Guitar Techniques - - JAZZ-ROCK -

Per­haps our first ex­am­ple il­lus­trates the ‘jazz-rock’ com­bi­na­tion best, as this con­cept is to es­sen­tially shift, mid­way through a spe­cific mu­si­cal phrase, from some­thing re­sem­bling a typ­i­cal be­bop line to a lick that would make Jimi Hen­drix proud. The trick to mak­ing jazz con­cepts and vo­cab­u­lary work in a rock con­text is of­ten down to how you en­ter and end a phrase. We’re used to

GUI­TAR TECH­NIQUES MAG­A­ZINE 2 6 7 hear­ing all man­ner of bends, slides and nu­mer­ous other ex­pres­sive de­vices tagged onto the end of phrases, and you can also ex­tend this prin­ci­ple to the be­gin­ning of a line. Mike Stern is a chief ex­po­nent of this kind of ap­proach, but you can also hear it clearly by ses­sion aces Steve Lukather and Michael Lan­dau. I’ve pre­sented five mu­si­cal phrases all based around A Do­rian (A-BC-D-e-F-G), with mis­cel­la­neous dec­o­ra­tive chro­matic em­bel­lish­ments and si­t­u­ated around each of the five CAGeD shapes for this tonal­ity.

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