2 finger alternate picking scales guitar position shifting pt2

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2 finger alternate picking scales guitar position shifting for easy speed picking and improvising

Please watch video above for detailed analysis:

Moving on from our previous blog we will now extend and shift the fingering positions on the guitar fingerboard and extend our 2 finger scales. We will employ alternate picking staring on a down stroke.

Exercise: 1st Part

2 finger alternate picking scales guitar position shifting pt2 for easy improvising and speed

Exercise: 2nd Part

2 finger alternate picking scales guitar position shifting pt2 for easy improvising and speed

Full Exercise:

2 finger alternate picking scales guitar position shifting pt2 for easy improvising and speed

Now we will extend this by shifting the position even further.

2 finger alternate picking scales guitar position shifting pt2 for easy improvising and speed

PDF 2 Finger alternate picking guitar scales

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how to play through “giant steps” easy guitar fingering method for beginners

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PLEASE WATCH THE VIDEO ABOVE FOR AN IN DEPTH EXPLANATION TO ALL THAT IS DETAILED BELOW.

This blog deals with very simple guitar fingering for playing through “Giant Steps” chord changes. Everything that I employ in this lesson consists of very simple guitar fingerings that most “Rock Guitar Players” or “Beginners of Jazz/Fusion Guitar” styles will already know or be aware of. For instance the A minor Pentatonic scale/shape.

THE RHYTHMIC SIDE OF THINGS:

For a beginner it is essential to count time whilst playing 8th note lines through the changes.

1 and 2 and 3 and 4 and

This way you will know where you are in the bar and what chord you are playing over.

How to play through “GIANT STEPS”-Easier Guitar Fingering Method for Beginners

To begin with I use the B major pentatonic scale. Next, I employ a simple 2 finger pentatonic scale over D7 and GMaj7. I then play the second part of it [same fingering] up a semitone and land on the note D for the EbMaj7 chord, counting 1 2 3 4 in preparation for the next chord.

How to play through “GIANT STEPS”-Easier Guitar Fingering Method for Beginners

For the first three chords I play what could be called “A Dorian Pentatonic”. But, I am not really thinking in that way. [I am just adding the F# note for the 3rd of D7]. This in turn creates a very simple and “Fluid” guitar fingering that is very common to most guitar players and hence easy to do.

How to play through “GIANT STEPS”-Easier Guitar Fingering Method for Beginners

On the F#7 chord I play an F#7 arpeggio that then resolves into an Eb minor arpeggio for the BMaj7 chord.

How to play through “GIANT STEPS”-Easier Guitar Fingering Method for Beginners

For then next part I again employ a simple Pentatonic to get through the first three chords. This Bb minor leaning works well though because over the Bb7 chord it gives us the “Blue note”. Finally we use our A Dorian Pentatonic again to resolve to GMaj7 for our last three chords.

How to play through “GIANT STEPS”-Easier Guitar Fingering Method for Beginners

Here I just use C#m pentatonic and F# Pentatonic to land on the D# to nail the change to the BMaj7 chord. Very simple and very common guitar fingering.

How to play through “GIANT STEPS”-Easier Guitar Fingering Method for Beginners

For the last part of this I employ an Fm9 arpeggio and a C minor pentatonic scale that then goes up a semitone and repeats our C#m7 F#7 to Bmaj7 phrase. But, this time we land on an F# for the 5th of BMaj7.

How to play through “GIANT STEPS”-Easier Guitar Fingering Method for Beginners
How to play through “GIANT STEPS”-Easier Guitar Fingering Method for Beginners

PDF: Whole Guitar Line:

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Giant Steps Backing Trackhttps://jazzimproviser.com/2021/09/17/giant-steps-coltrane-play-along-backing-track-and-chart/

“target tones” for alternate picking superimposed arpeggios [jazz improvisation]

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Please watch the video above for a deeper analysis, understanding and explanation:

PART 1:

Moving on from our last look at simple alternate picking 1 and 2 finger arpeggio superimpositions, we will now add “Target Tones”.

They are commonly used on the up-beat as we can see in the example below.

‘target tones’ for alternate picking superimposed arpeggios jazz improvisation

To begin with we will take a basic E major 7th Arpeggio and add our simple 1 and 2 finger alternate picking fingering method.

‘target tones’ for alternate picking superimposed arpeggios jazz improvisation

Next we will add the target tones and use them to introduce the arpeggio.

‘target tones’ for alternate picking superimposed arpeggios jazz improvisation

Now we will go back to our Lydian chord and extend/superimpose that with an arpeggio. But, first, here is the F maj7#11 Lydian Chord.

‘target tones’ for alternate picking superimposed arpeggios jazz improvisation: Lydian Chord FMaj7#11

Here is our simple 1 and 2 finger arpeggio that is alternate picked starting on a downstroke.

‘target tones’ for alternate picking superimposed arpeggios jazz improvisation

Now we will take our arpeggio and employ target tones to set it up a musical phrase.

‘target tones’ for alternate picking superimposed arpeggios jazz improvisation

Now we will extend our superimposition. We will take the Lydian #11 a step further by implying “Chord Pairs”.

‘target tones’ for alternate picking superimposed arpeggios jazz improvisation

We will now decorate this superimposed Lydian #11 arpeggio with chromatic target tones.

‘target tones’ for alternate picking superimposed arpeggios jazz improvisation

PART 2:

QUICK DESCENDING SUPERIMPOSITIONS:

Here is a descending idea. This uses Em7 [or Cmaj9] and ends on the tonic note F

‘target tones’ for alternate picking superimposed arpeggios jazz improvisation

Here is another idea that employs Em7 and Bm7b5 fused together.

‘target tones’ for alternate picking superimposed arpeggios jazz improvisation

PART 3:

STARTING AND CREATING A NEW PHRASE WITH TARGET TONES:

The great thing with target tones is that you can finish the arpeggio and start another colourful chromatic phrase with them as demonstrated below.

‘target tones’ for alternate picking superimposed arpeggios jazz improvisation

Target Tones 2nd Phrase part: [These create a good rhythmic, chromatic and professional jazz improvised line and sound].

‘target tones’ for alternate picking superimposed arpeggios jazz improvisation

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