Exam ple 15 Di­min­ished Funk Piece

Guitar Techniques - - Play: Theory -

We wrap things up with a 24- bar study, two cho­ruses of a funky blues in the key of C mi­nor, loosely based on an ex­panded ver­sion of the con­cepts we first vis­ited way back in Ex­am­ple 7. The first 12 bars are ex­clu­sively chord- based, so se­lect a warm sound­ing com­bi­na­tion of neck and bridge pick pickup, although be 10 ready 12 to flick13 to the bridge15 10 11 12 14 and kick an over­drive on for the up­com­ing sin­gle- note solo. Each 10 12 1314 15 line here fol­lows the un­der­ly­ing har­mony 109 and man­ages11 12 to out­line 14 10 12 14 15

E 9 11 12 14 the req­ui­site har­monic colour with just the com­bi­na­tion of lead line and bass. I’ve de­lib­er­ately left a rhythm gui­tar/ key­board part off the back­ing to il­lus­trate this con­cept. As al­ways, th­ese licks are just one of an in­fi­nite num­ber of mu­si­cal out­comes to fit th­ese changes, so once you’ve learnt the solo as writ­ten, try to in­vent8 some sim­i­lar ideas of

10 8 10 your own to fit with the same chord se­quence and back­ing. This is the 85 only way to move on and make mu­si­cal cap­i­tal out107 of the les­son.85 107 5

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