An interval is the distance between two notes measured in whole and half steps.  When we stack intervals one on top of another, we produce chords. If we play the intervals in the chord one after another, we produce an arpeggio. But since all intervals, chords, and arpeggios are generated by scales, it follows that scales are the basis of all music from these scales we will find our JAZZ LINES, which is what this book is about.

The following is a list of most of the jazz scales the student will encounter as he becomes involved in the study of improvising.  When we improvise, we use as our weapons the scale, harmony and melody.  The two dimensions in music are the harmony (vertical) and melody (horizontal). It is highly recommended that every student of improvising, know his scales in all positions and a variety of chords that the scales generate. All scales should be played in at least four positions especially the 1st position forces one to learn the theory. All other position pattern scales must be transposed throughout the guitar. The author has written a few pages in the beginning of the book serving as a prerequisite for the jazz lines to follow.  It is essential that the student know the scales, key signatures, intervals, and chord constructions that will be used throughout the book. In order to benefit fully from this approach to jazz, the student must understand the full meaning of the words practice and analysis. Most students confuse practice with playing or reading through the exercise. To really improve and absorb the material, every phase must be practiced. This means the fingering must be committed to memory, slowly at first and then as fast as technique allows. The idea must be so ingrained in the mind that it flows from any part of the fingerboard that the performer desires. This is the way great players approach an idea – from any fret, string or position! If there is no harmonic or melodic analysis of the material being studied, then the learning skill becomes superfluous and there is no comprehension and absorption, and without this proper digestion the performer cannot use it as his taste dictates.

All of the great players, have had a great technique and this is the first goal of the young student – “great chops.” As the student matures, musicianship will grow but technique is at the grasp of all who seek it.  Start today to acquire it!

Jazz Scales
Chord Spelling
Intervals and Keys
Chord Movement
Practice Ideas
4 Blues Progressions
Blues Scales in 5ths and Chromatic Motion
Bb Blues Progressions and Choruses
Blues and Practice Ideas
Diatonic and Non-Diatonic Harmonies
Blues in F
Blues Patterns
Blues Scales and Patterns in II-IV Positions
V-VII Positions
VII-XII Positions
Blues Scales in X-XII and 3 Octave Positions
Blues in F Chorus
2 Blues Choruses in F
Dominant 7th Scales and Arpeggios in the 1st Position
Blues Progressions Using Modes
Quartal Harmony and Blues Scales
Diminshed (Whole-Half) Scale
10 Basic Eo7 Patterns
Diminshed 7th Arpeggios
Diminished Scale Forms
Diminshed Harmony
Diminished Pattternts
Whole-Half Diminished Scales
Diminished Patterns
Half-Whole Diminished Patterns
Dominant 7b9 and Dominant 7#9 Patterns
Half-Whole Diminished Patterns
Half-Whole Diminished Scales II-XII Positions
Diminished Scale Patterns
Lydian Augmented Scales
Lydian Augmented Patterns
Major Pentatonic Scales
Major Pentatonic Patterns
Major Pentatonic 3 Octave Scales
Pentatonic Pattterns
Minor Pentatonic Scales
Minor Pentatonic Patterns
C Minor Pentatonic Pattern
Minor Pentatonic Harmonies
Minor Pentatonic Patterns
C Minor Pentatonic Harmonized
C Minor Transposable Scales
Whole Tone Scales
Whole Tone Practice Patterns
Whole Tone Patterns and Arpeggios
Harmonic Minor Scales - Patterns
II V I Progression
II V I Diatonic Patterns
II V I Chromatic Patterns
IIm7b5 V7b9 Im7+ in Minor
II V I Transposable Ideas
Turnarounds
II V I Jazz Scale Patterns
Jazz Lines for Major, Minor Dominants 7ths alt. Dominants, Diminshed, Augmented
Jazz Lines in Progressions
Chordaz Jazz Lines