Ex­am­ple3 Kenny Bur­rell long II-V-I lines in B flat and C

Guitar Techniques - - Lesson: Jazz -

EOver the C7, Kenny Bur­rell out­lines C13 (or plays around a G mi­nor chord), then over the F7 he plays an F Aug­mented triad, takes it up a whole step to G Aug­mented and moves up chro­mat­i­cally to re­solve to the 5th (F) on the Bb7 chord, end­ing with a sim­ple Bb mo­tif. For the sec­ond line Bur­rell echoes the pre­vi­ous Aug­mented idea over the G7 as he moves a G Aug­mented triad up in whole steps (tones) to A Aug­mented and B Aug­mented, re­solv­ing to a C Ma­jor Pen­ta­tonic/Cmaj7 idea over the fi­nal Cmaj7 chord with a G# chro­matic pass­ing note thrown in.

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