Ex­AM­PlES 2A-2B

Guitar Techniques - - PLAY: JAZZ -


ÏÏis sjion 11-1Ï3Ï eX­Am­pLe 2A 1-bAr be­bop Lines: A good un­der­stand­ingää of which note

tje R-3#-ÏÏ5-7), noÏÏ

ex­tenÏÏ con­sti­tutes a chord tone (usu­ally etc) and which notes are ten­sions (chro­matic pass­ing tones along with scale tones a semi­tone higher than chord tones) will al­low you to make sense of the thoughts be­hind these lines found here. While it is pos­si­ble to pick ev­ery note, you might find it eas­ier to get a greater sense of bounce, flow and speed if you fol­low the writ­ten in­di­ca­tions for ham­mer-ons and pull-offs. eX­Am­pLe 2b ii v i Con­neC­Tions: This phrase is es­sen­tially our 7th to 3rd prin­ci­ple fleshed out with more har­mon­i­cally ap6p6ro­pri­ate notes in­sin­u­ated into the gaps. The main mo­tio6n6 here is from Bb to A at the6end o5f beat 1, bar 1 ib­nÏÏ barÏÏ (ÏÏ

ÏÏar­tic­u­jlaÏÏ (Cm7 to F7) and G to F# at the same place 2 A mi­nor 7b5 to D7). Again,

tion nÏÏ watch those slurs and slides to as­sist with speed and . eX­Am­pLe 2C mi­norisATion: Here we see how the same two-bar phrase can be har­monised with a stag­ger­ing five dif­fer­ent chords. This works as they all come from es­sen­tially the same equiv­a­lent scale, so C Do­rian, F Mixoly­dian, Eb ly­dian and A locrian are all the same notes and they share com­mon chord tones (C-D-Eb-F-G-A-Bb). C Do­rian ideas also work against B ‘Al­tered’ as six of the seven notes are iden­ti­cal to the C Melodic mi­nor (C-D-Eb-F-G-A-B) and the Bb adds an ex­tra sense6of te8n­s6i6on an8d ru9b a8­ga6i6nst B7, which for an al­tered chord is8pretty much ex­actly what you’re sup­posed to do.


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