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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.

Melodic Concepts: Collections
Melodic Concepts: List

MODERN MELODIC PHRASING AND VOCABULARY

PAINT-A-TONIC (ABSTRACT DOMINANT 7 PENTATONIC SKETCHES)

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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.

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MELODIC METAMORPHOSIS (THE EVOLUTION OF THE MELODIC PHRASE)

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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.

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MELODIC METAMORPHOSIS (APPLICATION OVER II-V7ALT-I PROGRESSIONS IN MINOR KEYS)

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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.

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ENCLOSED - 10 "II-V7ALT-I" PHRASES (PENTATONIC ENCLOSURES)

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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.

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ENCLOSED - PART II (PENTATONIC FURY)

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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).

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ENCLOSED (MELODIC ENCLOSURE IDEAS FOR THE MODERN JAZZ GUITARIST)

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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.

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NONLINEAR 9TH ARPEGGIOS (PART II)

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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.

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NONLINEAR 9TH ARPEGGIOS (PRACTICE GUIDE & PATTERNS)

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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.

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MELODIC SPIRALS (10 II-V7ALT-I PHRASES)

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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.

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ALTERED DUALITY VOLUME 2 (MELODIC MINOR) - APPLICATION OVER "II-V7ALT-I" PROGRESSIONS IN MINOR KEYS.

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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.

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ALTERED DUALITY VOLUME 1 (MELODIC MINOR) - APPLICATION OVER DOMINANT 7 CHORDS.

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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.

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SHORT MELODIC SKETCH #10 (DAILY PRACTICE IDEAS AND PHRASES) - "FIERY TRIPLETS"

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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.

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10 INSIDE / OUTSIDE MELODIC PHRASES (II-V7ALT-I)

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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.

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OPPOSITE SONORITIES - VOLUME 1 (MELODIC CONTRADICTION)

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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.

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SHORT MELODIC SKETCH #9 (DAILY PRACTICE IDEAS AND PHRASES)

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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.

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SHORT MELODIC SKETCH #8 (DAILY PRACTICE IDEAS AND PHRASES)

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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.

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SHORT MELODIC SKETCH #7 (DAILY PRACTICE IDEAS AND PHRASES)

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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.

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SHORT MELODIC SKETCH #6 (DAILY PRACTICE IDEAS AND PHRASES)

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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.

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SHORT MELODIC SKETCH #5 (DAILY PRACTICE IDEAS AND PHRASES)

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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.

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SHORT MELODIC SKETCH #4 (DAILY PRACTICE IDEAS AND PHRASES)

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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).

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SHORT MELODIC SKETCH #3 (DAILY PRACTICE IDEAS AND PHRASES)

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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.

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SHORT MELODIC SKETCH #2 (DAILY PRACTICE IDEAS AND PHRASES)

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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.


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SHORT MELODIC SKETCH #1 (DAILY PRACTICE IDEAS AND PHRASES)

short melodic sketch.jpg

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.

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10 FRAGMENTED "5 NOTE GROUPINGS" II-V7-I PHRASES

 

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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).

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ADD9 1ST INVERSION TRIADIC ARPEGGIOS (MAJOR / MELODIC MINOR)

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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.

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"MELODIC SYMMETRY" PART 1: THE DOMINANT CHORD

 

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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).

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MODERN LINES #1 (MELODIC IDEAS AND PHRASES FOR THE CONTEMPORARY GUITARIST)

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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.


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TRITONE WEAVER (MELODIC IDEAS FOR CREATING TENSION AND RELEASE)

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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.

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GEOMETRY OF MELODIC TENSION (A NEW APPROACH TO OUTSIDE PLAYING) ALTERED POLYGONS: MINOR PENTATONIC

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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.

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GEOMETRY OF MELODIC TENSION - MODERN II-V7-I PHRASES (USING ALTERED POLYGONS - MINOR PENTATONIC)

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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.

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SHORT MELODIC SKETCH #11 "DIATONIC ORBITS"

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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.

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TRIAD QUILT - CREATIVE ADD9 TRIAD (3125) EXERCISES AND PHRASES

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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.

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TRIAD QUILT II-V-I PHRASES (MINOR KEYS) - CREATIVE "MELODIC MINOR" ADD9 TRIAD (3125) MELODIC VOCABULARY

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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).

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TRIAD QUILT VOL. 2 (TRIADIC HELIXES)

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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.

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TRIAD QUILT - 2 NON-FUNCTIONAL MINOR CYCLE EXAMPLES

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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.

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TRIAD QUILT (FAST II-V7-I-VI7 HELIXES)

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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)

short melodic sketch 13.jpg

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)

short melodic sketch 14.jpg

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)

short melodic sketch 15.jpg

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)

short melodic sketch 16.jpg

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

short melodic sketch 17.jpg

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)

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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.


Watch Sample Video

MODAL QUADRANGULATION (MELODIC PHRASES AND EXERCISE IDEAS USING INTERVALS OF A 4TH)

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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)

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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)

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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)

minor quads.jpg

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).

Watch Sample Video

SYMMETRIC BOOMERANG ARPEGGIOS (MINOR)

symmetricboomerangarpeggios.jpg

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)

boomerang minor 3rd cycle.jpg

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.

Watch Sample Video

SYMMETRIC BOOMERANG ARPEGGIOS (ALTERED)

symmetricboomerangarpeggiosaltered.jpg

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.

Watch Sample Video

MODERN DMNSHD (A NEW APPROACH TO DIMINISHED ARPEGGIO SEQUENCES)

Modern DMNSHD cover final.jpg

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.

Watch Sample Video

MODERN DMNSHD (THE DARK SIDE OF DIMINISHED 7)

Modern DMNSHD the dark side of diminished 7.jpg

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.

Watch Sample Video

PERCUSSIVE GLIDE (HAMMER-ON TECHNIQUE EXERCISES)

Percussive Glide final cover.jpg

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)

intergalactic hammers.jpg

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).

Watch Sample Video

PERCUSSIVE GLIDE (SHORT MELODIC SKETCH - OCTAVIAN HAMMERS)

octavian hammers main cover.jpg

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).

Watch Sample Video

PERCUSSIVE GLIDE (SHORT MELODIC SKETCH - SUSPENDED ANVIL)

suspended anvil cover book final.jpg

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).

Watch Sample Video

PERCUSSIVE GLIDE (SHORT MELODIC SKETCH - MINOR COLLISION)

minor collision.jpg

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).

Watch Sample Video

PERCUSSIVE GLIDE (THIS WAY OUT - APPLICATIONS FOR "OUTSIDE PLAYING")

this way out cover.jpg

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).

Watch Sample Video

MODAL QUADRANGULATION (CHASING TRAINS - COLTRANE CHANGES WORKOUT)

chasing trains final cover.jpg

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)

changing rhythms main cover.jpg

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)

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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).

Watch Sample Video

MODAL FOCAL POINT #2 - ALTERED COALESCENCE

focal point 2 cover.jpg

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.

Watch Sample Video

MODAL FOCAL POINT #3 - SHINKANSEN

focal point 3 cover.jpg

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.

Watch Sample Video

MODAL FOCAL POINT #4 - CIRCULAR THORNS

focal point 4 cover.jpg

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.

Watch Sample Video

MODAL FOCAL POINT #5 - MELODIC SUPERNOVA

focal point 5 cover.jpg

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.

Watch Sample Video

MODAL QUADRANGULATION (IMAGINARY SQUARES)

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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.

Watch Sample Video

MODAL QUADRANGULATION (MODAL GLIDERS)

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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.

Watch Sample Video

Melodic Concepts: Books

TECHNICAL STUDIES & ETUDES

ARPEGGIATHLON - MELODIC MINOR ARPEGGIO WORKOUT (MINOR II-V7ALT-I APPLICATION)

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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.

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MELODIC GETAWAY (INTERVALLIC "ALTERNATE PICKING" STRING SKIPPING WORKOUT)

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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.

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SHORT TECHNICAL STUDY #13 (QUINTERVALLIC JUMPS)

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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.

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SHORT TECHNICAL STUDY #12 (ONE OCTAVE "IN POSITION" DIATONIC ARPEGGIOS)

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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.

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SHORT MELODIC ETUDE (THE BLACK WIDOW)

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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.

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SHORT MELODIC ETUDE (DORIANOSAURUS)

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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)

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SHORT MELODIC ETUDE (STAR PULSATIONS)

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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.

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SHORT MELODIC ETUDE (EL GATO)

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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.

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SHORT MELODIC ETUDE (SCALE-A-TONE)

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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.

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SHORT MELODIC ETUDE (METALERO)

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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.

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VITCHEV + 1 "MINOR SPIRAL" TECHNICAL ETUDE COVERING ALL 12 MINOR CHORDS FT. PAUL HANSON (BASSOON)

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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).

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SHORT TECHNICAL STUDY #7 (TWISTERVALS)

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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.

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ALTERED DUALITY SHORT MELODIC ETUDE (RHYTHM CHANGES)

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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."

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ALTERED DUALITY SHORT MELODIC ETUDE (BLUE BOSSA)

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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".

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SHORT TECHNICAL STUDY #5 (PENTATONIC CELLS) - MINOR CHORD APPLICATION

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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.

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SHORT TECHNICAL STUDY #4 (HALF DIMINISHED TONAL TRANSLATION) - POSITION ARPEGGIO WORKOUT

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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.

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SHORT TECHNICAL STUDY #1 (PERCUSSIVE PULL-OFFS)

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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.

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ADD9 TRIADIC ARPEGGIOS SHORT MELODIC ETUDE (HUMPTY DUMPTY)

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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."

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ADD9 TRIADIC ARPEGGIOS SHORT MELODIC ETUDE (SPAIN)

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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."

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ADD9 TRIADIC ARPEGGIOS SHORT MELODIC ETUDE (GIANT STEPS)

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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."

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