tJ••.•l'e,/ -- ~ e:-..\ é'!-- > & \M.-c:.Le..;:.

A 1J"\..4- , (l.". ~ " \<.,....

Minor Sea le Fingerings

Minor scale fingerings may be derived from their relative major scale fingerings.
However, an easier way to rhink about the minor scale fingerings would be to
relate the scales to scale fingerings we already know. For example, the harmonic
minor scale may be conceived of as a major scale with a lowered third and sixth.
Below we see the A harmonic minor scale fingering derived from the Form 3 A
major scale.

A harmonic minor (Form 3)

4 1 2 4 1 2 1-1 3 4 1 3 4 2 3

~i~ ® @ ® @ @ G)

Another fingering for rhe A harmonic minor scale may be taken from the Form 5
major scale fingering.

A harmonic minor (Form 5)

134134231242312

~I~ ® @ ® @ @ G)

Below is anorher fingering for the harmonic minor scale. This exarnple is a O
harmonic minor scale. The fingering is taken from the Form 4 D major scale.

D harmonic minor (Form 4)

4124121241343142 12142143 14134

@ ® @ @ G) @ @ ® @ ® @

L
Remember that Forrn 3, Form 4, or Form 5 indicated in parentheses simply
refers to our original majar seale fingering forms. Lower the third and sixth
degrees to form the harmonized minar seale. You should do the same wirh the
major seale Forms 1 and 2.

Jazz Minar Scale Fingerings

As an easier way to eoneeive of the jazz minor seale fingerings, rhink of the
major seale forms as we did for the harmonie minar seale and lower just the
third. See below.

A jazz minor (Form 3)

4 1 2 4 1 3 1-1 3 4 2 4 1 3 4 3 1 4 2 4 3 1-1 3 1 4 2 1 4 3 1 3 4

'1 ~I
Here is another fingering for rhe A jazz minor seale. It is based on the Forro 5 A
major seale fingering.

A jazz minor (Form 5)

@ ® @ ® @

118
Here is a practical fingering for a jazz minor scale whose tonic note is on the fifth
string. We will use the Form 4 D major scale fingering with the third lowered.

D jazz minor (Form 4)

@ @ @ ® (j) ® @ @ @ @ @

At this point you should convert all the major scale forms that we learned earlier
to jazz minor scales and play them all over the fingerboard. Some fingerings will
no doubt be more comfortable than others, but eventually you should be able to
play these scales all over the fingerboard with equal facility.

Applying the Jazz Minor Scale

The most common use of the jazz minor scale is over a dominant seventh chord
in order to create tension, which is then resolved by going to the 1 chord. Play
the jazz minor scale one half step higher than the root of the dominant seventh
chord. For example, over a G7 chord play the Ab jazz minor scale. Below we see
the relationship of the Ab jazz minor scale to the G7 chord. Notice that the scale
creates all of the available altered notes, the b5, #5, b9, and #9.

G7
¡,.

* ~...
b9
b.•.
#9
b.•.
3
b.
h5
b.
#5
•
7
•
R b9
~

Below are several examples of the use of the Ab jazz minor scale played over a G7
chord in the often-played II-V-I progression.

Dm7 G7 Cmaj7
1 3 4 2 1 4 2 - 2 4 3 4 2 3 2

Dm7 G7 Cmaj7
4 214241-1324 3 4 2 3 2
 Dm7 G7 Cmaj7
2~ 4 1 2 1 3 4 - 4

~iJ ~~u~~
@ ® @

Dm7 G7 Cm~7
4 1 2 4 -4 1 2 4 2

~i~~~~
@ ® @ ® @

Dm7 G7 Cm~7

~i' ~~:)~~~
3
@ @

Dm7 G7 C
2 1-1 4 3 142 1 3 2

~i~~1
@ ® @

The Harmonized Minor Scale

As you learned earlier, the harmonized scale is made up of chords containing
notes that are within the scale. However, the harmonized minar scale that is used
in pop and jazz music is a cornbination of the harmonic and jazz minor scales.
You will note in the A harmonized scale shown below that the roots of each
chord are taken from the A jazz minor scale, while the notes that make up the
chords above each root are taken from the A harmonic minor scale.

Am(maj7)Bm7bS Cmaj7+ Dm7 E7b9 F#m7bS G;o7 Am(maj7)

~~~,~qtJ==1~i
~ij~§lj
Im(maj7) IIm7bS IIImaj7+ Nm7 v7b9 Vlm7bS VIro7 Im(maj7)

Although the VIi? (VIm?b5) chord is built on the F#, since that note is in the A
jazz minor scale, any F in the chords is played natural since there is no F# in the
A harmonic minor scale.

Notice that the V chord is extended to the ninth, which in this case is the flatted
ninth since the F is played as a natural. Ir is important to remember that the
roots of the chords come from the jazz minor scale bur the notes that make up
the chords above the roots come from the harmonic minor scale. The harmonic
minor scale that will be me best choice for improvising over a Il-V-I progression
in a minor key.

120
Applying the Harmonic Minor Scale
Below are several examples of improvised lines over the IIm7b 5-v7b9- Im(maj7)
chord progression in the key of A minoro When improvising over this progression
it is best to use the harmonic minor scale over all three chords. The fingerings are
taken from the A harmonic minor scales shown on page 117.

Bm7bs E7b9 Am(maj7)

~f
® # @ @ @ @ @ Q) @ @ @ @

Bm7bs E7b9 Am(maj7)

1 2 1 4 1 3 4 2 3 1 4 1 - 1 2 1 3 1-1 2

~i'~~~ @ @@@ Q)@ @ @ @ @

.. I
Bm7bs E7b9 Am(maj7)
3 1 2 1 3 1-1 4 3 2 3 1--1 3 1 2 1 3 1-1 1- 1 4 2 1 2 1 2 1-1 3

~i @ @ @ @ @ @ @ e Q) @ @ @ @

Bm7b5 E7b9 Am(maj7)

1 3 2 1 - 1 3 1 2 1-1 3 1 3

li~~ @ @

Bm7bs E7b9 Am(maj7)

2313 2 12 3

li ~ *EE§FJ" I
Bm7b5 E7b9 Am(maj7)
1 3 2 1 3 1-1 3 1-1 2 3

li~11 Q) @ @ @ @ @ @

Bm7b5 E7b9 Am(maj7)

1-1-124341-143143231

~i~ .. i
® # @ @ @ @
 11 - V - I Substitution Examples
#32

~, Dm7 Cmaj?
'\
• I ., I

_I-/-.J-
:¡ r- - - .. "·P"1l~"- e
Fmaj?'5 C6/9 Am &m7 Am7 em7
.,.. o
• ~ o &.

·. A

H c;. "" ""

&.
v " v
•• I
v
"-
"" ~
v ...
.. v o
r ..,

#33

~
,
'\

Dm7
I

em7 Am7
••
em7
.,. P"1l •. -
Cmaj1

••••
• v c;.
~ c;.
·.
H
1\ >1
""
•• I
>1
,
~
o ~
.., .;J
v

#34 Dm7 Cmaj1

'\ - - I
, I .1 ~,.. ~. ~-p-

eJ ••
Caug scale
r -
.,.. I U I

I u v o
"
·.
H
1\

IV I I I
v
IV
v v
o
v
~ v o

o II

#35
Dm7
,..... -, Cmaj1~
- ~~---P-
" I I I

~ ..- .,.- •• .,. P"lII

&m7 Am7 em7 Cmaj1
.,.. .., I
I c;. •• v ..•
1\

H
. -" •• I
v c;.
c;.
...
u .;)
u
.;)
'"

e 2(ID.2001 J~IorIo.com. AlIRlghts Reserved.

10
 #36 Dm7 Cmaj1
'\ I
• n

4:J p1lf' y-
• v•
I
G7alt Cmaf
.,. ~ .;J

• ~
...
...
·.
11
MI v ...
.., o '"
U

#37 Dm7 Cmaj?

'\ ~ I
-
t:J

Em7 rPmaj7
v-

9m7
-!ni 11

Bm7
~ ... ¡---. #:¡: --- :;
f#m7
••

.,.
• '" ...
·.
.Il

MI
v ••.
U >;>
o V ,;)
.•. I ...
..• I .•. .•. . ...
U I V C. -a

\ ~ re
~
W.
" .,.
u. --1

t:J \Ñi ... 11

~
I
T
I v I

.Il
·. .•.
MI
.•. u I

v I

#38
\ r--.. ..•I I
- ¡___
- .u .(2--

t:J - v-
·P" 11 ~ ... :¡ ..• -11

Em7 rPmaj7 Hm7 Bm7

.,. ..•
I

• ~ u •.• ... v
l1 .•.
M
v ••. o
.•. V ,;)
.•. I ••.

... I

U I ••• I

11
 4th and 5th Cherd Shapes ter Lines
#47 G70r D7
--
Dm7
It
• .- •
-
I
3
r-
3
I
3
3
I
11 •
I .- I
n.
•••
•
tJ

.,. ~
••......
3 --- - -
I I
3
V
• •• Ii¡
y ••
If·
T
-
-
fl
I

3
Q
.;) ~ ~ ~
A
I
, "- o ~
'U

~ "- a u
H '-1 '" U •• U
'U

••

1\ ti-
Cmaf"ll
,. .11 """"""'1
3
- I -I 3
~
3
- I

"'r'
:)

,
••.......
3 --- - 3·

~
- fl-
r~ ... • J~

,
I

.,
1\
¡;)

, .. ~
•• ~
••
'-1 ,
.., ~
~
H , .., '!
oJ
...

#48 Dm7 G70r D7

• • I
-.:3
- ,....
3
1 - I
3

-- 3__ II
".
3
~JI
3
~
10.....1

t> ••...... I
3---
I
-3 - • ~ P-'
.. If.

¡;) .;)
"T"
v ~ v ~ &.

A
I

,, " ~
&.
"- ,
, ~ • I
I I I
H
" ••

• •-
Cmaf'
I - -
3
1\
•
-
lI""""""'f

•
3
I -
- -
3 3
-
••......
- -3 -
'"'"
t> I • :¡ -.
3

"T" o o
o o ~
I
, , o
,
.
n.
~ C.
e: •• L L

H o ,
~
e 2(Xn.200J JoeDlorfo.COffi.AlI Rlghls ReseNed.

18
 II-V-I
#53 Dm7 G7alt/ ¡J7 emaj"7
• • I 1
-
~ I I ~~.~ ~

J
r ff r~f~ -
I I .- :¡ .•

T o u ~ ~
I I •• .c. ,
.c. ••. ..• ... ..• ••
A .c. e: .c. ~
.c. ..• .c. .c.
..• ••
I
ti ~ o &.
..• ...

~~.
~
#54 Dm7 G7alt/ ¡J7 CmaF
'\
• I - ~~JI_ I

ff ~r 1r r
"IJ'
tJ &

I
..•. ~ u ••.
..•
I

I I o u I

.A
,
.c.
.c. ~
~ u
v
,
H .;J
., ~
U
u
:::1 o
#55 Dm
- ~
7

. T
I --¡ ~. t,... e:~
CmafiP5
- a_ 1'--0..

~~
• ,,- 11 "

..•. o
,
:::1 I

I o o
I u
i7
" I

1\
U .•. "Y

H. o IV :::1 I
IV :::1 I

#56 Cmaj'iP5
- Dm7 G7alt
-I • ..- ~~ I -¡ 1,. ~ e:~ - a_ ~~

J • v- II "

,
T
I o IV
u o
I :::1 '"
.•.
., I
I
"
A I v
u
ti u
IV :::1 '" I

#57
~
Dm 7
•
G7atl
I ~. e maj"'iP5
~
•
~
- -
-

~J ~/T r I
- t- ~:¡• L- ~

...
.. : "
-
~ 'v 1"
T
I .;J .•. v
.., .,
A

H &.
.c. "
&.

o
v .. ., " "
u

@2000-:Ull JoeDlorto.com. AII Rlghls Reser1Ied.

21
 Track 19 - Etude 3 Autumn Leaves Changes

o
1\ I
• ~ q'-'H. ~
B~MAJ7 E~MAJ7
I

.
'- - I "--J
7
.•..
8-7-5~7-8
"
"
7 9 1"
."
8 .." 8
"
" 7
7 7-5
-
.•..
"

D7(b9) G7(b9)
fl 1
" . ~ • ,-..~ ~ ••• f'- q'-'l u.¡..•

~ I
I I
5- -6- 5 6 7
.•.. 7 7--8 ....
-6-9-8 6
.•.. 7
4-5-7- f-8 ...•.. 7
4-5 "
'"
7

B~MAJ7 E~MAJ7
.
1\

t..
1 ~ -- H. ~ q,-. ~ U 1.

I
~

~
-- . I

8
.... 8
6 7 .•..
5-7-8
7 .... 8- -7
....
-
.•.. -
.•.. ..- 7-
8 8-5 8

D 7(b9)

1\ 1 ~ • ~-~.q~ ~ ~H. u

'- ,-- V

7-8
-
.... 7- -8 5 4
.... 7-4
8 7-5- -3
5-5-3-5-3-2

D 7(b9) G7(b9)
fl 1 ~ 1. U ,~ • ~~fi-- ~ H. • --- I 1-

~ ¡"....¡
..- ...... ..
~ .
--. 7-5-7
4 .. 7
4 5
6
7
4-7
4
8
8
..•. 8 ..
.... 7
..
" -
...•
8-

B~MAJ7 E~MAJ7
'\ 1,-, U ~ ~ ~ H. U 1.
. l

. .
'- 10-8
I
r
7-1= .•.. 7--6
8 7 ...•
v 1"
." 7 8- 1-5

44
 Track 19 I Etude 3 / page 2

o 7(~9) e 7(~9)
1\ I I #-~~,~ # ~~ aHa
B~7(~9)

-
~
,. 5 '"
---6--
'"
v 7
8
,. - ,.
7-&-7
4-5-4-5-7- 1-8-7-8 v
,.
v
5
7--9- 1-8'" '"
v '" '"
7~-:-
v

E~MAJ7 D7(~9) G7(~9)

1\ I
..-... Ha q~ #- ~ a
-- Ha ~.
~ I -
,. 7 -
..,
- I

...
- -
v ., 7- -8 ,. 9 8~-
7 .., 8 '" 7 5 7 7
8 v 8 ..•

B~MAJ7
'\ I
•
-- . I I I

-- , ..
I

1.0...1
• r

8
-
v 8
- - 7 -
-
v
'" 8- '-7 '" 7-8
4 8 7 5 6
.,
7-8
--
.., ..,

Ami7(~5) D7(~9) G 7(~9)

fl I
---- ~

t.. 1 -1 l
3
- 1 I I L 1 I I l I I 1

4
.., 7
7-5- 1--4
...-
- 7
.., 7-4
7 '"~
8 '"
7 .- ... 7
:~-8 -
...
7~
,.

'"

B~MAJ7 E~MAJ7
1\ I •
-. ~ q~H.1. .-. ~ '--n
I
-
I
~ 1 1

..,
- 7
7
9 6 -
... - v
8
v 7
, ...
1-
7 ft
v
'" -
... 7 '" 8-7-8
7 '"

D7(~9)
'\ I q~ ~ #- a Ha #-
. .
• I I I -.J
7-8 .. ..
4-5
4- 1-3
.,.-
8 4 6 3
.,
8-7 ,.
v 7 -
'"
2
'"
- v - 2

45
 Track 19 / Etude 3 / page 3

,., I
Ami7(~5) D7(~9)
~.. .. ¡,¡ I
.
G7(~9)
L
18M. ,-.q,-.
~ ... .•.
3
.. . .,- G 7-4-3 3-5-5-3-5 ~
.,
,.
., 8 .,-
,.
u 7-
";'-5-4-5 ...1:..

3-6
-
••
., 7 v 7

,., I .~ •. 1'- .• ~ H.
B~MAJ7
~f!:.~ -.. . E~MAJ7

. l

~ I
8 5 G
- ., 8 ., ,.
,. ,..
-... -
8 7
8-7-5 ,. ,. ., 8 '" 8- t-7~7
u 7 8--7-
'"

o 7(~9) C7(~9) B~7(~9)

'\ I ¡,¡ .1. .~.~ •• .,...~#~ •. ~I I iR- QI'- H .• I

4
,. 7-G-9-7 .,
,. 8 9 5 G ~ ., 7 ,.
~ ..-
- --5-4-7 8-G-7
., lO ,.

"T 7 ., 7~8 ., ., 7-
••

E~MAJ7 D7(~9)
,., I •

~ ••
u
8 7-5 ,. 3
8 ., 7
..- ,.
u 8
,. 7-1,.

46
~ Track 29 - Etude 4 What Is This Thing Called Love chord changes
o
.~~,-- ,--
1 Gmi 7(~5) e 13(~9) F .7
1\ l I I ~~~ ~\ ~ r-.~'--• ~~
-
~ I r
-
7-8--1:
8 ••
8-10-11
11 v
11
8-11-8
8--11-8 -
..•
10
,_ 8-
9 1"

1\ ~ ... "
'A- ~ . I I

~ , '* '* • '*- ~e

-
... 8
-
v 7
8-5 .., ,.
1: v
v ,.
8 v 7
8 8-10--6

¡II\ I ~ I I . ~~ ~ ,-- ~~ ~ ~ . •• .
4
,.

8 -
.., ..,
- -
v v
8 ...-
8-11-10-11
.., 11- f-8
8 8
10-10- 1-7 7
..-
7-8

1\

.
I I I . ~~ ~~ .•. ~ .-. ~- ~ 1.-

~
7 7
7-10-7
v
7
8-7
,. ,. -
u
8 -... 7
8-11 1::
..•,. 7 10--
" 7- f-8 "

B~MAJ7
1\ I .. ~~ ~ ~ • ~
- 1"'--.

~ ¡",.....¡

~ ~7-8
8-11
1-
'v
-... 10 7
,.
..,
~ ..-
10
10-7
,.
...
7-8 7 v
8 5 8 -
.., 8

E~mi7

" ~. .~.
• I •••••••• I l:..J
-
v
7
v
8
.. 8-7 6 5
7-5-4 7
..-
58
 Track 29 / Etude 4/ Page 2

C13(~9)
fl #- ¡!: ~~ ~ ~~~.• ~~ ~ ~ q~ ~ ~ ~ ••

-
.. -
- 8 6 8 .., .., 11-12-8 .•..
- I
-
i
-- 11
11 11 ..,
10-10 9
8 1_ _
1_
7-

Dmi7(~5)
~ ,.,..q~
fl I I I I . •• ~ .,.. ~ .,.. •• ~ .--tI'.]

~ r
10-7-10-7 7 :
8 9 11-1::

11
10
7
8 .,
.•.. 7 9 1-
- 8 8

"

fl I I f .• #-'~ I f .•. ,.....,

~ r L I I I

- ... -
8-10-11
- 8

-- 1.... .., 9 8 .., 1"

8-7 10 8 8-7-
11

G13~9)
fl
• -
~ ~.,.. q.,.. ~ e: f!:r:~#-~ --.
fÍ- ~ • #-

.J
~

- 8 6
- ..,- ..,- - ..-
..,
7-1: - 8-10-7-_-8-
1"
-7
8-1:;
-
v
.., 7 .., ..,

C13(~9)
~ 2- I~~ ~~I
~
i k:~ ~~ ~.,. •• I"-~ I ~,:--

~
~
x
~
..,
8.., {1
11
8

ª
.., ::;~ 9 8
.•.•
x:
8
-8
8
-8-
x:

tJ
'\ •. .. --
•-tI'.]
• ~.,. I ¡¿: ~:. r: f- - ~

7 10------:
'!i! 8 8 6 9 7
7 7 ~ 8
8 6 .., ~.

v ..,

59
 Track 29 / Etude 4 / Page 3

F13(~9} B~MAJ7
fI ~ ¡IR. ~~fI'- .,. ~ • fI'-
• I

~ • I I I

..
~
--
A
7 8 5 6

:--6
5--_ v 7
..
~ 7 -
v
7 " 8 " 7-8-

E~mi7
'\ ~~ ~. o
o

4 r r I

A
9 7 6 ~ ..
p
..~ .•.
p

"
8 8 " 8 - -
"'
7
":'-5-7 7 7 7-

C13{~9)
fI •• !: 1!:0 ~14- •• ~ ¡IR. ~ •• k .• ~ .• 'P---¡'" ~ •• •• o
..
~

"
-- "
8 6 ,,-1)
7
v v
8
8
8- -11 9 - "'-
v .. -;
-
v
10-

.. ..-.. =-
Dmi7(~5} G 13{~9) CMAJ7
f'l ~ •
~,.. q,.. .• ~•. ~bj =-:g
~
,.
7 1"
8 9 8 " 8 9 1~
v 1"
v 7 9 10 11

60