to illustrate an approach that can easily give any guitarist the access to the two opposing personalities of every sonority. The consonant or "inside" side and the dissonant or "outside" side.
The concepts and ideas presented in Volume 1 strictly deal with melodic playing and implementation on the instrument but we will be covering all harmonic applications of these ideas and concepts in subsequent volumes in the series.
SHORT MELODIC SKETCH #9 (DAILY PRACTICE IDEAS AND PHRASES)
by Hristo Vitchev
With the material presented here I seek to illustrate some of the ideas and ways in which I like to practice and develop both the melodic and harmonic characters of the instrument.
These are very short phrases that combine different melodic/harmonic and technical elements to make for a fun, musical and challenging way to practice.
Here is one of my favorite ways to practice intervals of an octave with hammer-ons and pull-offs.
SHORT MELODIC SKETCH #8 (DAILY PRACTICE IDEAS AND PHRASES)
by Hristo Vitchev
With the material presented here I seek to illustrate some of the ideas and ways in which I like to practice and develop both the melodic and harmonic characters of the instrument.
These are very short phrases that combine different melodic/harmonic and technical elements to make for a fun, musical and challenging way to practice.
Here is a highly intervallic phrase over a Cmin7 | G7alt minor "V-i" resolution.
SHORT MELODIC SKETCH #7 (DAILY PRACTICE IDEAS AND PHRASES)
by Hristo Vitchev
With the material presented here I seek to illustrate some of the ideas and ways in which I like to practice and develop both the melodic and harmonic characters of the instrument.
These are very short phrases that combine different melodic/harmonic and technical elements to make for a fun, musical and challenging way to practice.
Here is a phrase that uses a lot of 4ths across different string groups and works on "pull-off and hammer-on" techniques in the left hand.
SHORT MELODIC SKETCH #6 (DAILY PRACTICE IDEAS AND PHRASES)
by Hristo Vitchev
With the material presented here I seek to illustrate some of the ideas and ways in which I like to practice and develop both the melodic and harmonic characters of the instrument.
These are very short phrases that combine different melodic/harmonic and technical elements to make for a fun, musical and challenging way to practice.
Here is a line that works great on developing a very even and articulated "pull-off" technique in the left hand, especially when the melodic line skips in large intervals.
SHORT MELODIC SKETCH #5 (DAILY PRACTICE IDEAS AND PHRASES)
by Hristo Vitchev
With the material presented here I seek to illustrate some of the ideas and ways in which I like to practice and develop both the melodic and harmonic characters of the instrument.
These are very short phrases that combine different melodic/harmonic and technical elements to make for a fun, musical and challenging way to practice.
Here is a line that works great on developing a very even and articulated "hammer-on" technique in the left hand, especially when the melodic line skips in large intervals.
SHORT MELODIC SKETCH #4 (DAILY PRACTICE IDEAS AND PHRASES)
by Hristo Vitchev
With the material presented here I seek to illustrate some of the ideas and ways in which I like to practice and develop both the melodic and harmonic characters of the instrument.
These are very short phrases that combine different melodic/harmonic and technical elements to make for a fun, musical and challenging way to practice.
Here is a phrase over an A9sus4 harmony that uses variations of a "1-2-6" pattern (root, second, sixth from the starting note).
SHORT MELODIC SKETCH #3 (DAILY PRACTICE IDEAS AND PHRASES)
by Hristo Vitchev
With the material presented here I seek to illustrate some of the ideas and ways in which I like to practice and develop both the melodic and harmonic characters of the instrument.
These are very short phrases that combine different melodic/harmonic and technical elements to make for a fun, musical and challenging way to practice.
Here is a line combining Bb minor pentatonic and Ab melodic minor scales with a lot of jumps and string skips over a G7alt chord.
SHORT MELODIC SKETCH #2 (DAILY PRACTICE IDEAS AND PHRASES)
by Hristo Vitchev
With the material presented here I seek to illustrate some of the ideas and ways in which I like to practice and develop both the melodic and harmonic characters of the instrument.
These are very short phrases that combine different melodic/harmonic and technical elements to make for a fun, musical and challenging way to practice.
Here is an intervallic line composed of G Dorian and interweaved with Ab Dorian to create tension over a Gmin9(11) chord.
SHORT MELODIC SKETCH #1 (DAILY PRACTICE IDEAS AND PHRASES)
by Hristo Vitchev
With the material presented here I seek to illustrate some of the ideas and ways in which I like to practice and develop both the melodic and harmonic characters of the instrument.
These are very short phrases that combine different melodic/harmonic and technical elements to make for a fun, musical and challenging way to practice.
Here is a line composed of B minor pentatonic and D major scale ideas over a Gmaj9(#11)/B chord.
10 FRAGMENTED "5 NOTE GROUPINGS" II-V7-I PHRASES
by Hristo Vitchev
The melodic ii-V7-I phrases presented here are constructed using various fragments of the "5 note groupings" melodic motifs presented in my "10 Tonal Exercises Volume 2 (melodic) - 5 Note Groupings" book. In this practice guide you can experience the diverse and harmonically rich sound that can be achieved using this simple concept as well as the interesting improvisational vocabulary that can be developed by its incorporation into your own playing style.
The ii-V7-I progression is presented in the key of C major. I am extracting the 5 note groupings from the key of C (over the Dmin7 chord), the key of Ab melodic minor (over the G7alt chord) and the key of G (over the Cmaj7 chord).
ADD9 1ST INVERSION TRIADIC ARPEGGIOS (MAJOR / MELODIC MINOR)
by Hristo Vitchev
The Add9 triadic arpeggio patterns and exercises presented in this book offer a very unique and comprehensive way to look at the fretboard through a vertical, horizontal and diagonal perspective.
These melodic fragments not only serve as fundamental building blocks for the modern jazz guitar vocabulary but also stress quite a few different areas of technical practice on the instrument.
All exercises are presented in the key of F major and F melodic minor.
"MELODIC SYMMETRY" PART 1: THE DOMINANT CHORD
by Hristo Vitchev
The material presented in this book is something that I have been quite fascinated with ever since I started playing guitar. The magic and wonders of the melodic geometry and the movement and inversion of symmetrical patterns and shapes over the guitar fretboard has always captivated my inner muse and sparked my creativity. Here I want to offer you some of the melodic structures and their symmetrical movement and usage over the Dominant chord.
All examples in this book are based on a G7 chord so you can compare their architecture and sound much easier. Most all patterns are constructed using different kinds of triads witha heavy emphasis on the augmented sonorities.
Physically all patterns share the “2-1-2” melodic split which I find to be one of the most ergonomic and comfortable ways to move throughout the neck. It basically means that there will always be two notes on a string followed by one note on the next string and then the pattern keeps repeating. These melodic symmetries are also designed to effortlessly dance between the diatonic extensions of a dominant chord (9, 11, 13) and its more dissonant and tense alterations(b9, #9, #11/b5, #5/b13).
MODERN LINES #1 (MELODIC IDEAS AND PHRASES FOR THE CONTEMPORARY GUITARIST)
by Hristo Vitchev
In this melodic study series my main goal is to present different phrases and ideas that showcase more of the widely-intervallic and highly angular characteristics of a melody which are considered by many as the essential elements of the so-called “modern” style of melodic improvisation within the jazz idiom.
In Part 1 I present two different modern lines (and all their modal and fretboard position diatonic transpositions) which rely heavily on the interval of a 4th in their melodic architecture. Each line is composed of a few different “modern melodic fragments” that can be isolated and practiced on their own and can serve us in the development of new improvisatory vocabulary.
As the lines are strictly composed using a 16th note melodic density (4-note melodic groupings per beat) you can extract any one or two beats of any of the melodic ideas presented here and end up with separate 4 or 8 note melodic groupings that can be practiced as individual exercises.
Materials Included: PDF of "Modern Lines #1" (TAB and Standard Notation). Two Backing Tracks - #1 in the key of G Major and #2 in the key of D Major.
TRITONE WEAVER (MELODIC IDEAS FOR CREATING TENSION AND RELEASE)
by Hristo Vitchev
In this book and video masterclass I want to share with you some of the great ways in which we can use Tritone relationships to create intricate and melodically rich phrases over dominant 7, minor 7 and Major 7 harmonies.
By moving our melodic production tool of choice (arpeggio, pentatonic, major or melodic minor scales) a tritone away and super-imposing it over the original harmony we would be able to access a whole new set of colors and tonal flavors which can give us the essential critical mass necessary to create tension and release (dissonance/consonance) over any harmonic landscape.
The two accompanying video masterclasses: “Technical Studies and Concepts” and “Phrase Anatomy and Construction” cover all the necessary theory, implementation and logic behind this method for melodic improvisation.
The book presents 5 specifically designed phrases for each chord type (major 7, minor 7 and dominant 7) and each one is loaded with many intricate melodic ideas and sub-phrases that can be extracted and studied on their own. You could easily isolate a single beat or two and use the resulting 4 or 8 note grouping as a separate exercise and intervallic study that could be transposed through all positions and string sets of the instrument.
GEOMETRY OF MELODIC TENSION (A NEW APPROACH TO OUTSIDE PLAYING) ALTERED POLYGONS: MINOR PENTATONIC
by Hristo Vitchev
In this study I want to present a unique method for introducing tension/dissonance to a melodic line that I have been developing over the years. This approach to “outside playing” is based purely on the geometry and visual architecture of what I call “altered polygons” (abstract geometrical shapes that can be easily recognized on the fretboard) and does not particularly relate to the conventional harmonic principles and teachings of the western music tradition.
In Part 1I will be presenting these ideas as applied to the minor pentatonic scale. All examples presented here are based on the G minor pentatonic and so their usage can be applied over a wide variety of harmonic structures and chord changes. Basically speaking, you can use these outside lines and phrases over any chord where you would usually solo using the G minor pentatonic. Some of these basic harmonies can be: Gmin7, Cmin7, Fmin7, F7sus4, C7sus4, C7, G7, Bb7, Bbmaj7, Ebmaj7, E7alt, Abmaj7#11, Dmin7(b5), etc.
Materials Included: GEOMETRY OF MELODIC TENSION study (PDF file - TAB and Standard Notation). Backing Track (Gmin9 harmony). 35 mins. "HD Video" Tutorial Masterclass. "HD Video" of excerpts from the study.
Watch Sample Video
GEOMETRY OF MELODIC TENSION - MODERN II-V7-I PHRASES (USING ALTERED POLYGONS - MINOR PENTATONIC)
by Hristo Vitchev
In this short study and video masterclass I present to you a few different ideas for building modern ii-V7-I phrases using the concepts from my book “Geometry of Melodic Tension: A New Approach to Outside Playing.”
All melodic lines presented here are constructed using only minor pentatonic scales and the “Altered Polygons” that are found within them. This approach to “outside playing” is based purely on the geometry and visual architecture of what I call “altered polygons” (abstract geometrical shapes that can be easily recognized on the fretboard) and does not particularly relate to the conventional harmonic principles and teachings of the western music tradition.
In the short accompanying tutorial video I deconstruct each phrase and talk in detail about its architecture, chord-scale relationships and the different degrees of consonance/dissonance over each harmony. All examples are presented in the key of C major.
Materials Included: GEOMETRY OF MELODIC TENSION - "Modern ii-V7-I Phrases" (PDF file - TAB and Standard Notation). Backing Tracks (ii-V7-I Progression in C Major): At tempo and slowed down. 45 mins. "HD Video" Tutorial Masterclass.
Watch Sample Video
SHORT MELODIC SKETCH #11 "DIATONIC ORBITS"
by Hristo Vitchev
With the material presented here I seek to illustrate some of the ideas and ways in which I like to practice and develop both the melodic and harmonic characters of the instrument. These are very short phrases that combine different melodic/harmonic and technical elements to make for a fun, musical and challenging way to practice.
Sketch #11 uses melodic concepts from my soon to be released book "Triad Quilt" which explores the different phrasing possibilities of Maj9 triads in a "3125" degree sequence.
Materials Included: Short Melodic Sketch #11 Study (PDF file - TAB and Standard Notation). Backing Track (Amin9 harmony). HD Video of the melodic phrase at tempo and slowed down.
TRIAD QUILT - CREATIVE ADD9 TRIAD (3125) EXERCISES AND PHRASES
by Hristo Vitchev
In this study I present to you a melodic approach to practicing and internalizing diatonic add9 triads all over the fretboard. The particular triadic sequence I will be exploring is the 3125 - third, root, ninth (second) and fifth. I find these 4 note structures to be of essential value for the modern improvisatory vocabulary and also very useful as technical practice material.
The study consists of eight different exercises and phrases which are specifically designed to showcase interesting and creative passages than can be achieved with the combination of simple add9 diatonic triads. Each one of these phrases is then explored fully all over the instrument in all string sets and mode (key) positions.
In the accompanying video you will be able to see and hear each phrase at tempo as well as slowed down. All examples are presented in the key of G major but I strongly advise to practice in all 12 keys as well as different scale systems; melodic minor, harmonic minor, etc.
Materials Included: TRIAD QUILT - Creative Add9 Triad (3125) Exercises and Phrases book (PDF file - TAB and Standard Notation). HD Video/Audio of all exercises and phrases at tempo and slowed down. Backing track.
TRIAD QUILT II-V-I PHRASES (MINOR KEYS) - CREATIVE "MELODIC MINOR" ADD9 TRIAD (3125) MELODIC VOCABULARY
by Hristo Vitchev
In this study I present a few different ways in which one can apply the concepts from my “TRIAD QUILT - Creative Add9 Triad (3125) Exercises and Phrases” book to create intricate modern sounding melodic ideas and passages over a ii-V-i progression in a minor key.
Here I am exclusively using such concepts within the melodic minor scale as it is one of the great tools we have when playing over the three different chords of our minor ii-V-i. These melodic ideas are not only great to expand your improvisatory vocabulary but they are extremely helpful for developing great technique and finger independence as they present unique set of challenges for both hands.
In the accompanying video you will be able to see and hear each phrase at tempo as well as slowed down.
All examples are presented over a ii-V-i progression in the key of C minor but I strongly advise to transpose and practice these phrases in all 12 keys.
Materials Included: TRIAD QUILT ii-V-i Phrases Study (PDF file - TAB and Standard Notation). HD Video/Audio of all Phrases (At Tempo and Slowed Down). Backing tracks (At Tempo and Slowed Down).
TRIAD QUILT VOL. 2 (TRIADIC HELIXES)
by Hristo Vitchev
This study is a continuation to Volume 1 of my Triad Quilt book series. Here we continue the evolution of the melodic approach to practicing and internalizing diatonic add9 triads all over the fretboard with the addition of one more pattern - the 5312 (fifth, third, root and ninth/second). I find these two sets of 4 note structures to be of essential value for the modern improvisatory vocabulary and also very useful as technical practice material.
Most of the exercises concentrate on the contrast (between two different tonal centers or diatonic/chromatic passages) that is needed to achieve a colorful, dense and harmonically rich melodic palette which one could apply over a variety of different harmonies and chordal movements.
In the accompanying tutorial video I will be demonstrating (step-by-step) the concepts behind this approach for building melodic vocabulary as well as the particular architecture, construction and possible application of each and every exercise and phrase. Also, I will be presenting different ideas and ways in which I like to practice the material in order to make its internalization on the instrument more efficient and comfortable.
Materials Included: TRIAD QUILT Vol. 2 (Triadic Helixes) book (PDF file - TAB and Standard Notation). 60 minutes "HD Video Masterclass." Backing track.
Watch Sample Video
TRIAD QUILT - 2 NON-FUNCTIONAL MINOR CYCLE EXAMPLES
by Hristo Vitchev
Through these short melodic phrases I want to demonstrate how one can use the material from my TRIAD QUILT Vol. 2 (Triadic Helixes) book when traversing fast and non-functional harmonic landscapes.
These "triadic helixes" are ideal improvisatory material when your melodic line needs to make sharp twists and turns over dense chordal passages. Here I am illustrating how you can apply them in one physical position of the guitar while moving through a chord progression composed on minor 7 chords in minor 3rd intervals for the most part.
Materials Included: TRIAD QUILT - 2 Non-Functional Minor Cycle Examples (PDF file - TAB and Standard Notation). HD Video of both melodic phrases at tempo.
TRIAD QUILT (FAST II-V7-I-VI7 HELIXES)
by Hristo Vitchev
In this short study I want to demonstrate how we can apply the techniques and concepts presented in my book Triad Quilt (volume 1 & 2) to build interesting ii-V7-I-VI7 phrases at faster tempos.
These triadic helixes are among some of the best tools we have for the swift adaptation a melodic line needs to undertake in order to fluently traverse through the sharp twists and turns of a chord progression at fast and burning tempos. To simplify things all seven (4 measure) phrases included in this study are presented over a ii-V7-I-VI7 progression in the key of C major. However, once you get an idea as to how these lines are constructed I encourage you to experiment with building your own and taking them through all 12 keys. The extraction of the triadic helixes will come from the major scale over the ii-7 and Imaj7 chords and the melodic minor scale over the altered dominants which function as the V7 and VI7 chords. Specific and in-detail instructions are included with each example. The accompanying video contains all triadic helixes performed at tempo and then slowed down.
Materials Included: TRIAD QUILT (Fast ii-V7-I-VI7 Helixes) Study (PDF file - TAB and Standard Notation). HD Video/Audio of all Phrases (At Tempo and Slowed Down). Backing tracks (At Tempo and Slowed Down).
Watch Sample Video
SHORT MELODIC SKETCH #13 - 4X4 (MODERN MELODIC PHRASING USING INTERVALS OF A 4TH)
by Hristo Vitchev
In this short melodic exercise I present a phrase over a Cmin7 harmony which is constructed by mainly using perfect 4th intervals from the C Dorian Mode.
Playing fourths on the guitar at fast tempos presents quite a few technical challenges as such intervals are always located on top of each other on two adjacent strings. Their clean execution and tonal control is something that requires a lot of practice.
So here I am sharing with all of you a few lines that exemplify how I like to partition the mode in fourths and where to position the notes on the fretboard.
Materials Included: Short Melodic Sketch #13 (PDF file - TAB and Standard Notation). "HD Video" of the Phrase (at tempo and slowed down). Backing Tracks (fast and slow version).
Watch Sample Video
SHORT MELODIC SKETCH #14 - 4X4 (OFFROAD PENTATONICS II-V7-I)
by Hristo Vitchev
In this short melodic exercise I present a phrase over a ii-V7-I progression in a major key which is constructed by mainly using perfect 4th intervals extracted from different minor pentatonic scales that work melodically over each one of the three harmonies.
Over the Dmin7 chord I am using the A minor pentatonic. Over the G7alt chord I am using the Bb minor pentatonic and over the tonic chord (Cmaj7) I am using the B minor pentatonic.
Playing fourths on the guitar at fast tempos presents quite a few technical challenges as such intervals are always located on top of each other on two adjacent strings. Their clean execution and tonal control is something that requires a lot of practice. So here I am sharing with all of you these lines that exemplify how I like to partition the pentatonic mode fingerings in fourths and where to position the notes on the fretboard.
Materials Included: Short Melodic Sketch #14 (PDF file - TAB and Standard Notation). "HD Video" of the Phrase (at tempo and slowed down).
Watch Sample Video
SHORT MELODIC SKETCH #15 - 4X4 (INTERSTELLAR BLUES)
by Hristo Vitchev
In this short melodic exercise I continue my exploration of modern melodic phrasing on the guitar using the interval of a 4th as the primary building block and architectural element of the melodic line.
This time around I am applying some of the concepts covered in Short Melodic Sketch #13 and #14 over the harmonic progression and form of a C minor blues.
Playing fourths on the guitar at fast tempos presents quite a few technical challenges as such intervals are always located on top of each other on two adjacent strings. Their clean execution and tonal control is something that requires a lot of practice.
So here I am sharing with all of you these lines that exemplify how I like to partition the melodic minor, major scale and pentatonic mode fingerings in fourths and where to position the notes on the fretboard. Hope you enjoy it!
Materials Included: Short Melodic Sketch #15 (PDF file - TAB and Standard Notation). "HD Video" of the Phrase (at tempo and slowed down).
Watch Sample Video
SHORT MELODIC SKETCH #16 - 4X4 (ALTERED SPACE)
by Hristo Vitchev
In this short melodic exercise I continue my exploration of modern melodic phrasing on the guitar using the interval of a 4th as the primary building block and architectural element of the melodic line.
This time around I am exploring the possible sonic textures that fourths can produce when "stepping out" over minor chords. For this purpose I am combining intervals of a 4th from the Dorian mode or minor pentatonic of the selected chord with 4ths from a minor pentatonic scale a half step higher as well as the melodic minor scale that contains the V7alt chord of my minor tonic.
Playing fourths on the guitar at fast tempos presents quite a few technical challenges as such intervals are always located on top of each other on two adjacent strings. Their clean execution and tonal control is something that requires a lot of practice.
So here I am sharing with all of you these lines that exemplify how I like to partition the melodic minor, major scale and pentatonic mode fingerings in fourths and where to position the notes on the fretboard.
Materials Included: Short Melodic Sketch #16 (PDF file - TAB and Standard Notation). "HD Video" of the Phrase (at tempo and slowed down).
Watch Sample Video
SHORT MELODIC SKETCH #17 - 4X4 (GENTLE TENSION) - MELODIC MINOR AND THE ALTERED DOMINANT
by Hristo Vitchev
In this short melodic exercise I continue my exploration of modern melodic phrasing on the guitar using the interval of a 4th as the primary building block and architectural element of the melodic line.
In this study I am exploring the possible sonic textures that fourths can produce over Altered Dominant chords when extracted from the melodic minor scale that contains such harmony as its 7th degree (Super-Locrian).
Playing fourths on the guitar at fast tempos presents quite a few technical challenges as such intervals are always located on top of each other on two adjacent strings. Their clean execution and tonal control is something that requires a lot of practice. So here I am sharing with all of you these lines that exemplify how I like to partition the melodic minor and its different mode fingerings in fourths and where to position the notes on the fretboard.
Materials Included: Short Melodic Sketch #17 (PDF file - TAB and Standard Notation). "HD Video" of the Phrase (at tempo and slowed down). Backing Track (F#7alt).
Watch Sample Video
NONLINEAR QUARTAL ARPEGGIOS (MINOR)
by Hristo Vitchev
In this short melodic study I explore a few different ways in which we can play nonlinear extended minor arpeggios(including the 9th, 11th and 13th of the chord) using the interval of a 4th as the primary building block and architectural element of the melodic line.
Playing fourths on the guitar at fast tempos presents quite a few technical challenges as such intervals are always located on top of each other on two adjacent strings.
Their clean execution and tonal control is something that requires a lot of practice and preplanning so that we have a great sense as to where and how we can position/finger these intervals.
Hopefully these short examples can give you some new ideas to explore in your own practice routines.
Materials Included: Nonlinear Quartal Arpeggios study (PDF file - TAB and Standard Notation). "HD Video" of All Phrase (at tempo and slowed down). 4 Backing Tracks.
MODAL QUADRANGULATION (MELODIC PHRASES AND EXERCISE IDEAS USING INTERVALS OF A 4TH)
by Hristo Vitchev
In this study I am concentrating on the usage of the interval of a 4th as the main unit in the construction of modern melodic phrases and ideas. Furthermore, my goal is to explore the combination of this wonderful interval with diatonic seconds and thirds in order to create melodic passages that are not only modern and engaging to the ear but also provide us with physical structures and an architecture that can be comfortable and efficient to move over the entire range of the fretboard.
Here I have reduced most of my vast quartal exploration on the guitar to two main physical motions (nuclei) which in my opinion present the most optimal inclusion of the interval of a 4th within a simple and melodically interesting short motif. From there I am presenting 19 different ways in which these two motifs can be developed into creative and complex large scale modern melodic phrases that encompass the entire range of the instrument.
Materials Included: MODAL QUADRANGULATION - Melodic Phrases and Exercise Ideas using Intervals of a 4th (73 pages PDF file - TAB and Standard Notation). 30 mins. HD "Video Masterclass." All Phrases (At Tempo/Slowed Down) "HD Video." 3 Backing Tracks (Slow / Medium / Fast).
Watch Sample Video
MODAL QUADRANGULATION (CYBORG CYCLE - SHORT MELODIC ETUDE)
by Hristo Vitchev
In this short melodic etude I illustrate how we can apply all the concepts and ideas presented in my book: MODAL QUADRANGULATION (Melodic Phrases and Exercise Ideas using Intervals of a 4th) over a harmonic cycle between two minor sonorities a minor 3rd apart.
This type of modern melodic phrasing, which uses the interval of a 4th as the primary building block and architectural element of the melodic line is ideal for covering intricate harmonic movements and responding to the swift turns and twists of such sonic changes.
The cycle consists of a Gmin7 and Bbmin7 chords which rotate every two beats. This etude is also ideal for endurance, stamina and finger independence.
Materials Included: "Cyborg Cycle" Etude (PDF file - TAB and Standard Notation). "HD Video" of the Etude (at tempo and slowed down). 3 Backing Tracks (Slow / Medium / Fast).
Watch Sample Video
MODAL QUADRANGULATION (ALTERED QUADRANT - SHORT MELODIC SKETCH)
by Hristo Vitchev
In this short melodic sketch I illustrate how we can apply all the concepts and ideas presented in my book: MODAL QUADRANGULATION (Melodic Phrases and Exercise Ideas using Intervals of a 4th) over a Dominant 7th altered harmony.
The phrase combines Modal Quadrangulation melodic cells from the C minor pentatonic and Bb melodic minor scales and it is applied over an A7alt.
This type of modern melodic phrasing, which uses the interval of a 4th as the primary building block and architectural element of the melodic line is ideal for covering intricate harmonic movements and responding to the swift turns and twists of such sonic changes. This short phrase is also ideal for practicing technique and finger independence.
Materials Included: "Altered Quadrant" Short Melodic Sketch (PDF file - TAB and Standard Notation). "HD Video" of the Phrase (at tempo and slowed down). 2 Backing Tracks (Slow / Fast).
Watch Sample Video
MODAL QUADRANGULATION (MINOR QUADS - SHORT MELODIC ETUDE)
by Hristo Vitchev
In this short melodic etude I illustrate another of my favorite ways to practice the concepts and ideas presented in my book: MODAL QUADRANGULATION (Melodic Phrases and Exercise Ideas using Intervals of a 4th) over a cycle of 4ths with "minor 7" chords.
This type of modern melodic phrasing, which uses the interval of a 4th as the primary building block and architectural element of the melodic line is ideal for covering intricate harmonic movements and responding to the swift turns and twists of such sonic changes. The goal of this type of exercising is to try to create a continuous line that uses the concept or phrasing idea that we are working on and that will revolve through all 12 keys of a selected type of harmony. In this case I have selected a minor 7 sonority as the foundation of my cycle of 4ths.
This etude is also ideal for endurance, stamina and finger independence.
Materials Included: "Minor Quads" Etude (PDF file - TAB and Standard Notation). "HD Video" of the Etude (at tempo and slowed down). 2 Backing Tracks (Slow / Fast).
SYMMETRIC BOOMERANG ARPEGGIOS (MINOR)
by Hristo Vitchev
In this short melodic study I present a great way to play minor arpeggios using a 2 note per string melodic split. This produces very easy and symmetric fingering patterns that repeat each two strings throughout the entire range of the fretboard. The intervallic structure of the arpeggios also evolves from 3rds (lower register) to 4ths (higher register) as we transition past the 4th and/or 3rd string on the instrument.
This way we can make the higher register have wider intervals within the arpeggio pattern and in turn this lets us access a different order of the chord tones/extensions of the harmony.
The study consists of 4 main arpeggio patterns (in 3 octaves) that cover the root position, 1st, 2nd and 3rd inversions of a minor chord and within each pattern I am presenting 3 different technical exercises (4 Note Sequences, Percussive Hammers and Twisted Arches) that will help with technique development, finger independence and the faster implementation of the material within musical lines and phrases that you can use in your improvisations.
Materials Included: Symmetric Boomerang Arpeggios (minor) study (PDF file - TAB and Standard Notation). "HD Video" of All Phrase (at tempo and slowed down). 4 Backing Tracks.
Watch Sample Video
SYMMETRIC BOOMERANG ARPEGGIOS (SHORT MELODIC SKETCH - MINOR 3RD CYCLES)
by Hristo Vitchev
In this short melodic sketch I illustrate how to apply the material covered in my study Symmetric Boomerang Arpeggios (minor) to produce modern sounding phrases over a non-functional "minor 3rd" harmonic cycle with minor chords. (Gmin7 to Bbmin7)
The 2 notes per string melodic split that these arpeggio fingerings utilize is very efficient for swift and fast harmonic changes and as the arpeggio architecture changes to intervals of a 4th on its higher register, any melodic sequence within the fingering also benefits from a flavor change as the phrase evolves.
Materials Included: Symmetric Boomerang Arpeggios (Minor 3rd Cycles) study (PDF file - TAB and Standard Notation). "HD Video" of The Melodic Phrase (at tempo and slowed down). 3 Backing Tracks.
SYMMETRIC BOOMERANG ARPEGGIOS (ALTERED)
by Hristo Vitchev
In this short melodic study I present a great way to play altered dominant arpeggios using a 2 note per string melodic split. This produces very easy and symmetric fingering patterns that repeat each two strings throughout the entire range of the fretboard. The intervallic structure of the arpeggios combines intervals of a 3rd (mainly in the lower register) and 4th (mainly in the higher register) encompassing the entire range of the instrument.
The study consists of 4 main arpeggio patterns (in 3 octaves) that cover the root position, 1st, 2nd and 3rd inversions of an altered dominant chord and within each pattern I am presenting 3 different technical exercises (4 Note Sequences, Percussive Hammers and Twisted Arches) that will help with technique development, finger independence and the faster implementation of the material within musical lines and phrases that you can use in your improvisations.
Materials Included: Symmetric Boomerang Arpeggios (altered) study (PDF file - TAB and Standard Notation). "HD Video" of All Phrase (at tempo and slowed down). 4 Backing Tracks.
MODERN DMNSHD (A NEW APPROACH TO DIMINISHED ARPEGGIO SEQUENCES)
by Hristo Vitchev
In this short melodic study I illustrate some of the fun and simple ways in which we can expand the possible sonic colors of the diminished scale (whole step-half step diminished) especially when it comes to symmetric arpeggio sequences.
Most guitarists are very comfortable with the symmetry that exists within the diminished structures especially when the same physical motion repeats every 3 frets on the instrument (a minor 3rd interval). However, there is a whole set of diverse colors and sound textures that can be found in this very interesting scale that can add a whole different personality and flavor to your melodic and harmonic lines.
The accompanying tutorial video explains in detail each one of these different ways in which we can look at the whole step-half step diminished scale.
Materials Included:
Modern DMNSHD study (PDF file - TAB and Standard Notation). "HD Video" of All Examples and Phrases (At Tempo and Slowed Down). "HD Video" Tutorial - Explanation of Concepts. Backing Track.
MODERN DMNSHD (THE DARK SIDE OF DIMINISHED 7)
by Hristo Vitchev
This is the 2nd part and continuation to my Modern DMNSHD melodic study series. In this short study I illustrate some of the fun and simple ways in which we can expand the possible sonic colors of the diminished scale (whole step-half step diminished) by finding and exploiting different tone characteristics of the of the very predictable symmetric sound.
In this volume I will be concentrating on the min6(maj7) and min6/9(maj7) arpeggios and their very unique sound and relationship to the "whole step-half step" diminished scale.
The accompanying tutorial video explains in detail each one of these different ways in which we can apply the min6(maj7) and min6/9(maj7) arpeggios within the context of the whole step-half step diminished scale in order to augment its melodic possibilities and amplify its textural sonic depth.
Materials Included: Modern DMNSHD "The Dark Side of Diminished 7" study (PDF file - TAB and Standard Notation). "HD Video" of All Examples and Phrases (At Tempo and Slowed Down). "HD Video" Tutorial - Explanation of Concepts. Backing Tracks.
PERCUSSIVE GLIDE (HAMMER-ON TECHNIQUE EXERCISES)
by Hristo Vitchev
In this short melodic study I concentrate on a percussive hammer-on technique on the guitar that can be a very effective tool in creating melodic tension, flowing and very well articulated pattern sequences or widely intervallic and angular improvised passages.
The accompanying tutorial video explains in detail the concepts and ideas involved in this type of melodic playing as well as the many different ways in which I like to practice and internalize such techniques on the instrument.
Materials Included: Percussive Glide (Hammer-On Technique Exercises) study (PDF file - TAB and Standard Notation). "HD Video" of All Examples and Phrases (At Tempo and Slowed Down). "HD Video" Tutorial - Explanation of Concepts. Backing Track.
Watch Sample Video
PERCUSSIVE GLIDE (SHORT MELODIC SKETCH - INTERGALACTIC HAMMERS)
by Hristo Vitchev
In this short melodic sketch I illustrate how we can apply the concepts and ideas covered in my "Percussive Glide"melodic study on modern hammer-on techniques (https://gum.co/percussiveglide) within the melodic minor scale to create intricate and widely intervallic altered dominant phrases.
This type of percussive hammer-on technique can be a very effective tool in creating melodic tension, flowing and very well articulated patterns and sequences or widely intervallic and angular improvised passages.
Materials Included:
"Intergalactic Hammers" study (PDF file - TAB and Standard Notation).
"HD Video" of the Short Melodic Sketch (Fast, Medium and Slow).
3 Backing Tracks (Fast, Medium and Slow).
PERCUSSIVE GLIDE (SHORT MELODIC SKETCH - OCTAVIAN HAMMERS)
by Hristo Vitchev
In this short melodic sketch I illustrate how we can apply the concepts and ideas covered in my "Percussive Glide"melodic study on modern hammer-on techniques (https://gum.co/percussiveglide) to create intricate lines and phrases using octaves.
This type of percussive hammer-on technique can be a very effective tool in creating melodic tension, flowing and very well articulated patterns and sequences or widely intervallic and angular improvised passages.
Materials Included:
"Octavian Hammers" study (PDF file - TAB and Standard Notation).
"HD Video" of the Short Melodic Sketch (At Tempo and Slowed Down).
2 Backing Tracks (At Tempo and Slowed Down).
PERCUSSIVE GLIDE (SHORT MELODIC SKETCH - SUSPENDED ANVIL)
by Hristo Vitchev
In this short melodic sketch I illustrate how we can apply the concepts and ideas covered in my "Percussive Glide"melodic study on modern hammer-on techniques (https://gum.co/percussiveglide) to create intricate lines and phrases over 7sus4 (Suspended) chords.
This type of percussive hammer-on technique can be a very effective tool in creating melodic tension, flowing and very well articulated patterns and sequences or widely intervallic and angular improvised passages.
Materials Included: "Suspended Anvil" study (PDF file - TAB and Standard Notation). "HD Video" of the Short Melodic Sketch (At Tempo and Medium Tempo). 2 Backing Tracks (At Tempo and Medium Tempo).
PERCUSSIVE GLIDE (SHORT MELODIC SKETCH - MINOR COLLISION)
by Hristo Vitchev
In this short melodic sketch I illustrate how we can apply the concepts and ideas covered in my "Percussive Glide"melodic study on modern hammer-on techniques (https://gum.co/percussiveglide) to create intricate lines and phrases over the form and chord changes of a minor blues.
This type of percussive hammer-on technique can be a very effective tool in creating melodic tension, flowing and very well articulated patterns and sequences or widely intervallic and angular improvised passages.
Materials Included: "Minor Collision" study (PDF file - TAB and Standard Notation). "HD Video" of the Short Melodic Sketch (At Tempo and Slowed Down). 2 Backing Tracks (At Tempo and Slowed Down).
PERCUSSIVE GLIDE (THIS WAY OUT - APPLICATIONS FOR "OUTSIDE PLAYING")
by Hristo Vitchev
In this modern melodic study I illustrate how we can apply the concepts and ideas covered in my "Percussive Glide"melodic study on modern hammer-on techniques (https://gum.co/percussiveglide) to create melodic tension with lines and phrases that step "outside" the basic diatonic harmony and tonal center over which we are improvising.
This type of percussive hammer-on technique can be a very effective tool in creating melodic tension, flowing and very well articulated patterns and sequences or widely intervallic and angular improvised passages.
Materials Included: Percussive Glide (This Way Out - Applications for "Outside Playing") study (PDF file - TAB and Standard Notation). "HD Video" of All Examples and Phrases (At Tempo and Slowed Down). 40 minutes "HD Video" Tutorial - Explanation of Concepts. 2 Backing Tracks (At Tempo and Slowed Down).
MODAL QUADRANGULATION (CHASING TRAINS - COLTRANE CHANGES WORKOUT)
by Hristo Vitchev
In this short melodic study I illustrate how we can apply all the concepts and ideas presented in my book: MODAL QUADRANGULATION (Melodic Phrases and Exercise Ideas using Intervals of a 4th) to build a modern melodic workout over "Coltrane Changes" - a reharmonization technique that John Coltrane developed over a basic ii-V-I progression that passes through three different tonal centers.
This type of modern melodic phrasing, which uses the interval of a 4th as the primary building block and architectural element of the melodic line is ideal for covering intricate harmonic movements and responding to the swift turns and twists of such sonic changes.
Materials Included:
"Chasing Trains - Coltrane Changes Workout" Study (PDF file - TAB and Standard Notation).
"HD Video" of All Phrases (at tempo and slowed down).
2 Backing Tracks (Slow / Fast).
Watch Sample Video
MODAL QUADRANGULATION (CHANGING RHYTHMS)
by Hristo Vitchev
In this short melodic study I illustrate how we can apply all the concepts and ideas presented in my book: MODAL QUADRANGULATION (Melodic Phrases and Exercise Ideas using Intervals of a 4th) to create intricate modern melodic phrases over the "A Section" of Rhythm Changes.
This type of modern melodic phrasing, which uses the interval of a 4th as the primary building block and architectural element of the melodic line is ideal for covering intricate harmonic movements and responding to the swift turns and twists of such sonic changes.
Materials Included:
"Changing Rhythms" Study (PDF file - TAB and Standard Notation).
"HD Video" of Short Melodic Sketch (at tempo, medium & slowed down).
3 Backing Tracks (Slow / Medium / Fast).
Watch Sample Video
MODAL FOCAL POINT #1 (SHORT MELODIC IDEAS FOR THE MODERN GUITARIST)
by Hristo Vitchev
In this short melodic study I seek to explore the many interesting and creative ways through which one can practice to develop new phrasing ideas on the instrument by combining materials and concepts from the many different melodic studies/books I have published over the years.
To me, this is a fun way to develop improvisatory vocabulary by crafting intricate phrases from the different building blocks that I am currently practicing.
This modern and highly intervallic line in D Major combines concepts from my "Symmetric Boomerang Arpeggios" and "Modal Quadrangulation" book series.
Materials Included:
"Modal Focal Point #1" Study (PDF file - TAB and Standard Notation).
"HD Video" of Melodic Idea (at tempo & slowed down).
MODAL FOCAL POINT #2 - ALTERED COALESCENCE
by Hristo Vitchev
In this short melodic study I seek to explore the many interesting and creative ways through which one can practice to develop new phrasing ideas on the instrument by combining materials and concepts from the many different melodic studies/books I have published over the years.
To me, this is a fun way to develop improvisatory vocabulary by crafting intricate phrases from the different building blocks that I am currently practicing.
This modern melodic phrase over an Altered Dominant harmony is produced by combining the basic dominant 7 arpeggio starting on the root of the chord (which gives us the root, 3rd, 5th and b7th degree of the chord) with a half-diminished arpeggio a whole step below (which gives us the b7th, b9th, 3rd and b13th degree of the chord).
The goal here is to find unique and creative ways in which we can mix material from both arpeggios to produce a whole new and more complex melodic flavor.
Materials Included:
"Modal Focal Point #2" Study (PDF file - TAB and Standard Notation).
"HD Video" of Melodic Idea (at tempo & slowed down).
Backing Track.
MODAL FOCAL POINT #3 - SHINKANSEN
by Hristo Vitchev
In this short melodic study I seek to explore the many interesting and creative ways through which one can practice to develop new phrasing ideas on the instrument by combining materials and concepts from the many different melodic studies/books I have published over the years.
To me, this is a fun way to develop improvisatory vocabulary by crafting intricate phrases from the different building blocks that I am currently practicing.
In Part 3 I present a very challenging melodic line over a ii-V7-i progression in C minor. The phrase is designed to work on improving "4 Note Sequences" within the melodic minor scale. There are different ways in which the sequences within the melodic passage are offset against the downbeat to produce a different rhythmic feel and partition of the line.
Materials Included:
"Modal Focal Point #3" Study (PDF file - TAB and Standard Notation).
"HD Video" of Melodic Idea (at tempo & slowed down).
Backing Track.
MODAL FOCAL POINT #4 - CIRCULAR THORNS
by Hristo Vitchev
In this short melodic study I seek to explore the many interesting and creative ways through which one can practice to develop new phrasing ideas on the instrument by combining materials and concepts from the many different melodic studies/books I have published over the years.
To me, this is a fun way to develop improvisatory vocabulary by crafting intricate phrases from the different building blocks that I am currently practicing.
In Part 4 I present a widely intervallic modern phrase idea connecting a minor tonic to its V7alt chord.
Materials Included:
"Modal Focal Point #4" Study (PDF file - TAB and Standard Notation).
"HD Video" of Melodic Idea (at tempo & slowed down).
Backing Track.
MODAL FOCAL POINT #5 - MELODIC SUPERNOVA
by Hristo Vitchev
In this short melodic study I seek to explore the many interesting and creative ways through which one can practice to develop new phrasing ideas on the instrument by combining materials and concepts from the many different melodic studies/books I have published over the years.
To me, this is a fun way to develop improvisatory vocabulary by crafting intricate phrases from the different building blocks that I am currently practicing.
In Part 5 I present a widely intervallic modern phrase idea that works on sus4 triads and smooth hammer-on/pull-off technique on the instrument.
Materials Included:
"Modal Focal Point #5" Study (PDF file - TAB and Standard Notation).
"HD Video" of Melodic Idea (at tempo & slowed down).
Backing Track.
MODAL QUADRANGULATION (IMAGINARY SQUARES)
by Hristo Vitchev
This study and video masterclass is a continuation of the concepts and techniques presented in my "Melodic Quadrangulation" modern melodic phrasing book/study series.
Here I present a few different concepts for modern phrase construction which involve the usage of "Parallel Perfect 4th intervals" and "Parallel Major 3rds" in order to create melodic tension and release within the major scale and any of its diatonic harmonies.
For the important isolation of the concepts I am covering in this publication all ideas are presented within the G Major scale.
The accompanying Video Masterclass contains all phrases performed at tempo and slowed down as well as an in-depth explanation of the concepts, techniques and different ideas for practicing the material.
Materials Included:
MODAL QUADRANGULATION "Imaginary Squares" study (PDF file - TAB and Standard Notation).
35 mins. HD "Video Masterclass."
All Phrases (At Tempo/Slowed Down) "HD Video."
Backing Track.
MODAL QUADRANGULATION (MODAL GLIDERS)
by Hristo Vitchev
In this short melodic study I demonstrate how we can apply the concepts and ideas covered in my "Melodic Quadrangulation" book series to produce modern quartal melodic phrases over ii-V7-I progressions.
The study consist of 5 different "four measure" phrases over a ii-V7-I in the key of C Major and showcases some of the different creative ideas for voice-leading you can achieve with this unique technique for melodic construction.
Materials Included:
MODAL QUADRANGULATION "Modal Gliders" study (PDF file - TAB and Standard Notation).
All Phrases (At Tempo/Slowed Down) "HD Video."
Backing Tracks.
TECHNICAL STUDIES & ETUDES
ARPEGGIATHLON - MELODIC MINOR ARPEGGIO WORKOUT (MINOR II-V7ALT-I APPLICATION)
by Hristo Vitchev
In this short technical study I present one of my favorite arpeggio workouts within the melodic minor scale.
The exercise consists in taking a minor ii-V7alt-i progression and extracting the corresponding melodic minor tonal center for each one of the chords. In the study I have selected key of C minor so the harmonic progression will be: Dmin7(b5) | G7alt | Cmin(maj7).
The Dmin7(b5) chord is the vi harmony in the key of F melodic minor.
The G7alt chord is the vii harmony in the key of Ab melodic minor.
The Cmin(maj7) chord is the i harmony in the key of C melodic minor.
Once we extract the three different melodic minor tonal centers the goal is to play all diatonic arpeggios of each one of these tonalities within the same fretboard position and alternating the ascending and descending direction of such arpeggios.
We apply this same combination of three melodic minor keys (and their diatonic arpeggios) over all seven modal positions on the fretboard. It is a great and very intense workout that can help you achieve the necessary technique and fretboard visualization to access this melodic vocabulary in any key and in any position.
MELODIC GETAWAY (INTERVALLIC "ALTERNATE PICKING" STRING SKIPPING WORKOUT)
by Hristo Vitchev
In this book I present some of my favorite “alternate picking” string skipping exercises and technical studies. The material presented here can be instrumental in developing a very accurate and well coordinated picking technique in the right hand especially if you want to explore the more angular and wide-interval modern sound.
The exercises and studies are also extremely helpful for the left hand and the development of a very fluent spatial awareness of the notes of a key in each mode position, as they serve a great role in establishing a solid navigational sense over the fretboard.
For the purpose of illustrating the concepts clearly and with more ease all exercises are presented in the key of F Major but I strongly recommend adapting them and practicing them in every scale system you find useful for your own playing style.
Included is also a “mode fingerings and patterns” diagram which can illustrate in a more clear way some of the melodic architecture of each exercise and its position within each mode of the major key.
SHORT TECHNICAL STUDY #13 (QUINTERVALLIC JUMPS)
by Hristo Vitchev
With the material presented in this series (Short Technical Studies) I seek to demonstrate some of the creative and fun ways in which I like to isolate and work on specific techniques on the guitar. Each study is designed with a unique concept and goal in mind and utilizes a variety of ways in which the technique can be used on the instrument.
Study #13 focuses on diatonic intervals of a 5th ascending and descending in intricate melodic motifs within each major scale mode's physical position/pattern on the fretboard. This intense intervallic workout consists of two main exercises that encompass the entire fretboard and range of the instrument.
By working on this study we can learn all diatonic 5ths of a major key all over the instrument as well as improve our endurance, strength, coordination and dexterity in both hands. Special stress is put on the right hand and on "string skipping" alternate picking.
All material presented in the key of F Major.
SHORT TECHNICAL STUDY #12 (ONE OCTAVE "IN POSITION" DIATONIC ARPEGGIOS)
by Hristo Vitchev
With the material presented in this series (Short Technical Studies) I seek to demonstrate some of the creative and fun ways in which I like to isolate and work on specific techniques on the guitar. Each study is designed with a unique concept and goal in mind and utilizes a variety of ways in which the technique can be used on the instrument.
Study #12 focuses on one octave diatonic arpeggios played within each mode's physical position/pattern on the fretboard. This intense arpeggio workout consists of six exercises encompassing the entire fretboard in one tonal center.
By working on this study we can learn all diatonic arpeggios of a major key all over the instrument as well as improve our endurance, strength, coordination and dexterity in both hands. All material presented in the key of F Major.
SHORT MELODIC ETUDE (THE BLACK WIDOW)
by Hristo Vitchev
This etude is inspired by on of the greatest and most original progressive/heavy metal guitar players of this generation - the incomparable Tosin Abasi from the award winning and world renowned progressive metal band "Animals as Leaders."
This technical study works on a percussive hammer-on technique that involves the combination of open strings and fretted notes with wide interval jumps. The rhythmic figure is a revolving 16th note four note grouping and the greatest challenge is to specifically control each note so that both the open strings and the different fretted notes achieve the same dynamic balance in order to produce a flowing and evenly attacked phrase.
The etude also works on left hand strength, coordination and endurance.
SHORT MELODIC ETUDE (DORIANOSAURUS)
by Hristo Vitchev
This etude is designed to work on intervallic and wide phrases within the Dorian mode, speed, coordination, dexterity and endurance in the left hand.
It uses phrases and techniques predominantly found in the modern jazz and electric jazz/fusion idioms.
A Dorian (Key of G Major)
SHORT MELODIC ETUDE (STAR PULSATIONS)
by Hristo Vitchev
In the following short melodic etude I want to demonstrate a great and very fun way to practice rhythm and to develop metronomic time using a digital delay (or any other type of delay processor). This type of practice can also let you discover new textures and sound flavors that eventually you might use in compositions, arrangements, etc.
The concepts behind this type of training are vary basic. The player would be responsible for articulating completely even 8th notes while the set up on the delay processing will be such that the echoes (repeats) generated by it will also be even 8th notes but one 16th note offset from the main guitar signal.
In other words, the player will play every 8th note in a measure and the delay repeats will precisely fall on every 16th note between the 8th notes being articulated by the player. The result will be a very even and well articulated 16th note phrase.
SHORT MELODIC ETUDE (EL GATO)
by Hristo Vitchev
This etude is designed to work on string skipping arpeggios in the style of Eric Johnson, wide interval pentatonic phrasing, speed, dexterity and endurance in the left hand.
It uses phrases and techniques predominantly found in the Melodic Rock Guitar, Progressive Metal and Fusion idiom but quite useful for the modern jazz player especially when improvising over faster tempos.
SHORT MELODIC ETUDE (SCALE-A-TONE)
by Hristo Vitchev
This etude is designed to work on rhythmic figures across the measure, pentatonic phrasing, speed, dexterity and endurance in the left hand.
It uses phrases and techniques predominantly found in the Progressive Metal and Fusion idiom but quite useful for the modern jazz player especially when improvising over faster tempos.
SHORT MELODIC ETUDE (METALERO)
by Hristo Vitchev
This etude is designed to work on wide interval arpeggio shapes, speed, dexterity and endurance in the left hand.
It uses phrases and techniques predominantly found in the Heavy Metal idiom but quite useful for the modern jazz player especially when improvising over faster tempos.
VITCHEV + 1 "MINOR SPIRAL" TECHNICAL ETUDE COVERING ALL 12 MINOR CHORDS FT. PAUL HANSON (BASSOON)
by Hristo Vitchev
With the material presented in this series (Vitchev + 1) I seek to compose technically challenging and creative etudes with a specific player in mind. The studies will be a great vehicle to practice different concepts and ideas that are inspired and borrow from the idiomatic vocabulary of each instrument featured.
"Minor Spiral" covers all 12 minor tonalities (harmonies) through a series of minor and major 3rd cycles and was written for the world renowned jazz bassoonist Paul Hanson. (Bela Fleck and the Flecktones, Billy Cobham)
Includes: "Minor Spiral" etude for Concert Key (Standard Notation + Tablature), Tenor/Bass Clef, Bb Instruments and Eb Instruments. Two backing tracks: at full tempo (128bpm) and slower version (90bpm) Audio and Video recording of full etude featuring Hristo Vitchev (guitar) and Paul Hanson (bassoon).
SHORT TECHNICAL STUDY #7 (TWISTERVALS)
by Hristo Vitchev
With the material presented in this series (Short Technical Studies) I seek to demonstrate some of the creative and fun ways in which I like to isolate and work on specific techniques on the guitar. Each study is designed with a unique concept and goal in mind and utilizes a variety of ways in which the technique can be used on the instrument.
Study #7 focuses on a melodic phrase that uses wide intervals and has a very angular sound that changes directions swiftly. By playing through this set of exercises we can work on stretching, endurance, strength, coordination and dexterity in the left hand as well as fretboard logic and tonal center navigation over the entire instrument.
ALTERED DUALITY SHORT MELODIC ETUDE (RHYTHM CHANGES)
by Hristo Vitchev
This is an example as to how you can combine the material presented in my "Altered Duality Volume 1 & 2" books to produce long and interesting lines over basic chordal progressions.
Here I am applying the concepts and ideas over "rhythm changes."
ALTERED DUALITY SHORT MELODIC ETUDE (BLUE BOSSA)
by Hristo Vitchev
This is an example as to how you can combine the material presented in my "Altered Duality Volume 1 & 2" books to produce long and interesting lines over basic chordal progressions.
Here I am applying the concepts and ideas over the chord progression of Kenny Dorham's "Blue Bossa".
SHORT TECHNICAL STUDY #5 (PENTATONIC CELLS) - MINOR CHORD APPLICATION
by Hristo Vitchev
With the material presented in this series (Short Technical Studies) I seek to demonstrate some of the creative and fun ways in which I like to isolate and work on specific techniques on the guitar. Each study is designed with a unique concept and goal in mind and utilizes a variety of ways in which the technique can be used on the instrument.
Study #5 focuses on combining 3 note melodic cells from minor pentatonic scales to create a rich and extended sound over minor sonorities. The examples are illustrated over an Amin9 harmony and the three different minor pentatonics we are extracting the cells are A, E and B.
One of the techniques and skills that this study works on is visualizing the mode inversion of all 3 pentatonic scales in the same position of the fretboard so that the voice-leading between them is the closest and smoothers possible.
SHORT TECHNICAL STUDY #4 (HALF DIMINISHED TONAL TRANSLATION) - POSITION ARPEGGIO WORKOUT
by Hristo Vitchev
With the material presented in this series (Short Technical Studies) I seek to demonstrate some of the creative and fun ways in which I like to isolate and work on specific techniques on the guitar. Each study is designed with a unique concept and goal in mind and utilizes a variety of ways in which the technique can be used on the instrument.
Study #4 focuses on position arpeggio playing and serves as a great workout to develop the skills needed to translate all the chords in a ii-V-i progression in a minor key to half diminished sonorities with the purpose of capturing more interesting and colorful extensions/alterations of the original chords. It also forces us to quickly find the closest inversion of each half-diminished arpeggio so we can physically keep our hand in one position and retain the smoothest possible voice-leading.
SHORT TECHNICAL STUDY #1 (PERCUSSIVE PULL-OFFS)
by Hristo Vitchev
With the material presented in this series (Short Technical Studies) I seek to demonstrate some of the creative and fun ways in which I like to isolate and work on specific techniques on the guitar. Each study is designed with a unique concept and goal in mind and utilizes a variety of ways in which the technique can be used on the instrument.
Study #1 focuses on "Pull-Offs" and developing even articulation, accents, strength and endurance. It uses a three note melodic motif but played in four note groupings which displaces the start of the motif throughout the different beats of the measure.
ADD9 TRIADIC ARPEGGIOS SHORT MELODIC ETUDE (HUMPTY DUMPTY)
by Hristo Vitchev
This is an example as to how you can combine the material presented in my "Add9 1st Inversion Triadic Arpeggios" book to produce long and interesting lines over basic chordal progressions.
Here I am applying the various Add9 triadic arpeggios from the major and melodic minor scales over the chord progression of Chick Corea's "Humpty Dumpty."
ADD9 TRIADIC ARPEGGIOS SHORT MELODIC ETUDE (SPAIN)
by Hristo Vitchev
This is an example as to how you can combine the material presented in my "Add9 1st Inversion Triadic Arpeggios" book to produce long and interesting lines over basic chordal progressions.
Here I am applying the various Add9 triadic arpeggios from the major and melodic minor scales over the chord progression of Chick Corea's "Spain."
ADD9 TRIADIC ARPEGGIOS SHORT MELODIC ETUDE (GIANT STEPS)
by Hristo Vitchev
This is an example as to how you can combine the material presented in my "Add9 1st Inversion Triadic Arpeggios" book to produce long and interesting lines over basic chordal progressions.
Here I am applying the various Add9 triadic arpeggios from the major scale over the chord progression of John Coltrane's "Giant Steps."
ADD9 TRIADIC ARPEGGIOS SHORT MELODIC ETUDE (MINOR BLUES FORM)
by Hristo Vitchev
This is an example as to how you can combine the material presented in my "Add9 1st Inversion Triadic Arpeggios" book to produce long and interesting lines over basic chordal progressions.
Here I am applying the various Add9 triadic arpeggios from the major and melodic minor scales over a basic C minor blues form.
GEOMETRY OF MELODIC TENSION - MINOR BLUES ETUDE (USING ALTERED POLYGONS - MINOR PENTATONIC)
by Hristo Vitchev
In this etude/technical study I demonstrate how to use the concepts and ideas presented in my GEOMETRY OF MELODIC TENSION (A New Approach to Outside Playing) Altered Polygons: minor pentatonic book to create long and intricate modern lines over the form and chord progression of a standard 12 bar minor blues in the key of C.
Materials Included: Minor Blues Etude using "Altered Polygons - minor pentatonic" (PDF file - TAB and Standard Notation). HD Video/Audio of the presented study at tempo and slowed down. Two backing tracks - at tempo & slowed down.
TRIAD QUILT - SHORT MELODIC ETUDE (OVER THE CHORD CHANGES TO "CONFIRMATION" BY CHARLIE PARKER)
by Hristo Vitchev
In this Short Melodic Etude I explore many different ways in which one could apply the materials and concepts covered in my "TRIAD QUILT - Creative Add9 Triad (3125) Exercises and Phrases" book over the chord changes to Charlie Parker's tune "Confirmation."
The etude is specifically designed to work on technique, finger independence, improvisatory vocabulary as well as stamina and endurance.
You can also easily isolate separate melodic phrases over some of the standard harmonic movements contained within the structure of this tune and transpose to different keys in order to get them faster under your fingers and have such motifs available in your own melodic dictionary.
Materials Included: TRIAD QUILT - Short Melodic Etude "Confirmation" (PDF file - TAB and Standard Notation). HD Video/Audio of the Etude (At Tempo and Slowed Down). Backing tracks (At Tempo and Slowed Down).
Watch Sample Video
TRIAD QUILT (STEPS OF GIANTS) - MELODIC ETUDE USING "TRIADIC HELIXES" OVER THE CHORD PROGRESSION OF GIANT STEPS BY JOHN COLTRANE
by Hristo Vitchev
In this Melodic Etude I explore many different ways in which one could apply the materials and concepts covered in my "TRIAD QUILT" book series over the chord changes to John Coltrane's "Giant Steps."
The etude is specifically designed to work on technique, finger independence, improvisatory vocabulary as well as stamina and endurance.
You can also easily isolate separate melodic phrases over some of the standard harmonic movements contained within the structure of this tune and transpose to different keys in order to get them faster under your fingers and have such motifs available in your own melodic dictionary.
Materials Included: TRIAD QUILT (Steps of Giants) Melodic Etude (PDF file - TAB and Standard Notation). HD Video/Audio of the Etude (At Tempo and Slowed Down).
Watch Sample Video
SYMMETRIC BOOMERANG ARPEGGIOS (MINOR 7 ARPEGGIO WORKOUT)
by Hristo Vitchev
In this melodic arpeggio workout I present one of my very favorite ways to practice and internalize the material covered in my study Symmetric Boomerang Arpeggios (minor) when building and designing a targeted guitar practice regimen and workout routine.
The workout consists of completing a cycle of 4ths with all 12 minor 7 chords without stopping and only using the "min7" arpeggios presented in my main study "Symmetric Boomerang Arpeggios." As these arpeggios are two and a half to three octaves in range, we assure the full exploration and coverage of the entire fretboard - from the lowest to the highest position.
The key here is to use all inversions of the arpeggio shapes which will allow us to connect one harmony to the next in the shortest melodic distance possible. This way our starting and finishing points when we transition between all 12 "minor 7" chords will pretty much be within 3 to 4 frets maximum.
Materials Included: Symmetric Boomerang Arpeggios - "Minor 7 Arpeggio Workout" (PDF file - TAB and Standard Notation). "HD Video" of Arpeggio Workout. 2 Backing Tracks (at tempo and slowed down).
WARMUP & FINGER INDEPENDENCE
SHARPEN UP (WARM-UP AND MELODIC VOCABULARY) PENTATONIC BLADES
by Hristo Vitchev
This short technical study presents some minor pentatonic melodic ideas I love to practice for finger coordination, articulation and tonal canter awareness all over the fretboard.
They are also great for extracting new phrases and intervallic ideas to incorporate in your melodic improvisations.
Materials Included: PDF of Short Technical Study / Warm-Up Exercises (TAB and Standard Notation). Backing Tracks: E7alt and Cycle of 4ths with min7 chords. HD Video/Audio of exercises.
SHARPEN UP (WARM-UP AND MELODIC VOCABULARY)
by Hristo Vitchev
This short technical study presents two of my favorite warm-up melodic exercises which are ideal to build coordination, articulation and tonal canter awareness all over the fretboard.
They are also great for extracting new phrases and intervallic ideas to incorporate in your melodic improvisations. (Key of G Major)
Materials Included: PDF of Short Technical Study / Warm-Up Exercises (TAB and Standard Notation). Backing Track (Amin7 - Dorian). HD Video/Audio of exercises.
STRETCH OUT (DIATONIC STRETCHING EXERCISES FOR THE MODERN GUITARIST)
by Hristo Vitchev
In this book I want to present to you some of my favorite exercises and practice ideas I have developed over the years for my own playing style and that have been instrumental in developing a very comfortable and balanced technique when it comes to close interval melodic and harmonic playing on the guitar.
The myth that you need to have long fingers to be able to play these beautiful and densely rich harmonic landscapes on our instrument is completely false. Of course, there are certain advantages and limitations when it comes to the physical differences between all of us but the most important aspect required for to execution of such voicings and phrases is flexibility and not size - and that is something we can all work at little by little. All the exercises are diatonic in nature and are presented through all their diatonic modal transpositions within the G Major scale.
For practical reasons all the exercises are notated from the lowest to the highest position of the tonal center but when you start practicing them I advise you to start on the highest position (where the distance between the frets is smaller and therefore the required finger stretches are easier) and then little by little work your way down through the modal positions until your finger flexibility increases and the execution of the phrases becomes comfortable throughout the entire range of the instrument.
CHROMATIC ACROBATICS (WARM-UP, COORDINATION AND DEXTERITY EXERCISES)
by Hristo Vitchev
In this book I will be presenting a selection of my favorite chromatic (non-tonal) melodic and harmonic exercises which are extremely helpful in improving your finger independence, dexterity and coordination in both hands.
These exercises are very useful as warm-ups and conditioning practice routines but can also form part of extensive and in-depth technical workouts.
The material is divided in three basic sections:
1) Angular Chromatic Acrobatics
2) Contrapuntal Chromatic Acrobatics
3) Xing Chromatic Acrobatics
"10 TONAL EXERCISES" VOLUME 6 (SERPENTINES)
by Hristo Vitchev
The following exercises are specifically designed to help your develop finger independence and improve your intervallic playing all over the fretboard. They are also ideal to build and establish a very strong and reliable navigational system on the instrument and provide a strong nucleus and framework for melodic vocabulary development. These exercises and practice ideas are also great to develop strength, endurance and dexterity in our left hand.
For the purpose of this book all exercises are presented in "F major" but I strongly encourage you to transpose and move to all 12 keys and also try them in different scalar systems; major, melodic minor, etc.
Another great way of further developing control of your playing is to modulate all exercises rhythmically. Take a triplet phrase and play it in four note groupings, take a 16th note phrase and play it in triplets, etc. This way you will learn to change and offset the important accents within the line and be able to manipulate them to fit any improvisational vocabulary needs.
"10 TONAL EXERCISES" VOLUME 5 (SPIRALS)
by Hristo Vitchev
The following exercises are specifically designed to help your develop finger independence and improve your intervallic playing all over the fretboard. They are also ideal to build and establish a very strong and reliable navigational system on the instrument and provide a strong nucleus and framework for melodic vocabulary development. These exercises and practice ideas are also great to develop strength, endurance and dexterity in our left hand.
For the purpose of this book all exercises are presented in "F major" but I strongly encourage you to transpose and move to all 12 keys and also try them in different scalar systems; major, melodic minor, etc.
Another great way of further developing control of your playing is to modulate all exercises rhythmically. Take a triplet phrase and play it in four note groupings, take a 16th note phrase and play it in triplets, etc. This way you will learn to change and offset the important accents within the line and be able to manipulate them to fit any improvisational vocabulary needs.
"10 TONAL EXERCISES" VOLUME 4 (LEGATO) - HAMMER ONS / PULL OFFS
by Hristo Vitchev
The following exercises are specifically designed to help your develop a very even, well articulated and fluent legato (hammer ons / pull offs) technique. They are also ideal to build and establish a very strong and reliable navigational system on the instrument and provide a strong nucleus and framework for melodic vocabulary development. Because of the role and weight put on the fretting hand with the legato playing approach these practice ideas are also great to develop strength, endurance and dexterity in our left hand.
For the purpose of this book all exercises are presented in "C major" but I strongly encourage you to transpose and move to all 12 keys and also try them in different scalar systems; major, melodic minor, etc.
Another great way of further developing control of your legato playing is to modulate all exercises rhythmically. Take a triplet phrase and play it in four note groupings, take a 16th note phrase and play it in triplets, etc. This way you will learn to change and offset the important accents within the line and be able to manipulate them to fit any improvisational vocabulary needs.
"10 TONAL EXERCISES" (VOLUME 3 : PENTATONICS)
by Hristo Vitchev
The following exercises are based on a “nine note grouping” within the pentatonic scale using mainly fourths and seconds as its intervallic architecture. They offer a very fluid and intervalic sound that once internalized in your playing can be used in a wide array of ways to create different sonic textures over any harmonic structure. To me they are ideal to build and establish a very strong and reliable navigational system on the instrument and provide a strong nucleus and framework for melodic vocabulary development.
For the purpose of this book all exercises are presented in "A minor" pentatonic but I strongly encourage you to transpose and move to all 12 keys and also try them in different scalar systems; major, melodic minor, etc.
Another great way to work with these exercises is to try to combine and mix two or more pentatonic scales in the same position that can later be used in your improvisational vocabulary to target different colors, extensions and alterations over any given chord.
"10 TONAL EXERCISES" (VOLUME 2: MELODIC)
by Hristo Vitchev
The following exercises based on a “five note grouping” motif have been one of the most important elements in my own fretboard mastery quest. To me they are ideal to build and establish a very strong and reliable navigational system on the instrument and provide a strong nucleus and framework for melodic vocabulary development.
The initial pattern is based on a 9th arpeggio (5 note arpeggio) but as the pattern evolves throughout the range of the instrument you will see its intervallic structure also change. As you might notice this process favors the physical rather than musical transposition to allow a more uniform movement throughout the many different modes and positions and help us digest and internalize the melodic geometry behind it.
For the purpose of this book all exercises are presented in the key of F major but I strongly encourage you to transpose and move to all 12 keys and also try them in different scalar systems; melodic minor, etc.
SHARPEN UP (WARM-UP AND MELODIC VOCABULARY) MELODIC JIGSAWS
by Hristo Vitchev
This short technical study presents some very intricate and widely intervallic melodic ideas I love to practice for finger independence, coordination, articulation and tonal canter awareness all over the fretboard.
They are also great for extracting new phrases and lines to incorporate in your melodic improvisations. The study consists of two main melodic phrases that are developed through every single modal position of the G major key and cover the entire range of the instrument.
(TAB and Standard Notation)
SHARPEN UP (SONIC WATERFALLS)
by Hristo Vitchev
This short technical study presents some very intricate and widely intervallic melodic ideas that capture a very fluid and flowing sound on the instrument and I love to practice for finger independence, coordination, articulation and tonal canter awareness all over the fretboard. They are also great for extracting new phrases and lines to incorporate in your melodic improvisations.
The study consists of three melodic exercises that are developed through every single modal position of the C major scale and cover the entire range of the instrument.
To get the most out of this material I advise to transpose all phrases and ideas to other scale systems and keys.
Materials Included: Sharpen Up (Sonic Waterfalls) Study (PDF file - TAB and Standard Notation). Backing Track (G7sus4 harmony).
IN THE STYLE OF
CHROMATIC METHENYISMS
by Hristo Vitchev
The genius guitarist and composer Pat Metheny is in my opinion one of the greatest musicians of the last 50 years. His music and his melodic/harmonic language defies any style categorization and he has always been in the forefront of innovation and reinvention with every single one of his record releases.
His melodic signature can be recognized in one note and his influence over most jazz guitarists and instrumentalists is unsurpassed.
In this book (and video tutorial) I will be exploring some unique ways in which Metheny uses chromaticism in his lines. I will be presenting the fundamental ideas, architecture and phrasing construction inspired by Pat’s playing that when applied over any melodic/tonal system can give your sound a Metheny-esque character.
Materials Included: CHROMATIC METHENYISMS book (PDF file) 30 minutes detailed HD tutorial video "Chromatic Methenyisms Explained" (Modal Architecture) Chromatic Methenyisms (Short Phrase Samples) HD Video Two backing tracks: D9sus4 harmonic background and Amin9 harmonic background
CHROMATIC METHENYISMS II-V7-I APPLICATION
by Hristo Vitchev
This is the second part of my “Chromatic Methenyisms” book series and here I present to you different ways in which we can use the melodic concepts and methods for chromatic ornamentation presented in volume one to generate interesting modern phrases and lines over a basic ii-V7-I progression. All examples are presented in the key of C Major over a Dmin7 | G7alt | Cmaj7 harmonic background.
The accompanying video tutorial contains all methenyism phrases at tempo as well as slowed down so you can easily see the specific fingerings and articulation I am using.
Materials Included: CHROMATIC METHENYISMS ii-V7-I Application (Chromatic Melodic Ornamentation in the Style of Pat Metheny) book (PDF file) HD tutorial video presenting all phrases at tempo and slowed down Backing Track: Dmin7 | G7alt | Cmaj7 harmonic background
CHROMATIC METHENYISMS (IMAGINARY TRIADS)
by Hristo Vitchev
This is the third part of my “Chromatic Methenyisms” book series and here I present to you different ways in which we can apply chromatic melodic ornamentation (in the style of the great Pat Metheny) to the basic diatonic triads of a major scale.
The accompanying video tutorial contains a detailed description of the articulation and phrasing of all triadic methenyisms presented in this book.
Materials Included: CHROMATIC METHENYISMS (Imaginary Triads) book (PDF file). 35 minutes detailed HD tutorial video on architecture, articulation and phrasing. Backing track: D9sus4 harmonic background.
CHROMATUDE #1 (SOLAR) - CHROMATIC METHENYISMS TECHNICAL STUDIES: MELODIC/CHORDAL
by Hristo Vitchev
In this new study series "Chromatudes" I will be presenting material and content from my "Chromatic Methenyisms" (Chromatic Melodic Ornamentation in the style of Pat Metheny) book series applied over standard jazz tunes and progressions in a series of fun and challenging technical studies for melodic and chordal playing.
Each "Chromatude" will include an example of the melodic application of the material over the form and harmonic progression of the chosen tune as well as a chordal (voicings) study for harmonic practice on the instrument.
Chromatude #1 illustrates this concepts over the form and chord changes of the famous Miles Davis's tune - "Solar."
Materials Included: "Chromatude" melodic etude (PDF file) in standard notation and tablature. "Chromatude" chordal study etude (PDF file) in standard notation and tablature. Backing tracks at tempo and slowed down versions as well. HD video/audio of the melodic and chordal etudes perfumed at tempo.
CHROMATIC METHENYISMS (PENTATONICS UNCOMPROMISED)
by Hristo Vitchev
This is the fourth part of my “Chromatic Methenyisms” book series and here I present to you different ways in which we can apply chromatic melodic ornamentation (in the style of the great guitarist Pat Metheny) to the minor pentatonic scale.
The accompanying video tutorial contains a detailed description of the articulation and phrasing of all pentatonic methenyisms presented in this book.
Keep in mind that once you have the different chromatic methenyisms presented here under your fingers and can comfortably execute them over the entire range of the instrument, you will be able to apply them over a wide range of different harmonic structures as the minor pentatonic scale is one of the melodic tools that has the most diverse application when it comes down to improvisatory vocabulary. You will be able to use this type of phrasing over minor, major, dominant (regular and altered), half-diminished and fully diminished chords.
Materials Included: CHROMATIC METHENYISMS (Pentatonics Uncompromised) book (PDF file - TAB and Standard Notation). 40 minutes detailed HD tutorial video on architecture, articulation and phrasing. Backing track: Amin9 harmonic background.
MELODIC ROSETTE (MELODIC PHRASES AND IDEAS IN THE STYLE OF KURT ROSENWINKEL)
by Hristo Vitchev
Over the last few decades the musical voice of the great guitarist Kurt Rosenwinkel has charted numerous new harmonic landscapes and sonic dimensions to be explored by all improvisers. It has inspired every single modern jazz guitar player on the scene and has served as a definition of excellence, virtuosity and sheer genius.
Over my musical journey so far I have been deeply touched and inspired by Rosenwinkel’s magic both as a performer and as a composer and in this book of melodic phrasing ideas and exercises I want to pay a special tribute to Kurt and some of his signature and intricate long-range melodic lines that are an important trait of his mesmerizing playing style.
The material presented in the book is not meant to show specific licks or melodic passages (note for note) that Kurt uses in his playing, but rather offer some melodic ideas and exercises intended to help you develop a sense as to how to capture a similar fluid and intricate melodic navigation/control over the entire range of your instrument. There are ten “rosette” exercises presented here taken through every position and mode fingering of the F Major scale. All the material is based on only two different melodic nuclei or architectural frameworks which I believe produce a nice Rosenwinkel style flavor when applied over the melodic line.
CHROMATIC METHENYISMS (LINES YOU'VE HEARD #1) - SHORT MELODIC PHRASE EXAMPLE
by Hristo Vitchev
In this short melodic study series I will be presenting phrases and modern lines composed by combining the different techniques for chromatic melodic ornamentation in the style of Pat Metheny presented in my "CHROMATIC METHENYISMS" book series.
Part 1 presents a 12 measure melodic line over an Amin7 chord produced by combining a few of the pentatonic ornamentation techniques presented in my latest book "Chromatic Methenyisms Vol. 4 (Pentatonics Uncompromised)."
Materials Included: CHROMATIC METHENYISMS (Lines You've Heard) study (PDF file - TAB and Standard Notation). HD Video/Audio of the presented phrase at tempo and slowed down. Two backing tracks: (at tempo/slowed down) - Amin9 harmonic background.
CHROMATIC METHENYISMS (LINES YOU'VE HEARD #2) - SHORT MELODIC PHRASE EXAMPLE
by Hristo Vitchev
In this short melodic study series I will be presenting phrases and modern lines composed by combining the different techniques for chromatic melodic ornamentation in the style of Pat Metheny presented in my "CHROMATIC METHENYISMS" book series.
Part 2 presents a long melodic phrase (with a rhythmic density of 16th notes) over the intricate chord changes on the bridge of the song "James" by Pat Metheny.
Materials Included: CHROMATIC METHENYISMS (Lines You've Heard #2) study (PDF file - TAB and Standard Notation with marked articulation). HD Video/Audio of the presented phrase at tempo and slowed down. Two backing tracks - at tempo & slowed down.
CHROMATIC METHENYISMS (LINES YOU'VE HEARD #3) - MINOR BLUES IN "D"
by Hristo Vitchev
In this short melodic study series I will be presenting phrases and modern lines composed by combining the different techniques for chromatic melodic ornamentation in the style of Pat Metheny presented in my "CHROMATIC METHENYISMS" book series.
Part 3 presents a long melodic phrase over the chord changes and form of a minor blues in the key of D.
Materials Included: CHROMATIC METHENYISMS (Lines You've Heard #3) study (PDF file - TAB and Standard Notation with marked articulation). HD Video/Audio of the presented phrase at tempo and slowed down. Two backing tracks - at tempo & slowed down.
CHROMATIC METHENYISMS (ARPEGGIOS ALA MATINI)
by Hristo Vitchev
In this chapter of my “Chromatic Methenyisms” book series I will like to present a few ideas for chromatic melodic ornamentation (in the style of the great guitarist Pat Metheny) over the basic four-note arpeggios (maj7, min7 and Dominant 7).
The accompanying video contains all examples performed at tempo as well as slowed down and in the transcription you will find a detailed description of the specific articulation and phrasing used to achieve the melodic sensibility and feel of Metheny. Each chromatic melodic ornamentation idea is designed to physically fit within a basic arpeggio “position skeleton” on the fretboard. It is then moved/transposed over the position skeletons of all the inversions of the four-note arpeggios. Combining these position skeletons will give you the ability to create longer and wide-interval phrases over the entire range of the instrument. This is also a great technique for combining the inside sound of the basic four chord tones of every harmony with the outside/altered sonic textures provided to us by the chromatic ornamentation.
Materials Included: CHROMATIC METHENYISMS (Arpeggios ala Matini) book (PDF file - TAB and Standard Notation). HD video with all examples performed at tempo and slowed down. Backing tracks: 3 different backing tracks for maj7, min7 and Dominant 7 harmonies.
CHROMATIC METHENYISMS (ARPEGGIOS ALA MATINI) VOLUME 2
by Hristo Vitchev
In this chapter of my “Chromatic Methenyisms” book series I will like to present a few ideas for chromatic melodic ornamentation (in the style of the great guitarist Pat Metheny) over the basic four-note arpeggios (maj7, min7 and Dominant 7). Volume 2 concentrates on some lower-range arpeggio shapes which are mainly positioned between the 6th and 4th string on the instrument.
The accompanying video contains all examples performed at tempo as well as slowed down and in the transcription you will find a detailed description of the specific articulation and phrasing used to achieve the melodic sensibility and feel of Metheny.
Each chromatic melodic ornamentation idea is designed to physically fit within a basic arpeggio “position skeleton” on the fretboard. It is then moved/transposed over the position skeletons of all the inversions of the four-note arpeggios.
Combining these position skeletons will give you the ability to create longer and wide-interval phrases over the entire range of the instrument.
Materials Included: CHROMATIC METHENYISMS (Arpeggios ala Matini) Volume 2 book (PDF file - TAB and Standard Notation). HD video with all examples performed at tempo and slowed down. Backing tracks: 3 different backing tracks for maj7, min7 and Dominant 7 harmonies.
CHROMATIC METHENYISMS (ARPEGGIOS ALA MATINI) 2516 ILLUSTRATIONS
by Hristo Vitchev
In this short melodic study I demonstrate how you can apply the material from my CHROMATIC METHENYISMS - "Arpeggios ala Matini" (Vol. 1 and 2) studies over basic ii-V7-I-VI7 progressions.
These chromatically ornamented four note arpeggios are a great melodic device to capture the harmonic movements and trajectory of a chord progression while maintaining a rich and colorful balance of inside and outside notes in your improvisations.
The accompanying video contains all examples performed at tempo as well as slowed down and in the transcription you will find a detailed description of the specific articulation and phrasing used to achieve the melodic sensibility and feel of Metheny.
Materials Included: CHROMATIC METHENYISMS (Arpeggios ala Matini) 2516 Illustrations study (PDF file - TAB and Standard Notation). HD video with all examples performed at tempo and slowed down. Backing tracks: 2 different backing tracks (at tempo and slowed down).
Watch Sample Video
SHORT MELODIC SKETCH #12 (TRIAD QUILTS ALA MATINI)
by Hristo Vitchev
With the material presented here I seek to illustrate some of the ideas and ways in which I like to practice and develop both the melodic and harmonic characters of the instrument.
These are very short phrases that combine different melodic/harmonic and technical elements to make for a fun, musical and challenging way to practice.
Sketch #12 uses melodic construction concepts from my "Triad Quilt" and "Chromatic Methenyisms" book series in creating a long and highly chromatic line in the style of Pat Metheny over an Amin9 harmony.
Materials Included: Short Melodic Sketch #12 Study (PDF file - TAB and Standard Notation). Backing Tracks (at tempo and slowed down). HD Video of the melodic phrase at tempo and slowed down.
CHROMATIC METHENYISMS - WILD TRIAD QUILTS (3 ORNAMENTATION TECHNIQUES)
by Hristo Vitchev
In this chapter of my “Chromatic Methenyisms” book series I present to you a few very fun ideas for chromatic ornamentation (in the style of Pat Metheny) over the diatonic add9 triads of the major scale. This study utilizes the concepts and ideas presented in my “Triad Quilts” book series and melodic studies which explore the phrasing possibilities of the add9 triad in a 3125 inversion combined with some of the unique ways in which Pat Metheny uses chromaticisms in his melodic phrasing. The accompanying video contains all examples performed at tempo as well as a slowed down version and explanation of the main architecture and construction of each ornamentation technique. In the transcription you will find a detailed description of the specific articulation and phrasing used to achieve the melodic sensibility and feel of Metheny. Each chromatic melodic ornamentation technique is designed to physically fit within the 3 note per string LCR (Left, Central, Right) mode fingerings I use in my own approach to the instrument. For those of you who are new to my teaching methods these scale/mode patterns are also included in the study for reference.
Materials Included: CHROMATIC METHENYISMS - Wild Triad Quilts "3 Ornamentation Techniques" (PDF file - TAB and Standard Notation). 30 minutes HD Video Masterclass. HD Video/Audio of all examples and exercises performed at tempo. Backing track.
DIATONIC METHENYISMS (VOLUME 1)
by Hristo Vitchev
This publication is a continuation to my “Chromatic Methenyisms” books series, studies and etudes. However, instead of concentrating further on the use of chromatic melodic embellishments by the genius guitarist, here I seek to depict and explore in detail the unique and multi-colorful diatonic melodic vocabulary that is present in Metheny’s improvisatory style.
The accompanying video masterclass contains a detailed description of the articulation, phrasing and architecture of all Diatonic Methenyisms presented in this book.
Each example starts by introducing an original phrase that was extracted from an improvised passage by Metheny (labeled with the harmony over which the phrase was originally played) and it is then taken through an in-depth study all over the fretboard covering all diatonic permutations and transpositions, possible physical motions and placement within all modal positions of a given tonal center.
Materials Included: DIATONIC METHENYISMS - Volume 1 book (PDF file - TAB and Standard Notation - 80 pages). 50 minutes detailed "HD Video Masterclass" on architecture, articulation and phrasing. 2 Backing tracks: 140bpm and 170bpm - G7sus4 harmonic background.
DIATONIC METHENYISMS (METHENYCISE #1 - C MINOR BLUES)
by Hristo Vitchev
In this melodic workout (or Methenycise as I prefer to call it) I illustrate how we can create fun and challenging exercises when practicing new material.
Here I am taking the diatonic ornamentation technique "Methenyism #3" from my book: DIATONIC METHENYISMS (Volume 1) - Diatonic Melodic Ornamentation in the Style of Pat Metheny and applying it over the changes of a 12-bar minor blues in C.
The goal of the exercise is to only use this specific melodic phrase through every diatonic center/scale where the chord changes pass through and physically be limited to a continuous ascend and descend over the entire range of the fretboard on a given string set.
Materials Included: Methenycise #1 - "C minor blues" study (PDF file - TAB and Standard Notation). "HD Video/Audio" of exercise At Tempo and Slowed Down. 2 Backing tracks: C minor blues (At Tempo and Slowed Down).
CHROMATIC METHENYISMS (ARPEGGIOS ALA MATINI) VOLUME 3 - CHROMAFILLS (MIN7)
by Hristo Vitchev
In this chapter of my “Chromatic Methenyisms” book series I will be exploring a few very easy and effective techniques for chromatic melodic ornamentation in the style of Pat Metheny which I call “Chromafills.” I will be demonstrating how we can apply such chromatic mechanisms over basic minor 7 arpeggio patterns (skeletons) in all their inversions.
The accompanying video masterclass contains all examples performed at tempo as well as slowed down and in the transcription you will find a detailed description of the specific articulation and phrasing used to achieve the melodic sensibility and feel of Metheny.
The video tutorial will also cover in great depth the four intervallic architectures that are found within the physical layout of any given minor 7 arpeggio (fingering/pattern) and the different options for chromatic melodic ornamentation that we have available for each one of them.
Materials Included: CHROMATIC METHENYISMS (Arpeggios ala Matini) Volume 3 - Chromafills (min7) study (PDF file - TAB and Standard Notation). 50 mins. HD "Video Masterclass.". Backing track.
MELODIC ICEBERGS (MELODIC PHRASES AND EXERCISE IDEAS IN THE STYLE OF JONATHAN KREISBERG)
by Hristo Vitchev
In this book I will be exploring a wide range of phrasing concepts and exercise ideas inspired by the innovative and unique melodic idiom of the great modern jazz guitarist - Jonathan Kreisberg.
Each single “Iceberg” idea presented in the study is directly inspired by melodic passages and phrases I have transcribed and studied over the years while exploring Jonathan’s improvisatory style within his various musical projects. Once a particular intervallic structure or phrase architecture captivates my attention and curiosity I try to work out and study how it moves and inverts all over the fretboard throughout the different positions, string sets, modes and scalar systems.
The accompanying video masterclass contains all examples performed at tempo as well as slowed down. In it, I will also be presenting many different ideas as to how we can further expand and develop interesting ways to practice each “iceberg” in order to fully take advantage of its melodic offerings.
Materials Included: MELODIC ICEBERGS (Melodic Phrases and Exercise Ideas in The Style of Jonathan Kreisberg) book (73 pages PDF file - TAB and Standard Notation). 105 mins. HD "Video Masterclass." Backing tracks.
Watch Sample Video
MELODIC ICEBERGS - "GIANT ICEBERGS" - SHORT MELODIC ETUDE OVER THE CHORD CHANGES OF "GIANT STEPS"
by Hristo Vitchev
This Short Melodic Etude uses different phrase construction techniques and melodic motif development concepts that are presented in depth in my "MELODIC ICEBERGS (Melodic Phrases and Exercise Ideas in The Style of Jonathan Kreisberg)" Book and Video Masterclass which is available here: https://gum.co/maskdu
Materials Included: MELODIC ICEBERGS - "Giant Icebergs" - Short Melodic Etude (PDF file - TAB and Standard Notation). "HD Video" of Etude at tempo and slowed down.
Watch Sample Video
MELODIC ICEBERGS - "LOST AT SEA" - SHORT MELODIC ETUDE OVER THE CHORD CHANGES OF "DONNA LEE"
by Hristo Vitchev
This Short Melodic Etude uses different phrase construction techniques and melodic motif development concepts that are presented in depth in my "MELODIC ICEBERGS (Melodic Phrases and Exercise Ideas in The Style of Jonathan Kreisberg)" Book and Video Masterclass which is available here: https://gum.co/maskdu
Materials Included: MELODIC ICEBERGS - "Donna Lee" - Short Melodic Etude (PDF file - TAB and Standard Notation). "HD Video" of Etude at tempo and slowed down.
MELODIC ICEBERGS (FAST II-V7-I LINES IN MINOR KEYS) + VIDEO MASTERCLASS
by Hristo Vitchev
In this short melodic study I will be demonstrating different ways in which we can use the concepts and ideas presented in my “MELODIC ICEBERGS: Melodic Phrases and Exercise Ideas in the Style of Jonathan Kreisberg” book to generate interesting and modern sounding lines over fast moving ii-V-i progressions (2 measure phrases).
The study consists of eight “Iceberg” phrases where each main phrase contains two cycles/ideas for fast moving lines over the basic ii-V-i harmonic movement within it. This makes for a total of 16 different ways in which I will illustrate how you can implement these “Melodic Icebergs” into your own playing.
All examples are presented in the key of C minor. The accompanying video masterclass contains all phrases performed at tempo and slowed down as well as an in-depth analysis of their construction, execution and ways of practicing the material.
Materials Included: MELODIC ICEBERGS (Fast ii-V7-i Lines in Minor Keys) Study (PDF file - TAB and Standard Notation). 92 mins. HD "Video Masterclass." "All Phrases (At Tempo/Slowed Down)" HD Video. 3 Backing Tracks (Slow 66bpm / Medium 96bpm / Fast 154bpm).
CHROMATIC METHENYISMS (BREAKING POINT) - CREATIVE EXERCISES AND PHRASES IN THE STYLE OF PAT METHENY'S SOLO BREAK ON "THIRD WIND"
by Hristo Vitchev
In this chapter of my “Chromatic Methenyisms” book series I will be exploring Pat’s iconic solo break on the song “Third Wind” - as recorded on the still life (talking) album by the Pat Metheny Group. The main purpose of the study is to analyze and extract specific melodic chromatic ornamentation techniques that Pat used in his improvisation (a transcription of the original solo break is also included) and develop each one of them into long-scale creative melodic exercises and phrases in the same style.
I call these unique melodic devices “breaking points” and use them as the nuclei for all ideas and concepts presented in the following pages.
The accompanying video masterclass contains all examples performed at tempo as well as slowed down with an in-depth analysis and explanation of the architecture of each melodic passage. In the transcription you will also find a detailed description of the specific articulation and phrasing technique used to achieve the melodic sensibility and feel of Metheny.
Materials Included: CHROMATIC METHENYISMS (Breaking Point) book (PDF file - TAB and Standard Notation). 67 mins. HD "Video Masterclass." All Phrases and Exercises "HD Video." Backing Track.
Watch Sample Video
CHROMATIC METHENYISMS (BREAKING POINT) TWISTED 251S
by Hristo Vitchev
In this short study I am illustrating how we can produce modern melodic phrases in the style of Pat Metheny's solo break on "Third Wind" over a ii-V-I progression using the concepts and ideas covered in my CHROMATIC METHENYISMS "Breaking Point" Book and Video Masterclass (available here: https://gum.co/usvxj)
Once we are familiar with the function, architecture and adaptation of each one of the specific melodic chromatic ornamentation techniques that Pat used in his iconic solo break/improvisation (a transcription of Pat's solo break is also included with the main book "Breaking Point") we can apply the same techniques and concepts in the construction of original melodic vocabulary over any harmonic progression.
Here I present two different melodic phrases over a ii-V-I progression in the key of C major which are specifically designed with the same chromatic ornamentation techniques and line contour as Metheny's solo break on "Third Wind."
Materials Included: CHROMATIC METHENYISMS (Breaking Point) "Twisted 251s" study (PDF file - TAB and Standard Notation). "HD Video" of All Phrases (At Tempo and Slowed Down). Backing Tracks.
BIRD CALLS (MODERN MELODIC EXERCISES AND PHRASES IN THE STYLE OF CHARLIE PARKER)
by Hristo Vitchev
With this book my main goal is to illustrate how we can build a fun, challenging and systematic modern melodic workout based on motifs, rhythmic ideas and improvisatory vocabulary conceived by the greatest genius of this tradition - Charlie Parker.
Here I present nine workout ideas (Bird Calls) that are strictly based on real improvised melodic passages transcribed from Parker’s solos. Each idea is fully developed into complex and comprehensive technical exercises that encompass the entire range of the instrument in all modal positions and string set combinations. This way of creative practicing is ideal for our hand coordination, fretboard navigation, dexterity, endurance and for expanding our improvisatory vocabulary. Each “Bird Call” is also presented in a vertical and horizontal plane of motion to ensure the fullest and most complete internalization of the concepts on the instrument.
Materials Included: BIRD CALLS (Modern Melodic Exercises and Phrases in The Style of Charlie Parker) book (PDF file "107 pages" - TAB and Standard Notation). "HD Video" of All Phrases (At Tempo and Slowed Down). 90 mins "HD Video" Masterclass. 2 Backing Tracks.
Watch Sample Video
BIRD CALLS (SHORT MELODIC SKETCH - BLUES IN F)
by Hristo Vitchev
In this short melodic study I illustrate some of the creative ways in which we can combine the different "Bird Call" melodic motifs as presented in my book and video masterclass BIRD CALLS - Modern Melodic Exercises and Phrases in The Style of Charlie Parker (available here: https://gum.co/birdcalls) to create interesting be-bop phrases in the style of Charlie Parker over the changes of a standard Blues in F.
Materials Included: BIRD CALLS (Short Melodic Sketch - Blues in F) study (PDF file - TAB and Standard Notation). "HD Video" of Short Melodic Sketch (Fast, Medium and Slowed Down). 3 Backing Tracks (Fast, Medium and Slowed Down).
CHROMATIC METHENYISMS (GENTLE FEATHERS)
by Hristo Vitchev
In this short study I am illustrating how we can produce modern melodic phrases in the style of Pat Metheny over the intricate Tadd Dameron turnaround on his tune "Lady Bird."
You can find all my books, studies and publications on Melodic Chromatic Ornamentation Techniques in the style of Pat Metheny here.
The study consists of 4 long phrases that move over the changes of the famous "Lady Bird" turnaround (Cmaj7 Ebmaj7 | Abmaj7 Dbmaj7) while implementing some of the classic melodic inflections and chromatic ornamentations from the Metheny camp in their construction.
Materials Included:
CHROMATIC METHENYISMS (Gentle Feathers) study (PDF file - TAB and Standard Notation).
"HD Video" of All Phrases (At Tempo, Medium Tempo and Slowed Down).
3 Backing Tracks (fast / medium / slowed down).
CHROMATIC METHENYISMS (HAVE YOU HEARD THESE TONES?)
by Hristo Vitchev
In this short study I am illustrating how we can produce modern melodic phrases in the style of Pat Metheny over the intricate bridge chord progression of the tune "Have You Met Miss Jones?"
You can find all my books, studies and publications on Melodic Chromatic Ornamentation Techniques in the style of Pat Metheny here.
The study consists of 4 long phrases that move over the changes of the famous "Have You Met Miss Jones?" bridge (Bbmaj7 | Abmin7 Db7 | Gbmaj7 | Emin7 A7 | Dmaj7 | Abmin7 Db7 | Gbmaj7 | Gmin7 C7 | Fmaj7) while implementing some of the classic melodic inflections and chromatic ornamentations from the Metheny camp in their construction.
Materials Included:
CHROMATIC METHENYISMS (Have You Heard These Tones?) study (PDF file - TAB and Standard Notation).
"HD Video" of All Phrases (At Tempo, Medium Tempo and Slowed Down).
3 Backing Tracks (fast / medium / slowed down).
MELODIC ICEBERGS (TRIADIC CHROMATICITY)
by Hristo Vitchev
In this short melodic study I will be exploring a very fun and effective phrasing concept that involves a chromatic approach to a diatonic add9 triadic arpeggio which is inspired by the innovative and unique melodic idiom of the great modern jazz guitarist - Jonathan Kreisberg.
The study includes 4 workout ideas and inventive variations of a Jonathan Kreisberg phrase that can be often found in his genius melodic improvisations. The main goal here is to use these exercises and phrases as a vehicle to build improvisatory melodic vocabulary, fretboard navigational awareness and great technique.
All exercises are presented in the key of C Major over a Dmin7 sonority but I highly recommend transposing them to all 12 keys as well as all string sets and mode positions of a given key.
Materials Included:
MELODIC ICEBERGS (Triadic Chromaticity) study (PDF file - TAB and Standard Notation).
"HD Video" of All Exercises & Phrases (At Tempo and Slowed Down).
2 Backing tracks.
MELODIC ICEBERGS (KREI-OGENIC ASCENT)
by Hristo Vitchev
In this short melodic study I will be exploring a very fun and effective phrasing concept that involves an ascending Dominant 7 (#11) arpeggio and a descending melodic minor run which is inspired by the innovative and unique melodic idiom of the great modern jazz guitarist - Jonathan Kreisberg.
The study is divided in two parts. The first part covers what I call Arpeggio Inversion Adaptation which showcases how we can take a melodic motif and adapt it to all possible harmonic inversions/positions that can be generated based on its original form and function. The second part explores a concept I call Modal Adaptation which takes the main architecture and note distribution of the original melodic motif and helps us produce all kinds of unique melodic variations of a different character but same nucleus as the original line that they are based on.
Materials Included:
MELODIC ICEBERGS (KREI-ogenic Ascent) study (PDF file - TAB and Standard Notation).
Tutorial "HD Video" (Explanation of Concepts).
"HD Video" of All Exercises & Phrases (At Tempo and Slowed Down).
4 Backing tracks.