Modal Superimpositions

Modal Superimpositions was developed from the search for new ways to visualize scales and embellish my own musical vocabulary. The purpose of this material is to give the student the necessary tools to learn how to visualize scales in their entirety rather than small fragments. This way, the student develops his or her musical and technical autonomy, playing fluently and free of vices.

The book contains fifteen lines. Each line comes with a table with its respective harmonic field and a diagram in which you can see the notes of the scale used on the guitar neck. In the first seven lines, I use only one harmonic field per line. My goal here is to make the student familiar with the different sounds and fingerings of the major scale. At this stage it is important to keep in mind that in all examples I only use seven notes that repeat themselves. Pay attention to the different ways of structuring these seven notes through the guitar neck.

The concept of modal superimpositions starts in the eighth line. I combine the modes of the major scale and their harmonic fields, and try to create a distinctive sound that can be applied over modulating progressions or over static chords — sounding outside. Always remember that every melody suggests a harmony. Therefore, as you learn and execute the lines on which I apply modal superimpositions, think of the possible harmonic progressions suggested by them.