Inner Urge Performance Tom Quayle Transcribed by Levi Clay EADGCF 1 = F 2 = C F#m7b5
Fmaj7#11
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(6)
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Emaj7#11 5
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Dbmaj7#11 9
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Dbmaj7#11
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Bmaj7#11
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Cmaj7#11
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Amaj7#11
Bb7#11
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Gmaj7#11
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F#m7b5
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Fmaj7#11
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Ebmaj7#11
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Dbmaj7#11 33
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Emaj7#11
Dbmaj7#11
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Dmaj7#11
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Bmaj7#11
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Cmaj7#11
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Bb7#11
7 11 7
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F#m7b5
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Gmaj7#11
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Amaj7#11
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Ebmaj7#11 53
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Dbmaj7#11
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70
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Bb7#11
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F#m7b5
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Dmaj7#11
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Gmaj7#11
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Cmaj7#11
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Dbmaj7#11
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Fmaj7#11
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Ebmaj7#11 78
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Dbmaj7#11 81
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Dmaj7#11
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Bmaj7#11
Cmaj7#11
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Amaj7#11
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Bb7#11
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Gmaj7#11
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Dbmaj7#11
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Dbmaj7#11
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Bb7#11
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Gmaj7#11
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Bmaj7#11
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Amaj7#11
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Dmaj7#11
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F#m7b5 120
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Fmaj7#11 124
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Emaj7#11
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F#m7b5 144
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Bb7#11 142
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Amaj7#11
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Cmaj7#11
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Dmaj7#11
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Dbmaj7#11
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3 9 11
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etc 145
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01:39:53 Visualising the A Dor ian Scale 44
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b7
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Copyright www.tomquayle.co.uk 2015 All Rights Reserved - International Copyright Secured
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VISUALISING THE FRETBOARD Hey guys and thanks so much for checking out this tutorial. I’ve put a great deal of work into producing this for you, so I hope you find it useful and enlightening. I’ve split the tutorial into two sections, the first dealing with pure fretboard visualisation based on learning and recognising interval shapes and the second dealing with applying this information to changes based playing. A very important point to make is that this is NOT a harmony lesson and I will not be teaching you chord scale relationships or jazz harmony - this is beyond the remit of this particular tutorial and I recommend that, if your harmony is lacking, you check out my ‘Jazz Harmony & Playing Over Changes’ ‘Soloing Over Dominant 7ths’ and ‘Diminished Scale Theory’ lessons or that you get hold of a copy of Mark Levine’s ‘Jazz Theory’ book. The system of visualisation that I demonstrate throughout this lesson is based on looking at the smallest possible pieces of information on the fretboard - intervals based on scale degrees. Rather than looking at large
scale and arpeggio shapes across up to six strings that are hard to manipulate, we’ll be looking at intervals from a given root note and visualising no more than an octave at a time. This makes the process of visualisation far more manageable and easier to manipulate, especially when dealing with complex chord changes. This system came about for me because of the tuning I use, where all of the strings are tuned so that there is a 4th interval between them. This creates a symmetrical fretboard where any given interval shape is the same regardless of which strings it is played between. I began to realise how efficient it was to see the fretboard in this manner, using small chunks of information that are much easier for the brain to manage and keep track of, rather than seeing large shapes that are harder to manipulate. All of our intervals will be visualised from a given root note and it’s important what we mean by intervals here. In this tutorial we’ll be using the term interval to refer to each of the notes within a given scale. In a major scale for
example we have seven notes - the Root, 2nd, 3rd, 4th, 5th, 6th and 7th. We will be referring to each of these notes by the scale’s formula so that Dorian for example would be Root, 2, b3, 4, 5, 6, b7 and Lydian would be Root, 2, 3, #4, 5, 6, 7 etc. When I refer to the 2 or 2nd I’m referring to the 2nd degree of the scale and we can ascend from the root note or decent from the root note to that interval. In this way, if I say ‘descend to the 2 or 2nd’ I mean descend to the 2nd degree of the scale, rather than descending down the interval of a 2nd from the root note. After teaching many students this way for some time I began to realise that this system was just as useful in standard tuning, where the shapes of the interval differ depending on which strings you are playing them between. Essentially, because of the major 3rd interval between the G and B strings of the guitar, any interval shape you learn between the lowest four strings will need to be changed slightly once you place it between the D and B, G and B or G and E strings to compensate for the tuning.
VISUALISING THE FRETBOARD Hey guys and thanks so much for checking out this tutorial. I’ve put a great deal of work into producing this for you, so I hope you find it useful and enlightening. I’ve split the tutorial into two sections, the first dealing with pure fretboard visualisation based on learning and recognising interval shapes and the second dealing with applying this information to changes based playing. A very important point to make is that this is NOT a harmony lesson and I will not be teaching you chord scale relationships or jazz harmony - this is beyond the remit of this particular tutorial and I recommend that, if your harmony is lacking, you check out my ‘Jazz Harmony & Playing Over Changes’ ‘Soloing Over Dominant 7ths’ and ‘Diminished Scale Theory’ lessons or that you get hold of a copy of Mark Levine’s ‘Jazz Theory’ book. The system of visualisation that I demonstrate throughout this lesson is based on looking at the smallest possible pieces of information on the fretboard - intervals based on scale degrees. Rather than looking at large
Since none of the intervals we will be visualising cross over more than three strings you don’t need to worry about intervals between the D and E or A and B strings. The rule is that if your interval shape ascends from the D to B, G to B or G to the high E strings you will need to move the upper note of the interval UP one fret on the neck to fit the tuning. If the interval descends from the B to D, B to G or high E to G then you need to move the lower note of the interval down a fret. This means that, in standard tuning, you have a bit more work to do than someone playing in 4th tuning, where a particular interval shape is the same no matter which strings you play it between. This is more than achievable and whilst this interval based method is not a short cut to being able to visualise the fretboard, it gives you the most flexible manner for ‘seeing’ harmony on the neck. All of the intervals are written out in standard tuning in the ‘Interval Diagrams’ folder with the intervals divided into Chord Tones and Extensions. For those in 4th’s tuning you simply need to learn the intervals on the lowest four strings and these will be the same an all six strings.
scale and arpeggio shapes across up to six strings that are hard to manipulate, we’ll be looking at intervals from a given root note and visualising no more than an octave at a time. This makes the process of visualisation far more manageable and easier to manipulate, especially when dealing with complex chord changes. This system came about for me because of the tuning I use, where all of the strings are tuned so that there is a 4th interval between them. This creates a symmetrical fretboard where any given interval shape is the same regardless of which strings it is played between. I began to realise how efficient it was to see the fretboard in this manner, using small chunks of information that are much easier for the brain to manage and keep track of, rather than seeing large shapes that are harder to manipulate. All of our intervals will be visualised from a given root note and it’s important what we mean by intervals here. In this tutorial we’ll be using the term interval to refer to each of the notes within a given scale. In a major scale for
In the second section of this lesson we’ll be applying this visualisation method to three sets of chord changes from the tunes, Autumn Leaves, Spain and Inner Urge. It’s very important to understand that in each of the examples I give that I am always locating all of the intervals/ scale degrees that I play in reference to the nearest root note. In the accompanying TAB I refer to this reference note as the ‘Visualisation Note’ or V.N. Finally, I have provided you with a complete transcription of an improvised solo over the tune Inner Urge that gives you some real world applications of this visualisation process over a pretty complex set of chord changes. There are basic backing tracks for the three tunes, although initially I highly recommend working through each of the exercises and ideas of the tutorial without the time pressure that these tracks provide. The absolute mantra of this tutorial is that you can only work at the speed your brain wants to work at and therefore you need to allow your brain the time to figure out where the required harmony is on the fretboard. Working without time constraints will allow your brain time to figure out where the notes are and you will gradually get
example we have seven notes - the Root, 2nd, 3rd, 4th, 5th, 6th and 7th. We will be referring to each of these notes by the scale’s formula so that Dorian for example would be Root, 2, b3, 4, 5, 6, b7 and Lydian would be Root, 2, 3, #4, 5, 6, 7 etc. When I refer to the 2 or 2nd I’m referring to the 2nd degree of the scale and we can ascend from the root note or decent from the root note to that interval. In this way, if I say ‘descend to the 2 or 2nd’ I mean descend to the 2nd degree of the scale, rather than descending down the interval of a 2nd from the root note. After teaching many students this way for some time I began to realise that this system was just as useful in standard tuning, where the shapes of the interval differ depending on which strings you are playing them between. Essentially, because of the major 3rd interval between the G and B strings of the guitar, any interval shape you learn between the lowest four strings will need to be changed slightly once you place it between the D and B, G and B or G and E strings to compensate for the tuning.
faster and faster at this process over many hours of practice. I wish you all the best with your playing and with this method of visualisation. Thanks again for purchasing this tutorial and for all your support. All the best, Tom
Since none of the intervals we will be visualising cross over more than three strings you don’t need to worry about intervals between the D and E or A and B strings. The rule is that if your interval shape ascends from the D to B, G to B or G to the high E strings you will need to move the upper note of the interval UP one fret on the neck to fit the tuning. If the interval descends from the B to D, B to G or high E to G then you need to move the lower note of the interval down a fret. This means that, in standard tuning, you have a bit more work to do than someone playing in 4th tuning, where a particular interval shape is the same no matter which strings you play it between. This is more than achievable and whilst this interval based method is not a short cut to being able to visualise the fretboard, it gives you the most flexible manner for ‘seeing’ harmony on the neck. All of the intervals are written out in standard tuning in the ‘Interval Diagrams’ folder with the intervals divided into Chord Tones and Extensions. For those in 4th’s tuning you simply need to learn the intervals on the lowest four strings and these will be the same an all six strings.
In the second section of this lesson we’ll be applying this visualisation method to three sets of chord changes from the tunes, Autumn Leaves, Spain and Inner Urge. It’s very important to understand that in each of the examples I give that I am always locating all of the intervals/ scale degrees that I play in reference to the nearest root note. In the accompanying TAB I refer to this reference note as the ‘Visualisation Note’ or V.N.
faster and faster at this process over many hours of practice. I wish you all the best with your playing and with this method of visualisation. Thanks again for purchasing this tutorial and for all your support. All the best, Tom
Finally, I have provided you with a complete transcription of an improvised solo over the tune Inner Urge that gives you some real world applications of this visualisation process over a pretty complex set of chord changes. There are basic backing tracks for the three tunes, although initially I highly recommend working through each of the exercises and ideas of the tutorial without the time pressure that these tracks provide. The absolute mantra of this tutorial is that you can only work at the speed your brain wants to work at and therefore you need to allow your brain the time to figure out where the required harmony is on the fretboard. Working without time constraints will allow your brain time to figure out where the notes are and you will gradually get
SCALE FORMULAS – These are the most common scale types that I use Major Scale Modes I.
MAJOR SCALE - 1, 2, 3, 4, 5, 6, 7 extensions (9, 11, 13)
Major 7 Chord
II. DORIAN SCALE - 1, 2, b3, 4, 5, 6, b7 extensions (9, 11, 13)
Minor 7 Chord !
III. PHRYGIAN SCALE - 1, b2, b3, 4, 5, b6, b7 extensions (b9, 11, b13) Minor 7 Chord
IV. LYDIAN SCALE - 1, 2, 3, #4, 5, 6, 7 extensions (9, #11, 13) Major 7 Chord
V. MIXOLYDIAN SCALE - 1, 2, 3, 4, 5, 6, b7 extensions (9, 11, 13) Dominant 7 Chord
SCALE FORMULAS – These are the most common scale types that I use Major Scale Modes I.
MAJOR SCALE - 1, 2, 3, 4, 5, 6, 7 extensions (9, 11, 13)
Major 7 Chord
II. DORIAN SCALE - 1, 2, b3, 4, 5, 6, b7 extensions (9, 11, 13)
Minor 7 Chord !
III. PHRYGIAN SCALE - 1, b2, b3, 4, 5, b6, b7 extensions (b9, 11, b13) Minor 7 Chord
IV. LYDIAN SCALE - 1, 2, 3, #4, 5, 6, 7 extensions (9, #11, 13) Major 7 Chord
V. MIXOLYDIAN SCALE - 1, 2, 3, 4, 5, 6, b7 extensions (9, 11, 13) Dominant 7 Chord
VI. AEOLIAN SCALE - 1, 2, b3, 4, 5, b6, b7 extensions (9, 11, b13) Minor 7 Chord
VII. LOCRIAN SCALE - 1, b2, b3, 4, b5, b6, b7 extensions (b9, 11, b13)
Minor
7b5 Chord
Remember - b9 intervals sound BAD and are generally to be avoided in all but Dominant 7th chords. b13 intervals are okay, if the 5th of the chord has been removed, avoiding a semitone clash between the 5th and b6th/b13th. The more extensions you add to the chord, the denser the harmony sounds. Generally, guitar players choose one or two extensions but must omit other notes in order to be able to play the chord.
Melodic Minor Modes I.
MELODIC MINOR SCALE - 1, 2, b3, 4, 5, 6, 7 extensions (9, 11, 13)
min/Maj7 Chord
II.
DORIAN b2 SCALE - 1, b2, b3, 4, 5, 6, b7 extensions (b9, 11, 13)
Dominant 7sus4b9 Chord The Dorian b2 scale is used to create a resolving dominant chord - in this case a 7sus4b9 or 13sus4b9 chord. Even though the scale contains a b3 interval we still call the chord a dominant and replace the b3rd with the 4th, thus creating a dominant chord with a suspended 4th. The resulting chord is always used as a resolving dominant or V chord with a b9 extension - hence the name Dominant 7sus4b9. An example progression might be G7sus4b9 to Cmaj7, instead of the normal, basic G7 to Cmaj7. !
III. LYDIAN #5 SCALE - 1, 2, 3, #4, #5, 6, 7 extensions (9, #11,13) Major 7#5 Chord Also called ‘Lydian Augmented’ Scale
IV. LYDIAN b7 SCALE - 1, 2, 3, #4, 5, 6, b7 extensions (9, #11, 13) Dominant 7#11 Chord Also called ‘Lydian Dominant’ Scale
V. MIXOLYDIAN b6 SCALE - 1, 2, 3, 4, 5, b6, b7 extensions (9, 11, b13) Dominant 7 Chord - very rarely used
VI. LOCRIAN nat9 SCALE - 1, 2, b3, 4, b5, b6, b7 extensions (9, 11, b13) Minor 7b5 Chord
VII. ALTERED SCALE - 1, b2, b3, b4, b5, b6, b7 extensions (b9, #9, b5, #5) Altered Dominant 7 Chord The altered dominant scale, also known as the ‘Superlocrian’ scale is rewritten as 1, b9, #9, 3, b5, #5, b7 to describe a Dominant 7th chord (1, 3, b7) with four altered tension notes ( b9, #9, b5, #5 ).
b2 becomes b9 b3 becomes #9 b4 becomes 3 b6 becomes #5
The most commonly used melodic minor modes are mode I - Melodic Minor, mode III - Lydian Augmented, mode IV - Lydian Dominant and mode VII - Altered. The others are used but far less often in standard harmonic repertoire.
Diminished Scale HALF WHOLE DIMINSHED SCALE - 1, b2, b3, 3, b5, 5, 6, 7 extensions (b9, #9, b5/#11 and 13) Dominant 7 th chord with a b9, #9, b5/#11 and 13 b2 becomes b9 b3 becomes #9
Whole Tone Scale WHOLE TONE SCALE - 1, 2, 3, #4/b5/#11, #5/b6/b13, b7 extensions (9, #11/b5/b13) Dominant 7 th chord with a 9, #11/b5 and #5
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01:39:53 Visualising the A Dor ian Scale 44
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