Escolar Documentos
Profissional Documentos
Cultura Documentos
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(G melodic minor) (B melodic minor)
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Em7 5 A7alt
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Dm7
Ex. 2
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(G melodic minor) (B melodic minor)
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Ex. 3
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(G melodic minor) (B melodic minor)
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4
Ex. 1
Send us your candidate for Lick of the Month
(preferably notated and on cassette), along with
a brief explanation of why its cool and how to
play it. If we select your offering, youll get a
funky custom T-shirt thats available only to
Lick of the Month club members. Mail your en-
try to Lick of the Month, Guitar Player, 411
Borel Ave. #100, San Mateo, CA 94402. Include
your name, address, and phone number. Ma-
terials wont be returned, and please dont call
the office to check the status of your submis-
sion. Youll get your shirt if your lick is chosen.
THIS FOUR-BAR EXAMPLE IS
an arpeggiated sequence of the chords
written above the staff, write John Kiefer,
of Houston, Texas. To enhance legato
phrasing, Ive used string skipping. The
progression features a somewhat unusual
descending chromatic figure. This se-
quence is inspired by J. S. Bachs Prelude
in C from the Well-Tempered Clavier.
If you appreciate switched-on Bach,
check out Kiefers J. S. Bach for Electric
Guitar, published by Mel Bay. g
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Gm D/F F m F
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Gm D/F F m F
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S W I T C H E D - O N B A C H
L i c k o f t h e M o n t h
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Fm C/E Fm F
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as Russell Malone and Peter Bernstein.
Indicative of modern jazz styles, Ex. 3uses
wide intervallic leaps. For this line, use plenty
of overdrive. Mix these intervals with the fig-
ures in Ex. 1, and youll begin to connect with
such 70s fusion masters as John McLaughlin,
Pat Martino, and Larry Coryell. g
San Francisco-based Andr Bush melds
jazz, R&B, and blues on his Invisible City.
This CD features jazz heavyweights Steve
Smith on drums and David Liebman on
soprano saxophone. For more info, visit
www.andrebush.com, or e-mail Bush at an-
drebush@aol.com.
F YI : ALT E RE D DOMI NANT S
When you see an altered dominant chordsuch as C7altthe alt indicates
that you can modify a basic dominant-7th construction (1, 3, 5, b7) by raising
or lowering the 5, or adding a lowered or raised 9. (If youre ambitious, you
can even include an altered 5 and an altered 9.) This gives you considerable
freedom, either as a rhythm player or soloist, because you can incorporate dif-
ferent combinations of b5, #5, b9, and #9 in your grooves and lines. Common
C7alt guitar voicings include C7#5 (C, Bb, E, G#) and C7b5 (C, Bb, E,
Gb)both played on strings 6, 4, 3, and 2as well as C7b9 (C, E, Bb, Db)
and C7#9 (C, E, Bb, D#), played on strings 5, 4, 3, and 2. ANDY ELLIS