Alex Skonick_Jazz Guitar_INTERACTIVE BOOKLET

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Breaking The Traditional Barriers

Breaking The Traditional Barriers
Method by John McCarthy
Presents
Adapted By: Jim Rutkowski
Supervising Editor: Joe Palombo
Music Transcribing & Engraving: Jim Rutkowski
Production Manager: Anna-Lisa Tedeschi
Layout, Graphics & Design: Jim Rutkowski
Photography: Rodney Dabney
Copy Editors & Proofreaders:
Cathy McCarthy, Alex Palombo
Cover Art Direction & Design:
Paul Enea, Tovero & Marks
HL14037605
Produced by The Rock House Method
®
© 2009 Fred Russell Publishing, LLC All Rights Reserved
Featuring Alex Skolnick
Jazz Guitar
Breaking The Traditional Barriers

Breaking The Traditional Barriers
2
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Breaking The Traditional Barriers
Table of Contents
About the Instructor ......................................................................................................................
Introduction ...................................................................................................................................
Icon Key ........................................................................................................................................
Tablature Explanation ...................................................................................................................
Reading a Scale Diagram .............................................................................................................
Tuning ...........................................................................................................................................
Lesson 1: Starting From the Blues ...............................................................................................
Lesson 2: Blues Shuf? e ................................................................................................................
Lesson 3: Playing Over a Blues Progression ...............................................................................
Lesson 4: Embellishing the Major Third: Slow Blues ....................................................................
Lesson 5: Embellishing the Major Third: Blues Shuf? e ................................................................
Lesson 6: Triads Following the Chords .........................................................................................
Lesson 7: Expanding Patterns Over the Blues .............................................................................
Lesson 8: Expanding On the Blues ..............................................................................................
Lesson 9: Major Scale Degrees ...................................................................................................
Lesson 10: The I-vi-ii-V: Blues Turnaround ..................................................................................
Lesson 11: Licks For The I-vi-ii-V Turnaround ..............................................................................
Lesson 12: The I-vi-ii-V Rhythm Changes: Beyond the Blues 4 Bar ............................................
Lesson 13: Licks For The I-vi-ii-V Rhythm Changes ....................................................................
Lesson 14: The I-vi-ii-V: 2 Bar Rhythm Changes ..........................................................................
Lesson 15: Licks For The I-vi-ii-V .................................................................................................
Lesson 16: The Chord Scale ........................................................................................................
Lesson 17: The ii-V-I Progression .................................................................................................
Lesson 18: Applying the Modes to the ii-V-I ..................................................................................
Lesson 19: Patterns For the ii-V-I Progression: Adding the 7th ....................................................
Lesson 20: Patterns For the ii-V-I Progression: Adding the Diminished Arpeggio ........................
Lesson 21: Patterns For the ii-V-I Progression: Up the Triad Down the Mode .............................
Lesson 22: Patterns For the ii-V-I Progression: Up the Arpeggio Down the Mode .......................
Lesson 23: Expanding the ii-V-I Chord Voicings ...........................................................................
Lesson 24: Expanding the ii-V-I: Adding the 9th ...........................................................................
Lesson 25: Expanding the ii-V-I Chord Voicings: Adding the 9th To the Arpeggio ........................
Lesson 26: Adding 11th & 13th Chords into the ii-V-I ...................................................................
Lesson 27: The Minor ii-V-i Progression .......................................................................................
Lesson 28: Applying the Modes to the Minor ii-V-i ........................................................................
Lesson 29: Patterns For the Minor ii-V-i: Triads ............................................................................6
7
8
9
10
11
12
13
14
14
15
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18
19
20
21
21
22
22
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24
25
26
27
28
29
31
33
34
35
36
36
37
38
4

Breaking The Traditional Barriers
This Booklet Is Interactive!
Lesson 30: Patterns For the Minor ii-V-i: Adding the 7th .........................................................
.....
Lesson 31: Combo Patterns For the Minor ii-V-i Progression ......................................................
Lesson 32: Combo Patterns For the Minor ii-V-i Progression: Arpeggios ....................................
Lesson 33: Chromaticisms ...............................................
............................................................
Lesson 34: Applying Chromatics: One Note Below ....................................
..................................
Lesson 35: Applying Chromatics: Two Notes Below .........................................................
............
Lesson 36: Complete Jazz Composition: “Autumn Leaves” ............
.............................................
Lesson 37: Autumn Leaves: Composing a Lead ........................................
..................................
Lesson 38: Creating a Jazz Composition: “Still Loving You” ........................................................
Lesson 39: Popular Jazz Rhythm Styles: Bossa Nova ......................
...........................................
Lesson 40: Popular Jazz Rhythm Styles: Up Tempo Swing .........................................................
Lesson 41: Popular Jazz Rhythm Styles: Ballad ..........................
................................................
Lesson 42: Popular Jazz Rhythm Styles: Waltz ...................................................................
........
Lesson 43: Popular Jazz Rhythm Styles: 6/8 .............................
..................................................
Lesson 44: Alex Skolnick’s Jazz Licks ...........................................................
...............................
Rock House Catalog .....................................................
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This booklet is an interactive PDF
? le. All of the icons throughout the pages are
linked to their corresponding lesson support link at wwwrockhousemethod.
com.
Each lesson in the table of contents is also linked to its page within t
he booklet.
The Rock House logo on the top left of each page will redirect you back
to the
Table of Contents page to make navigating through the booklet and ? nding a spe-
ci? c lesson easier.
Also, you will notice that at speci ? c places in this Program booklet, there are icons
for you to go to Rockhousemethod.com to use the ear trainer and guitar p
rofessor.
We added these in at the places where we feel it will be most bene ? cial for you to
use these learning aids.
5

Breaking The Traditional Barriers
Alex Skolnick is an American Jazz and Metal guitarist and has been a professional musician
since the age of 17. His virtuoso guitar playing skills have been lauded by music publications
as far ranging as his music interests: Downbeat, Metal Maniacs, Jazziz, Revolver and the Jazz
Notes column of Billboard Magazine, to name a few. He has also had cover articles in maga-
zines such as Guitar World and the UK’s Total Guitar.
Alex has a bachelor’s degree in Jazz from the prestigious music program at The New School
in New York City, has had the profound distinction of being a stellar student of Joe Satriani’s
(among noted Satch alum’s: Steve Vai, Kirk Hammett, and Charlie Hunter), and was catapulted
to fame from the San Francisco Bay Area Metal music scene thanks to his lead guitar skills with
the legendary Thrash Metal band Testament. He has penned instruction columns for three na-
tional guitar magazines: Guitar Player, Guitar World and Guitar For The Practicing Musician.
Alex is as comfortable with inventive interpretations of Bebop in? uenced Jazz standards as he
is with searing Metal solos over jackhammer riffs. He primarily writes instrumental compositions
from a Jazz harmonic perspective, showcasing his playing in? uences that evoke Pat Martino,
Jim Hall and Wes Montgomery.
As a touring and recording musician Alex is a member of the Trans Siberian Orchestra, Testa-
ment, and his own stellar group, the Alex Skolnick Trio, that plays original tunes plus sophisticat-
ed Jazz improv versions of classic Metal and hard Rock songs. In addition to these groups, Alex
has recorded with a number of amazing musical acts that range from Lamb of God to Rodrigo &
Gabriela and has found time to be involved in a number of side projects that include performing
on the soundtrack to a Broadway musical, Jekyll & Hyde, and performing under the direction of
famed “Bat Out of Hell” composer Jim Steinman. Originally from the San Francisco Bay Area,
Alex is now based in Brooklyn, NY.
Alex Skolnick
About the Instructor
6

Breaking The Traditional Barriers
Click here now to use the member number included with your pro-
gram to register for free at www.rockhousemethod.com. Registering
will also make all of the icon links in this booklet active. Once active,
these links will take you to the Lesson Support for this program.
Introduction
Welcome to The Rock House Method ® system of learning. You are joining millions of aspiring
musicians around the world who use our easy-to-understand methods for learning to play mu-
sic. Unlike conventional learning programs, The Rock House Method
® is a four-part teaching
system that employs DVD, CD and 24/7 online lesson support along with this book to give you a
variety of sources to assure a complete learning experience. The products can be used individu-
ally or together. The DVD that comes with this book matches the curriculum exactly, providing
you with a live instructor for visual reference. In addition, the DVD contains some valuable extras
like sections on changing your strings, guitar care and an interactive chord library. The CD that
we’ve included lets you take your lessons with you anywhere you go.
How to Use the Lesson Support Site
Every Rock House product offers FREE membership to our interactive Lesson Support site. Use
the member number included with your book to register at www.rockhousemethod.com. You will
? nd your member number on the sleeve that contains your DVD and CD. Once registered, you
can use this fully interactive site along with your product to enhance your learning experience,
expand your knowledge, link with instructors, and connect with a community of people around
the world who are learning to play music using The Rock House Method
®. There are sections
that directly correspond to this product within the Additional Information and Backing Tracks sec-
tions. There are also a variety of other tools you can utilize such as Ask The Teacher, Quizzes,
Reference Material, De? nitions, Forums, Live Chats, Guitar Professor and much more.
Register Now
Click
Here!
7

Breaking The Traditional Barriers
Throughout this book, you’ll periodically notice the icons listed below. They indicate when there
are additional learning tools available on our support web site for the section you’re working on.
When you see an icon in the book, visit the member section of www.rockhousemethod.com for
musical backing tracks, additional information and learning utilities.
Backing Track
Many of the exercises in this book are intended to be played along with bass and
drum rhythm tracks. This icon indicates that there is a backing track available for
download on the Lesson Support site.
Additional Information
The question mark icon indicates there is more information for that section avail-
able on the web site. It can be theory, more playing examples or tips.
Tablature
This icon indicates that there is additional guitar tablature available on the web
site that corresponds to the lesson. There is also an extensive database of music
online that is updated regularly.
Tuner
Also found on the web site is a free online tuner that you can use to help tune your
instrument. You can download the free online tuner from www.rockhousemethod.
com.
Metronome
Metronome icons are placed next to the examples that we recommend you prac-
tice using a metronome. You can download a free, adjustable metronome from
our Lesson Support site.
Icon Key
8

Breaking The Traditional Barriers
Tablature Explanation
Tablature (or tab) is a number system for reading notes on the neck of a guitar. It does not re-
quire you to have knowledge of standard music notation. This system was designed speci? cally
for the guitar. Most music for guitar is available in tab. Tablature is a crucial and essential part of
your guitar playing career.
The six lines of the tablature staff represent each of the six strings. The top line is the thinnest
(highest pitched) string. The bottom line is the thickest (lowest pitched) string. The lines in be-
tween are the 2nd through 5th strings. The numbers placed directly on these lines show you the
fret number to play the note. At the bottom, underneath the staff, is a series of numbers. These
numbers show you which left hand ? ngers you should use to fret the notes.
Chords can also be written in tab. If there are several numbers stacked together in a column,
those notes should be played or strummed at the same time. Here are the Am and Em chords
with the tablature written out underneath each diagram. Since the ? ngerings are shown on the
chord diagrams, we won’t bother to repeat them underneath the tab.
fret number ? rst string
(thinnest)
sixth string
(thickest)
left hand
? ngering
9

Breaking The Traditional Barriers
Reading a Scale Diagram
Scale diagrams are used to visually show you a scale pattern on the neck of a guitar. The six
lines that go from left to right represent each of the six strings. Like you just learned with the
tablature, the top line is the thinnest (highest pitched) string. The bottom line is the thickest (low-
est pitched) string. The lines in between are the 2nd through 5th strings. The lines running from
top to bottom are the frets. The numbered dots placed directly on these lines show you which
? nger to play at a speci? c fret. Each of these dots will have a number inside of it. These numbers
indicate which left hand ? nger to fret the note with (1 = index, 2 = middle, 3 = ring, 4 = pinky).
The numbers underneath the diagram show you where on the neck the scale is located, in this
diagram the scale begins at the 12th fret.
? rst string
(thinnest)left hand
? ngering
neck location
fretboard position
markers
sixth string
(thickest)
10

Breaking The Traditional Barriers
Tuning
Throughout this program Alex tunes his guitar to standard A440 tuning. If you do not have a tuner
you can download a free tuner software program using the membership number included with
this program on the Lesson Support site at www.rockhousemethod.com.
Standard Tuning
= E
= B
= G
= D
= A
= E (thickest string) (thinnest string)
11

Breaking The Traditional Barriers Lesson 1
Starting From The Blues
12

Breaking The Traditional Barriers Lesson 2
Blues Shuffle
13

Breaking The Traditional Barriers Lesson 3
Playing Over a Blues Progression
Following the Chords “Slow Blues”
Alex Skolnick - Jazz Guitar Lesson 4
Embellishing the Major Third
14

Breaking The Traditional Barriers Lesson 5
“Blues Shuffle”
Embellishing the Major Third
15

Breaking The Traditional Barriers
Triads Following The Chords
The Triad Shapes
Ascending
 876 
886

10108



A Triad is the Root, Third and Fifth of a Chord. Triads are great for mapping out the chords within a progres-
sion. All proficient Jazz musicians are always aware of the triads all over their instruments when playing
through a progression.
Alex Skolnick - Jazz Guitar Lesson 6
16

Breaking The Traditional Barriers
Alternating
Descending
17

Breaking The Traditional Barriers Lesson 7
Expanding Patterns Over The Blues
Adding the Minor Third
Adding The 6th
Sweep Picking
Adding the 4th
Start On Upbeat
18

Breaking The Traditional Barriers Lesson 8
Expanding On The Blues
19

Breaking The Traditional Barriers
Major scale Degrees
1 2
3 5 4
6 7 8


1 2
3 5 4
6 7 8


Lesson 9
20

Breaking The Traditional Barriers Lesson 10
The I-vi-ii-V
Blues Turnaround
Lesson 11
Licks For the I-vi-ii-V Turnaround
Variation
21

Breaking The Traditional Barriers Lesson 12
The I-vi-ii-V Rhythm Changes
Beyond The Blues 4 Bar
Alex Skolnick - Jazz Guitar
Lesson 13
Licks For The I-vi-ii-V Rhythm Changes
The I-vi-ii-V progression can be heard in countless Jazz compositions. Amongst Jazz musicians, these changes are often
referred to as “Rhythm Changes.”
22

Breaking The Traditional Barriers Lesson 14
Alex Skolnick - Jazz Guitar Lesson 15
The I-vi-ii-V
2 Bar Rhythm Changes
Licks For The I-vi-ii-V
23

Breaking The Traditional Barriers Lesson 16
The Chord Scale
Bb Major
C Major
To develop good musicianship, a trained ear and a strong musical
awareness. Go to the Lesson Support site and check out the Ear
Trainer!
Click
Here!
24

Breaking The Traditional Barriers
The ii-V-I Progression
BbMaj7 Cm7 Dm7 EbMaj7 F7 Gm7 AØ 
CMaj7 Dm7 Em7 FMaj7 G7 Am7 BØ 
I ii iii IV V vi vii 
<002f0052005a00480055000300260044005600480003003500520050004400510003005100580050004800550044004f00560003002000030027004c0050004c0051004c0056004b004800470003000900030030004c00510052005500030026004b005200
5500470056><00380053005300480055000300260044005600480003003500520050004400510003005100580050004800550044004f0056000300200003002700520050004c005100440051005700030009000300300044004d0052005500030026004b00520055004700
56>

BbMaj7 Cm7 Dm7 EbMaj7 F7 Gm7 AØ 
I ii iii IV V vi vii 
BbMaj7I
Cm7ii
F7V(Am7b5)
From the roman numerals chord chart you can see how the ii-V-i chords are derived for this standard Jazz progression. This
system applies to all scales and keys.
Alex Skolnick - Jazz Guitar
Lesson 17
25

Breaking The Traditional Barriers Lesson 18
Applying the Modes to the ii-V-I
The following example Alex plays over the backing track is a great way to practice your scales and modes in a musical
context. By practicing this way you really learn to visualize the scales needed to improvise over changes and you learn how
to map out the appropriate arpeggios on the neck. Try doing this every time you are working on a new song or progression.
Start by learning the rhythm, then map out the changes using the scales. Practice ascending, descending and alternating
as well.
26

Breaking The Traditional Barriers Lesson 19
Alex once again uses the practice method discussed in the last lesson for practicing these arpeggios. Mapping out the changes
is an imperative skill as a Jazz guitarist.
Patterns For The ii-V-I progression
Adding The 7th
27

Breaking The Traditional Barriers Lesson 20
Patterns For the ii-V-I Progression
Adding the Diminished Arpeggio
Take notice of the similarities between the “F” Dominant Seventh Arpeggio and the “F#” Diminished Seventh arpeggios. The Arpeg-
gios are essentially the same except for the first note.
Being Diminished scales & Arpeggios are symmetrical, they can begin and end on any tone within their respective patterns. So
here is the same diminished arpeggio, but I will start it on the other tones within the arpeggio.
Now put it all together with the rhythm track.
28

Breaking The Traditional Barriers Lesson 21
Patterns For the ii-V-I Progression
Up the Triad Down the Mode
Up the triad, down the mode.
Up the mode, down the triad
Down the triad, up the mode.
Down the mode, up the triad.
29

Breaking The Traditional Barriers
Here it is all together.
30

Breaking The Traditional Barriers Lesson 22
Patterns For The ii-V-I progression
Up The Arpeggio Down The Mode
Up the Arpeggio, down the mode.
Up the Arpeggio, down the mode - Variation
Down the mode Arpeggio, up the mode.
Down the mode, up the Arpeggio - Variation
31

Breaking The Traditional Barriers
For the complete example, notice that Alex throws in another variation for the middle part of this example.
Pay special attention to Alex’s right hand throughout this example. Whenever there are notes on adjacent strings, Alex uses
a “sweep picking” technique to give the notes a real fluid sound.
32

Breaking The Traditional Barriers
Expanding the ii-V-I Chord Voicings
Lesson 23
Try these ii-V-I voicings with the backing track.
33

Breaking The Traditional Barriers
The ii-V-I Progression
Lesson 24
Adding the 9th
Try playing the ii-V-I with these new ninth voicings.
34

Breaking The Traditional Barriers
Expanding the ii-V-I Chord Voicings
Lesson 25
Adding the 9th To the Arpeggio
35

Breaking The Traditional Barriers
Adding 11th & 13th Chords into the ii-V-i
Lesson 26
Alex Skolnick - Jazz Guitar
Lesson 27
The Minor ii-V-i Progression
36

Breaking The Traditional Barriers
Applying the Modes to the Minor ii-V-i
Lesson 28
Now that you have learned the scales, modes and chords in this
program, go to the Lesson Support site and check out the Gui-
tar professor!
Click
Here!
37

Breaking The Traditional Barriers
Patterns For the Minor ii-V-i
Lesson 29
Triads
Here it is all together.
38

Breaking The Traditional Barriers
Here it is all together.
Patterns For the Minor ii-V-i
Lesson 30
Adding the 7th
39

Breaking The Traditional Barriers
Combo Patterns For the Minor ii-V-i
Lesson 31
Up the triad, down the mode
Up the Mode, down the triad
Down the triad, up the mode
Down the mode, up the triad
When Alex plays these different variations with the rhythm track he plays each example one time each in
order.
40

Breaking The Traditional Barriers
Combo Patterns For the Minor ii-V-i
Lesson 32
Arpeggios
Adding the seventh to the triad.
up the arpeggio, down the mode.
Down the arpeggio, up the mode.
Here it is all together.
41

Breaking The Traditional Barriers
Chromaticisms
Lesson 33
This melody employs a chromatic passing tone one step below the Root, minor third and fifth degrees of the “C” minor seventh
triad.
Chromatic Riff 2
This melody uses a chromatic passing tone one step below the minor seventh and flatted fifth degrees of the “C” minor
seventh triad. This melody has a chromatic passing tone one step below the fifth of the “Bb” Major seventh triad.
Chromatic Riff 3 Chromatic Riff 1
42

Breaking The Traditional Barriers
Applying Chromatics
One Note Below
Lesson 34
Ascending the ii-V-I triads
Descending the ii-V-I triads
Applying Chromatics
Two Notes Below
Lesson 35
Ascending the ii-V-I triads
Descending the ii-V-I triads
43

Breaking The Traditional Barriers

A Section Chords
Cm7
8 8 8 8
F7
8
7 8
BbMaj7
6 7 7
EbMaj7
6 8 7 8

5 6 5 5
D7#9
5 4 5 6
Gm7
3 3 3 3
Minor ii-V-i
Key of “G” minor Major ii-V-I
Key of “Bb” Major

B Section Chords

5 6
5 5
D7#9
5 4 5 6
Gm7
3 3 3 3
Cm7
8 8 8 8
F7
8
7 8
BbMaj7
6 7 7
EbMaj7
6 8 7 8
Minor ii-V-i
Key of “G” minor Major ii-V-I
Key of “Bb” Major

A Section Chords

12 13 12
13
D7
10 10 11
Gm7
10 10 11
C7
8 8 7
Fm7
8 8 7
Bb7
6 6 7
EbMaj7
6 8 7
8

5 6 5 5
D7
5 4 5
Gm7
3 3 3
3
Gm
3 5 3
3
Minor ii-V-i
Key of “G” minor
ii-V ii-V or
Minor ii-V-i
Key of “G” minor
Complete Jazz Composition
“Autumn Leaves”
Lesson 36
A

count: & 1
Cm7
8 8 8 8
2 3 &
8 8 8 8
& 4 &
The rhythm we will use to play this “standard” is the same basic rhythm we have been using throughout the program.
However, you should listen to many different recordings of this song from various musicians and listen to the rhythms
gradually trying to incorporate the different feels you hear to your own performance.
44

Breaking The Traditional Barriers
A

count: & 1
Cm7
8 8 8 8
2 3 &
8 8 8 8
& 4 &
F7
8 7 8
8 7 8
BbMaj7
6 7 7
6 7 7
EbMaj7
6 8 7 8
6 8 7 8


5 6
5 5
5 6 5 5
D7#9
5 4 5 6
5 4 5
6
Gm7
3 3 3 3
3 3 3 3
3 3 3 3
3 3 3 3
B


5 6 5 5
5 6 5 5
D7#9
5 4 5 6
5 4 5 6
Gm7
3 3 3 3
3 3 3 3
3 3 3 3
3 3 3 3

Cm7
8 8 8
8
8 8 8
8
F7
8 7 8
8 7 8
BbMaj7
6 7 7
6 7 7
EbMaj7
6 8 7 8
6 8 7 8
A


12 13 12 13
12 13 12 13
D7
10 10 11
10 10 11
Gm7
10 10 11
C7
8 8 7
Fm7
8 8 7
Bb7
6 6 7

EbMaj7
6 8 7 8
6 8 7 8

5 6 5 5
5 6 5 5
D7
5 4 5
5 4 5
Gm7
3 3 3 3
You can use either the Gm7 or the Gm
3 3 3 3
Gm
3 5 3 3
3 5 3 3
45

Breaking The Traditional Barriers
“Autumn Leaves”
Composing a Lead
Lesson 37
46

Breaking The Traditional Barriers
47

Breaking The Traditional Barriers
Creating a Jazz Composition
“Still Loving You”
Lesson 38
48

Breaking The Traditional Barriers
49

Breaking The Traditional Barriers
Popular Jazz Rhythm Styles
Popular Jazz Rhythm Styles
Bossa Nova
Up Tempo Swing
Lesson 39
Lesson 40
Ex. 1
Ex. 2
50

Breaking The Traditional Barriers
Popular Jazz Rhythm Styles
Popular Jazz Rhythm Styles
Ballad
Waltz
Lesson 41
Lesson 42
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Breaking The Traditional Barriers
Popular Jazz Rhythm Styles
6/8
Lesson 43
Ex. 1
Ex. 2
Alex Skolnicks Jazz Licks
Lesson 44
52

Breaking The Traditional Barriers
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