Guitar Techniques - - Play: Jazz -

[Bars 87-147] Our now-fa­mil­iar de­scend­ing chord se­quence al­lows for the colour ful in­clu­sion of ‘non-Eb Mi­nor’ notes like the b3rd of Dbm9 (E) and the ma­jor 7th (D) of the Eb Har­monic Mi­nor scale, which is a stan­dard way of play­ing on the Dom­i­nant V chord in a mi­nor key (in this case, Bb7). For many of these phrases, you may want to ex­per­i­ment with var­i­ous po­si­tions and not just blindly fol­low the tab and as­sume that this is the only way to play it, be­cause ob­vi­ously, the pos­si­bil­i­ties are end­less. For the fi­nal phrase in bars 96 -97 for ex­am­ple, you may pre­fer a dif­fer­ent com­bi­na­tion of strings – say plac­ing more of the oc­taves on the fif th and third strings, for ex­am­ple. So I highly rec­om­mend ex­per­i­ment­ing be­yond the given tab. Bar 98 and on­wards sees more 16th-notes ap­pear­ing (some of them per­cus­sive, dead notes), which means more up­strokes to ex­e­cute. Make sure you take your time with the ex­tended stac­cato run from bar 109 on­wards, per­haps cut­ting it into bars, half bars or even sin­gle beats at first.

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