ExamplE5 StatiC mi­nor lineS

Guitar Techniques - - LESSON -

al­though Char­lie made mince­meat out of rapid mov­ing changes, he was never stuck for ideas when im­pro­vis­ing against a static tonal­ity ei­ther. Here, we see how he might ap­proach an ex­tended vamp against a B mi­nor chord. no­tice ho3w he adds colour to the ba­sic chord tones by adding both ma­jor 6th (G) and

(r-2-b3-4-5-6-7), ma­jor 7th (a) in­ter­vals, im­ply­ing the ‘jazz’ Melodic Mi­nor scale while a lit­tle later on he switches to the ae­o­lian mode (nat­u­ral Mi­nor scale), by

b6th (Gb) b7th (ab). switch­ing to both and imag­ine hear­ing this stuff for the first time, as jazz lovers would have done all those years ago. amaz­ing!

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