Solo albums[ edit ] Gambale graduated from the Guitar Institute of Technology in Hollywood with Student of the Year honors and taught there from to He spent twelve years as a member of Vital Information , led by Steve Smith. His interest grew out of a desire to transcend the physical limits of the guitar and borrow from other instruments, such as the piano and saxophone. One advantage of the technique is that it allows him to play faster. He can also approximate the way chords are played on piano by using his invented tuning , the Gambale Tuning, in which "the whole guitar is tuned up a fourth , but the top two strings are down an octave " A, D, G, C, E, A, low to high. Also, the 1st and 2nd strings are one octave lower.
|Published (Last):||4 August 2008|
|PDF File Size:||4.75 Mb|
|ePub File Size:||13.40 Mb|
|Price:||Free* [*Free Regsitration Required]|
I have covered a lot of that material and so now, for those of you who think, well, what other stuff can I do in a Bluesy way that is not necessarily straight up Blues? This and successive chapters are for you folks! One of the first slippery and outside things I like to do is based on something that happens all the time while playing in the standard blues chord progression, but very few musicians act upon what the chords suggest when they play the single lines in a solo.
What I am talking about happens between the 1st chord of the Blues and the second chord of the Blues namely between the A7 and the D7 chords. As I mentioned before, a lot of musicians play an Eb7 right before the D7 up a half step or one fret. What I am about to say applies also to the Eb7 going into the 2nd bar too. Why make such a fuss? OK then, what scale can we use for this passing Eb7?
Before I answer that I want to share one more informational gem! Look really closely at the A7 and then the Eb7. You may have already noticed that the only thing that changed was the bass note. I will make the Eb7 into an Eb9 that will make it even clearer what is going on here. The 3rd of the A7 becomes the b7 of the Eb7 and the 3rd of the A7 becomes the b7 of the Eb7, weird huh? Notice also that these two chords are basically the same except for the root. When the bass moves a tritone or b5th away to A, it becomes an A7 altered chord.
The precise name is A7 with a 5 and a b9, A7 5b9. Now some might say, well, the scale for the Eb7 should simple be the Eb Mixolydian, or just play and Eb Blues scale for 2 beats and be done with it. Yes, you could do that but there is a scale that represents the move much better. The scale is Eb Lydian b7 or A Super Locrian depending on which root is used to visualize the chord change. Another name for Lydian b7 could be Mixolydian 4. Same as Bb Major scale with a minor 3rd. Eb Lydian b7 is the 4th mode of Bb Melodic Minor.
The 4th and the 7th of Bb Melodic Minor are the notes Eb and A, which are the roots of the two chords we are studying. The 7th position Melodic Minor is where many altered dominant chords are such as 7 5b9.
The 4th position is standard dominant chords such as 9th. Both these chords have the same parent scale. This Lydian b7 is so much fun to use it becomes infectious. Onward and upward! Also, make sure to look at his complete course Follow Frank Gambale on….
Spice Up your Blues Playing with Frank Gambale
Frank Gambale - Acoustic improvisation - Lesson 1