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Mel Bay Presents

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mgerstyle azz

COVER PHOTO BY FRAN TAYLOR

e 1985 BY MEL BAY PUBLICATIONS, INC., PACIFIC, MO. INTERNATIONAL COPYRIGHT SECURED. ALL RIGHTS RESERVED. PRINTED IN U.SA

CONTENTS SEMINAR BUILDIN' THE BLUES. . . . . . . . . . . . . . . . . . . . . . . . . .. THREE AGAINST TWO HARMONICS AT WORK SOLOS FIVE O'CLOCK BELLS LITTLE BLUES FREIGHT TRAIN

19 23
31 36 49
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4

DISCO<=J~H~, ~t(;

I have been wanting to write a guitar book for six or seven years. I was always discouraged because I never ran into anyone who could really help me do it. Then I figured . . . well, maybe John Knowles and I could put out a good book. The more we talked about it, it felt real right. The most important thing about this book is the information. It's not exactly the notes. I mean you can get the notes but it's understanding the philosophy behind the notes that's important. This could lead a person to their own style of playing. I'm not trying to make you play the way I play. I want to lead you to yourself. I've included some of the exercises that I went through to develop my own playing. If you feel discouraged at first, it's because they are hard to play ... that's all. Keep playing them and after a while they will start to feel natural and you can add your own variations.
A lot of people helped me along the way. Of course there's Chet Atkins. I love Chet. If it hadn't been for him, I wouldn't have started playing ... seriously. Without Bill Evans, I might have quit playing years ago. When I heard Bill play piano, it was a lifetime of inspiration. He made me realize that I really don't know what's happening because music keeps on changing.

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.... - - .. .. BYRON joined us at the proof reading stage. . .. i-index. A .. try following the printed music as you listen to the seminar cassette or the records containing the solos.I would like to give a special thanks to PAUL FORSTMAN. .. I hope that you will work as hard..:z_ ~ . =~ _.. and get as much out of it as we did. I _0 \ 41 '- .--- 2_ .. .- 'Z r ~ . PAUL and SKIP helped me transcribe the solos at the back of the book.... ~ .. __....u.. .. A Roman numeral is used to indicate the fret where a barre is made. "'( ._ ~ . P3 -4- :~~ _.. u.._ • _.. The right hand fingers are indicated.... . ~ . ::( :: ~ r~ r" 1~ z...._I J ~ !- 4 ~ -~. J __.... .a. Believeme . '2_ ~. .. t IK J .I_ l1li[ P1j __2_ _1 oJ ... ]I ..~t ~ y .. The numbers by the notes are left hand fingerings..nr... it was at least a three man job.. oJ 3T .. . m-middle and a-ring. .:JI' JJ _'" SLO_ j '1 h 1- -Ao"lf ) ±: r '"2' :::...... If you are used to reading music. If you are used to reading TAB.z ------... The music in this book is written in both classic guitar notation and standard TAB.... . '* 'Z ::... I------t1 JI_ ~_A j I. 7 fJ •• ..::.'..l _r_ • _. ._ '2 . The numbers on the TAB lines give the fret and string location of each note.:.. In either case.... I 2- .. SKIP SORRELLE and BYRON FOGO.. p ~ ". ~. .... check the TAB to make sure that you are not playing the right notes in the wrong position. .. - I ~ - ~ ~. p-thumb..... .. "'Z .~ '" . C" ~ ':! ..!r: ~ uf3 ..JIO f ··v ~ .1-----------t t .. A circled number is a string number.. .._l _U. 3 .. look up at the music every now and then to see how it relates to what you are doing.. - qr tr "'T "T •• .

There is a slight accent on the second note in each pair...... E... IooLa ......... 0 Lenny: So at the same time....2. 1 " .... . . the eighth note pairs are played with a triplet feel. ... ......... ~ ... In EX..... a . . The E...... '0 0 .0 OftOa. We'll leave the root out because in this case we're using the note "C" on top....... 3 z..... > J 3 i.nnrn nc n. k_ 4... OftO"" r- .nnrn _-----_ 'WI 0. "-..L ~ ft '... nn.. ------I~-- rinru ------_. ~ 0 Oo·~aooo -- ... EX.. ... -.... 1. 2 jJ JI 11 A - ..J ----_... EX.. _'-' .. G and Bb' ..v 0 ~ .P '" . - 4 .... Bl1 tritone will suggest a C7th chord when played with a C bass or against a C melody. J a .... 6 ... .. rinri.. i.... ------Q ... The notes in a C7th chord are C...SEMINAR BUILDIN' THE BLUES Listen to the cassette as you follow the text and examples below.. I'm going to sustain two note chords ••• tritones that will suggest a C7th.... .... -~ ....

J!L.... EX 3 " . --"'a~ _A_d--'o -_----_ OnLL __Q_ - .. ..... L Q _Q_ :: 1'1 " I..4 --" £ A 7 -.... r"'---[_f ____._'5 2- -- ... 32.. 3.. O J X .a } D" T .. L: Yeah.. That's what makes it swing. the chord comes in.. 4& and on the 4&. a~ . - ..JlJ r I.J -_ --.... GOLLODL 4- I n...-..~ L . ---- .... to> . :"" L: Right? So then you're getting into syncopation. ~...- OO_L . 2.______ .. o 0 0 _~ r. "'" - :. } II!!Io~LL"''''L L ~u..:I' .... .. n.______ r._-...... two "B P 's".De.... EX..... L'! .. 0 ~ ..-.....John: That would be where the four chord comes.. ....... nri.._ .. .Q_ L: Then it becomes a melody. Then you can cbange the notes and maybe play something like two "C's"..Q_ .. . L... -.nDl -..nDl n~nnl n~nl -.. . So you go 1. ~I"" ------ -- _.. . . . 5 . Dtlln.--... v - ..... __e:t >t' K _ii 1'7 I.

Notice that he leaves out the melody note "F" on the 4& of the first bar to make room for the four chord. .... ~ o0 ..... J.. L .• and that scale will fit against a one chord and it also fits against a four chord. 0 ~ - I:" L: •.. • EX . 1 J -" .. ... 6.... ....... 6 . n V L Now Lenny adds the bass part from EX......... 4- _""' J 4 1 I I J .. DOL . . - v o~ .. _. EX . . 6 _.. ~ . } nnDn 4I 4 --R 4 n r1 1 ~<I( -~ ..... U v n ......... nD -~ L v o0 . So we'll make up a little melody going...L: The pentatonic scale is.. 5 " 1..... L L o . u u oJ..... 4 to the melody in EX..

. 4 I 4 4 I } V' ~ . ~ 0 Lenny and John 7 ..-0'" rr'.. In t1 0 "- v e . .... uV.. '"" .JV "" '" .v . v ..-C!j" ........___....rool'. --P" .... n ""'" !---------- .. .. ~ ~ 0 L L "" n 00 . r._ vv'V ...... 11 n~ nJ -..----------..EX 7 . '-- ......1. . i....-• o· nr1 I I...

. ."'='_ :3 _ (-6) --...) C :. L. your fingers and voice will work together... When you can sing the roots.: ..... (e-.. (~) (-&) (+) - F -~ C . :l(-o-) F C :. C... .- (-{)-) .. With practice..' f C '..CZ ... ~ iL.0 .... Notice that Lenny's vocalizing is playable on the guitar.. ..!":~ t-i!t) .. L y"':_ _ '" ~ (:e:. (:e:) _ v=.:...=F .. 8 " _y J 2- 3 (-&) . . practice singing the pentatonic scale against the tritones. ... . F 'C '. "J ~..... n C ~ ~ I .Practice singing chord roots while playing tritones to improve your ability to hear the implied seventh chords.. 8 . EX. Il ) 3 2- (-u) G ..- "'" - ..

..... o c:... L "'" ....... L ~ ~ 0 o ... .. v ..'I .... .._r1 I I fJp 3r 1..-2..0 ..... 9 .._a " OJ L t'> OJ o...t1 l' "J I 11 7~tJ) J:l1 u. U .. .. n v _l. .. . v-- _. -'-J • .. L ..... J v- ~ L V"'''''' . 0 " .. t'> g >t c:- L: So we've used one scale against three chords and it sounds good. So it gives you a little bit of confidence... oJ . ..Ij 414 4 f.aJ tl..... ... ft ........ 3 ~ 7-~ J ~... "'" =-.. "'" . .. ..l .... 0 . -- .. -oc:- c o~ ...... ri ~ . ) 73~ 2o "" ~utj· I1.. 4 LV~ I } r L .. .-J) f1 r1 1:1 r3"" I r-. The idea is that it simplifies how to play the blues........ .... ..0.... I mean because you know that pentatonic scale is going to fit.""_0 .. 0 .... rtl... '"" . I"'" ~ ( !" • L r r V~O OL v L ... .. L ... c D '-' '::: I ....

10..... T .. 7'T . I I .-....... ~-n ...may take you a little longer.. t."'" .. ~ 0 ..' I 10 . v .[f :t .1m~ l -I ..... :._ .. ... L n e- ~ n -.. it takes Lenny about five minutes to get to this point... to d 1/ ..... It.. '01 L - . "...-~1):1 1 .. ~ L ht....... r k. 7 . . n '" D ... On the cassette.. ~~1J}i. EX.l... r-.. 7 l .. t:"'" tl. } 7 ~ 7.It all comes together in EX. r t . . ~ ..

...." ... In measure 9... .. It's a discipline because you have to keep doing the same thing all the time.. -- '... i ...... nnnn _.. but it creates a nice little groove and if you can pJay something on top of it. ... 0 "" .... . L I ~I ~ n II. ...._ r D l ....nn~ ---P." . rr r "" ~ r . - .~_.... ...... to ". .........EX.. 11 . 4- _L - . crt ::.. n --~l . ... r'::. .. " . II ..... ..r" r o~ - r L r L l "c. fI_ 0. ." ~ - ... I· .. --E:i ... J ~ r .... -- o 00 . b r L ..... vr r r J .. _Wi ~ ~ 00 ~ 00 t . L: It's a good idea to try and play straight four on the bottom because it is kind of hard. -L ....... ... ~ i... • ~ .-uI) l1!!o . .:f... Lenny uses a fragment of the G mixolydian scale against the G7 tritone.. . " .._L --rr L ..-11.. L ):i' ..... L ~""-D ...... .. In measure 10. .1 -----qDn ...r r r r ~ .. g .. he uses a fragment of the F mixoJydian scale against the F7 tritone..........CI'" 10 . 'Y l --~ lEo. ... t'>e... .... L .. ..... .. .. . r rrrr CI CI n It·-. '"" ...:.. ..-... • ClftLl....... } 3 ..-o~~ ~ t'> ~ o-~ . t... I ... ~ 00 0 o ... it gives you independence.. I... -L. ..... . I . .t 1 11'\ I co ..

__ _ ni1 I - 4- 4 4 2_ 3 (.L: Playing the pentatonic Jike tltpt. he had a different scale for each time he changed chords.. . So b~ might USf the pentatonic on the "C" chord. EX.c. . 12 Dri __ P.l 4__ I - 4 The mixolydian scale sounds like a major scale with a flatted seventh.. That comes out of gospel music. Then when hetd go to tbe "F" '1hord he'd use the mb:olydian scale of "F" just to change the sound. that's the simplest way of playing the blues. But then when Charlie Parker came along. Notice that you can reach about an octave of sGal€from each tritone. F and C mixolydian scales and the corresponding tritones are shown below. The 0. :tF .i. :l.

.j . L .. -OL ..f"- I l1ci-~ '"1 _Q_ I W C" _d_L .. L... ~ .....1::.' 0 . / 'OJ .. .:r 1_ t:- - '7 ~ )1 _ri 1 t . Lenny plays an F mixolydian scale against the F chord as in EX. '" .._____ ...1..". 12 EX. W ..Q 1t1. another way to play the blues. ..!.L: Or you could change the whole sound of the blues by playing a "C" mixolydian scale instead of the pentatonic..... ..:r ..... So that's 13 ... -1 0 L::f" 'f... 1 r c.. " ._.. ... o ... -~- . . .. .... l"I. ....L '1 • 00' ....._..100 _.r L L: So it gives you a blues but it's a different kind of color . ..... 7 h._ I 4 I-j 1 L r r j ... L-.._ ~~ ...... 'AO" . . ~ - _o_ ~ _n... L.... Q .... L " n... . L ~ .. ~ ~ ft V -~ oo !::... . .....1'i _ii '" _i.. V 0 . L'\ ~"ri --"'. ..:.. _...... .. a different kind of feeling. .... .... _Ia_io.....~. . J 2 3V --Po ... .... 13 . .......... ...'~ 14 3..... -. ffl--. / _!]_ ........ i._ -~"r . 1... \J . 0 ' .. 'OJ "-} P11 J"'j..._ ---....I.......... £lnffi . ..

......J . . " ~ .- (f) C ~ 0 -....-------------_....... D 'n G n __Q (f) A ~ .{. off ... •. 1.- ~ " J r_ (-&-) F .. ~ .... co... ~ Q .) ~ At. (4-") F (f) . a '. C.. ~ . 14 . :: .L C.." .:. ......... ~ (3 . L ~ . .. 'V ..1.- .... ........ .. t'I • ... .. 14 11 J (-e-) "'_ C..._ - '" " ..! ...... tf) .. W'] .. ) •.....) (~) . .. L '"' .... ---- ::: 0 . . .lit.. ... .. P'I ........ ~ I (~ •'if) A 10 .. C.) F ---- (.. _a . a ..::. OJ .... . L ~ ... . Of _L. .----- --------- . F. . ~ .". .--.. ----....... ~ Po ~ .. .. 0 II .. . EX..-- ---_.. ..... '" ....(f. L ------..... o ':. .~ .... ... '"" ..:. "' .."1 D ..~ ... ... "" G 'i\. 0. . . '.1It .-- .. {(J') -- •-•• • ""l .L: This is the blues using more than three chords. "d. _. __ -- ~ -' -. . (. L: I wanted to make sure them chords sounded good so I started singing my own roots because I'd be practicing at home and there wasn't any bass player. ~ 'T "'" 't' "T 1 [lI -. -• - ••• • • • 'Ii} It . . <. ..iL' . ...L . ::: .... f . . L ...! ... ... 0 --~ • 11---... ..

c.. r.......I r o -.. I' 1'.And now ...~r'-ft .... Again.- L: That was mostly pentatonic. IS it n _--~nn rf '" ~ nf"1-1 ..... .. .. - r1 F11l "'" ~ I- 1. L. ~'I ... scale over the changes of EX.. -. " .. f""'11 1ooI~ •... ""......- - - ~ ...- .... 14.. twelve bars using the pentatonic ing is playable... n.. .--3.... 0 0 '1:'>- .. Lenny's sing- EX.:: 7 ~ ~~ ... - L ~ . 0 .. c- a ~ ._ } '.. v_... • ...Jl ... .... rio o ...... .. U "' ...k.___. ~ f .. Doe L ... .u ...... ....:.s: ...'- """" .l"'>.. -' 1l:--'7 - 1 rJl -=-1) _g_ . ._ ......1 J..... I J~ r:::.oIi. ~ 0 e: V s: ~ I ... v~ V .. 0 MIL ... v - 7_ ~.. ........ . '0 r . 1"1 0" J1p...... . J -..... v ... ... .._ ~_rJ' ..... _" 0 . ..

• l'l. . ::: _I_ to D _a_ )( ..&.. It still implies an A7 chord.. . L - 11 ~fI rn .. J '" v '"' :i' I' rco .. -t 'll__ft . EX.. This E7 replaces three chords (C7..In EX. .~!... 2I ) - . ...- 0_ '" 0. F7 and E7) in EX. (.. .:... u ... . '1 .~.... 16 " .. -~DLO ~ . ~ - v .. Check out measures 4 and 5. 17. 14. 16 . there is an E7 implied by the D-O# tritone.._ 1~~ !J) 'l'P t o L _i .. . l"""-A ~-. In measure 7...l_ - ) 1V 1 2. .'J - ... -. e- ..J:t "" L 3[----------3 I . It ~Ji= "'. . 1:1 r1.....r ~ .. c '" . In EX. l " I :Ii •. 14.... 14. 3+ ~~ ~ JZ. ... A '1 ~ II LA" t _b .. . ~' ~ Jt I . ... 1 -s-> ~ .. 16 Lenny plays over the changes of EX..... Also there are a few outside melody notes.... Notice that the G-e# tritone in measure 8 is inverted.0 . .. It gives you more time to play over one chord.... Lenny plays a variation on the changes given in EX. .

_... II ... ..::. _OJ L. 1'1 . ..' ... .r------- . C _7 v ... _... . u -- e ..=_ _~ _L V I . ~ L .._ -~._ 7 r V~t 0 _ji '" .....D r1~1 7v~ 7 ~ ~J! I J""'1 1 '"' . ." . 0 _a . . 17 ( ..EX.. ~ ......zrr----- 11 '11.. [ .. " .. '" ~ 17 . '.. 0 u •• .11 !tif" ...... IV _.._ 1 } v . 0 7~ I I 'I II .. _4_ -.:.~tzI) .. :.t..~ ~J:---J_ .11 ~j} .~ -~l'f ._ :. ? . _.. C L .... ""'" in ~---1) .J:l_ ~ L .. . a .. .. " :::" 0 .. ..... . . ft Ii .--t" 11 J _V r.....:w -} yi.. '-' ~ .._.._ . "" u l!I = .. ft -n h :» t Q . ... "oJ' po'" " ~ :. 11 'T --11111--' .. ~--~~L- 1 . _ ..ri ~."..... t l .. ....!L ~ t --~ e. - "- ....L - ........ 0 x • 0 e .- ..- 7 li i __r::_:_1.. . ...

..lo. .lor .. ...I1~ t ~ ~ ".. . ..---1.. That's how you get to the real freedom by using that kind of discipline.. ~ . '1 _i.o. :smr A If . L rill .~ ~~. " ...qT... . r- . 11 ~p--.. ..... ... . . . .. I:: J . " " ~.l.L - ... ...... 18 .. ::: . ~ ... ._ - '-" L. 4 M~ 2- o0 ~~ ..- r ""___"u . ~ L .c Ii"" - " 0 - L: So you have all these possibilities.. II:l a 0 - A Q .. EX 18 ... Once you know these modes you can mix them up as you go along and that's what's so nice about it.~i-= U 7----IjJ ElU j l..v '"'_ } )'3 2- 3 ... ~ . The outside B~ in measure 2 and F# in measure 4 are both 4# against their respective chords..i" r :5 2.......~ " v• L .. 2- -._ - ....~ t . r fJ -6- n . i... ..I ~J ~r ..~~ .. .... .. .r ~rr ..... _n_~ a ~ - ~ / . There's the discipline but in using that discipline that's how you reach your freedom.... .Notice how the repeated triplet figure gives unity to this twelve bars.Jl r PJ J. The 4# is characteristic of the lydian scale. ~ I "0 . 1 h-' ~ 3 27 t j~ i$ CJ " ...

" '1 ~ ~'2 oJ IiI. J '2 ff ~ - .... ... 3 ..._ I Ill. By now you should be screaming to try it all together .. II ....... ~ .. oJ . rf '"!....._ oJ r-3-. - e: ... =' _..THREE AGAINST TWO There is no easy way to get the feel of playing quarter note triplets against straight Quarter notes....... J :.. ~ .. j • ..: ~ ~ :: .... If' WI . .. . ~ 't~ -e- ~':lI~ ~ ._ L L . 4J _J J j . ~ - :. rf f !"'" <:> - J . :t . ::t .. Now try playing the triplets while listening to the quarters... s: ~ ~ ~ 10:: ._ 1:iL. A ." • . "1-1P r .. ~ .s..... . ~... . 't ..) oJ '2 ..... . wi wi oJ ~~ ~ ....'3 -.. I ..A L _L . . ~ ~ ~ • J .- '"' .. .. _.. 19 "nI J II 3 ..'" "j.& - =I ~ .. ." =.. --I JJI--- JI . Try listeningto Lenny and focusing on the steady triplet while letting the quarters soak in. ... So.3---. ~ ~ .. _2 . J "!\~ ( pr ::: 0 .. ~ -.-...... ~.. go ahead..A 3: 1 r . ~ ~ ... I'" ~~ ~ to: L ff ~ ~ -:z. III lit r. '<11 • II' ..-"'"' <> .. _" ~ .. .I I ~ '" ... z: -I- ~ ~ 2'" ...... rf _ J 41 r. ~ v _..... . L . • _.-------------- 11 JI II 0. ~ ~ .. . Then reverse the process and focus on the quarters." . "" rr r: n I'"l d...... -~ 2. .. -:: .... . .. . I'" 2. ~ .:: ~:::: ~ . EX.. 19 ... :!!! "'" r: ... ".. .... ~ ~ 'i .

20 mixes quarter triplets with eighth triplets against a straight quarter note comp. > . EX. 20 II L t1 ~ A } "WI p l rrtr " tf. . ... . ~ -~_ :. "123123" and accent every other number.. It might help to count out loud...j.. .. ~ . i= ~ L -e- L e: li.: oi ..EX..".. . 123 > 123 ~ :> The numbers are eighth note triplets and the accents fall on quarter note triplets.:.. ~ :... .. Now if you can pat your foot on the "I". Listen to Lenny and try tapping the eighth note triplets which are built into the swing feel and you will hear an underlying pattern.. m-------- -- . :: - . oJ .... -. -. :It -jIf- ~ ~ -+- f -.. ..: . ~ - . • ~ •± r " 'OL_ r . . ~ '"'" . oJ +- r -. .... ... -- ~ ~ ..._ "'"r"' ..... JI[---------- 20 ..... . ~ .. if .. " ..... that's the straight quarter comp...

In EX. 21 Lenny plays the first phrase of "Freight

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EX. 22 is a half-note triplet accompaniment to the first phrase of "Freight Train". Notice how the first measure is boom-chic-boom and the next is chic-boom-chic. When you hear it together, it sounds like boom-chic-boom-chic but the timing is odd. L: And you're going ...

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EX. 23 is the upside down of EX. 19. The triplet is on the bottom and the straight time is on the top. L: So it's like going ...

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L: Right? The quarter triplet's on the bottom. But you're not playing bass chord-chord .•• you're playing bass-cbord-bass-chord. So it sounds like you're playing in 4/4. But you're using a three feel. It's mind boggling.

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HARMONICS AT WORK
L: I first learned to do the harmonics when I was living on the farm. You know and picking it with a pick and using my left hand to play the harmonics. What we're going to do now is touch the harmonic with the first finger and pick it with your thumb pick. Touch the sixth string at the twelfth fret with the tip of your right index finger. Now sound the string with your thumb (pick). Lift your index finger right after the harmonic sounds so that the note will ring. It may help to keep your index finger straight so that moving your thumb wiJI not cause your index finger to contract. When you sound a harmonic, you will hear a pitch that is one octave higher than the pitch of the fretted (or open) note. The notation shows a regular note ( for the pitch you hear and a cue note (f ) for the note you fret. In the tab, harmonics are indicated by an "X" under the fret number.

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. f:J:1 . This twelve fret distance always divides the string in half. 28 is EX. t1 _. .. You should hear the first three notes in a descending G major scale. 24 .L - s: ... and then slur the F# to an open E.. Playa third string harmonic... . ~ • '-I } V .. EX 28 • l' '-"II" J . -""- t -... Now you must touch the string twelve frets above the fretted note to sound a harmonic.~v pt - Yl) ~ " ~ n ~ EX.. ~ - flo .o\ar:1 100 If" 1 Q..• f' a. 29 adds a pull-off (slur) to what we already have.. .. t EX. .. I----------------Q. EX.L: Say I add a "C" note here. EX 29 A -j'~ ... 27 1 'f. 27 with a barre. t r-: ... \... sound F# on the first string. and see what happens.

Vt ._ _!'_!'_ J Pv . 3 .__ EX. r-i-r ..h 1> '. 3 p It t 1Z[-c.. . . -'_ -'- . Be sure you have mastered the skills in EX. make the harmonics by touching the string twelve frets above the fretted note. 30 A ~J ]j ~_I - a..... .EX.. 3 7-(["---------Q.-------------2- [1!1 25 . I--~-----EX .31 m. Again.. 31 combines scales and arpeggios to imply a 2-5-1 progression in the key of G. EX.. 21 J . 25 .EX..-----Z. 30 before letting this one bring you to your knees.. 29 with a barre. 30 is EX..

.i.. ~ '. ~ IJ:. I.... J_ J..... c: "f L ~ . ~ 26 ... you would hear a major sixth (G below E) without the harmonic. IlL _jill["" _ I- ~ J. i ._ 'l " . I .. In EX.... 32 ]l]l "... ~ . '::I . . .. The harmonic raises the G above the E to sound a minor third.. II ilL #'f v T _~ -. A L: I'll do a minor nine •. } J v I ~ I i -~ -t '-!: 1 "'" "" - -t ..... <:" 5 X. 33 A .. 32. ~ _. 1 J .. . . I I . . EX. II I ~J X I f 'l . ~ ') '1_ "- .: See what I'm doing is just playing a straight barre (at the fifth fret) and making an "F" chord......x r::.-------------I 11 _II' 1111 "'-'" J 1'l". p l .L ... This creates an inverted interval. I i v "" - "" "" ..• EX.......We have been sounding the harmonic and the regular note separately but they can be sounded together. So that you've got your three on the bottom. EX 34 ...Ii .. :::. } 11 ~.... and you've got six (on the fifth string) and your nine (on the fourth string).. ~ ~ .... .~ l ~ I:'" i ~ ~ r 1 ~ ~ ~ I::':_ 1= ~ 5 ...

.. ~ f .. 36...L • 1 L 1 . ~ ~ s: ~ ....T . " I' . -t f' r . ~ I .. - t r. . :. 36 t1 111 A oJ ..... • f' T c: -. I..: ~ ..e- .._ ~ z ~ x -.~ J ) - r. _. c ~ - .~ ~ ~ (I J '>. ::: In EX.35 11. creating a close voicing not normally heard on the guitar. z ~ r- "" x c A -.. You will have to get your right hand little finger into the act.. _ 'II' . EX. ~~ T .: _E_ iO . 35 but he has added a G bass note that sustains under the progression.. oJ' s: >: ....L: Here's some nice stuff here going into "D" .. ~ "~T _I:::... "7 .. 11 'v I:r' _j.. . ~ " ...- 27 ..:! )( I . . i:X..' x - ~ L r r:- z . "11 ..•• EX.. ~ r <0A ..... 35 works as a 2-5-1 progression in the key of D. . ". ... t. Each chord is one harmonic plus three fretted notes.:: co .- _J. • . )( I I . ... t l' .l~ d i 1000~ r' t L F""7 -i '2 A . You will need to sound the sixth string with your thumb and then move into position to play the harmonic on the fifth string. oJ X ::' ~ J ~ ~ r- ...... . " \ ~ ~ t PT ~...zx: J ~ ~ C" . Lenny is playing four note chords as in EX. The harmonic sounds as the second from the top note in the chord..

... ... L: Oh. e ~ - ~ ~ -:d ... .....~ .L: One thing about these harmonics . ~ . v- - ~ t -r . If you were to playa "G" like this •.. V . EX 37 11 " } ... - t .. 39 28 . 38 J1 " r--1 r:1 " I.. .. .• once you've got the pattern of it. .. ~ ~....... EX....--'"T r--1 - t '7 n ..J n . you'll notice that it works on some chords and on some chords it don't work on and the chords it don't work on are real straight chords. 07 "'t" J V - J t . J ~ ~ ~ x oJ It's kind of a nice effect but what you want to try and do is at least get a Major 7th in there.. EX.. that won't work ." _ . So put the F# in there... . this has to work . r" _..

. EX.s 29 . _I[ 11 .1J" r--. .. )234 I I 0 04 ." J ... 41 ---.". The root of each chord is a harmonic. it..: ~ . ~ T -" .l .I } ~.- . EX.. it's nice to discover a new one isn't L: So what you've done is that you 've altered the chord._ .:.rr ..' ~ ~ A j1_ Q .' "..] fiX t 't' - #"t .. You can do something interesting with jus' the plain "G" chord by lowering your Major 7th and lowering your 5th...:. harmonized with seventh chords.. I've never played that one before .~ c. 40 t1 .. . '~ •• "!I . IJ -- r----r l!_ r...0 4~ ill L: But now when you put the harmonics in. C '/ _K .~ ~ " ~ • . These close voicings are difficult or impossible to finger without using the harmonic technique.. it's new isn't it . '" '.. W n i L- i ~ tc' - III .:" t ..s: .- "" -'/..:. 41 uses a major scale. EX. 0 T .. or "v A A *t oJ "l: - 7 .I II!: ... ~ ~ • I . .. . ...... • • t I... it sounds like ••.!: -a .r=-i "'.L: Gee.. ~ t A "T - ~ »• ~ JI A '1" ~ i< J A ~ -r . Now lower would sound like this . ..

.:. .::. ~ . £- r __C" ~ ~ z:.. '1 ~ .. 0 '1 .. • • jI ~n ~ . '1 ... .- ~ .'" r E::'" UU e: ~ J::" I:" r'. .. } ~ 4ib-r--- Ii:::--S• ~ "" D -------------1:l ~ -I: . ~ ~ '"51:-------------l'1 1/ . ..~ .0 f'~ I::: ..1:. .. .. J rr c. ~l't8.""_ .. t. - t: L: That's all it is.. ~ - ... 30 .. <= .e- iv: '" C" ~ V - - ~r .-. ~ ~ 1- t= ~ .. .. . -. T ~ Ur~ . . t. 1:' .... ~ ~ wi' 11....=: r ~ ~ ~ ~ ......'1 . ::- _... So see you can do things like this .:. .. J: And you're moving the roots up and putting them inside the chord.....' I r r ur-.r' 'l" J......J T..:.:. . isn't it? EX 42 " " .J: Now that's just this....t~1 ~ J _... - ":' \e- ... y -...:.. • I f-a..t E r -r Y"t'\ 'I 0.. . You'lI find that you'n be able to get these inversions that would be very hard to reach. E...---- --"T ~ #. L: Yeah... ...------------'J i'": c . .=:....... e: :.. ~ .-----# t ) r uu r r eI::_!:::: U~f c~ ~ .... .....III ... .... L: Yon want to call it a night? Crazy.. t c.. • ..If' ~ J F . ~ ~ C' J: Let's call it a night... r "1 D""" iI... .. 0.. EX 43 " ..---- ~ ~ . So it's a good way of getting your inversions.... .

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Experiment to find the exact spot.. ~ . ~ .~t· l' :p::~ -l f"' ~ ... .that notes that he plays.. In line 5. Sth..open 5th string.." J ~ ~ .... at the 7th. ." I J I I I TR .- A... ~ . The 9th of the chord is on the 6th string.. first bar. [!] The left hand chord during the harmonic passage is an ~ 13._ - " .. ....--- tl!Jttff .. :: . _·r.-. _.) .l .....--... .. I I I ~ ~ I I I f ." I I -1~ ~~ .. 3rd and midway between the 2nd and 3rd strings.. with your right index finger._ r..oj ~ f pJ J ~ ... .. Touch the string. -===_ 4-J:) = ~ ""0' _. . :._____. Listen to Lenny's recording. 11"''''' 1i R J1 J [ill -_ -..... Lenny flattens his second finger to fret two strings.---. 4th. 35 .. ~ ~ ~ I - . ~ ~ '"' ... t-r-~ r 331l4t IT11 The harmonics in the third bar are all played on the ... . "" ... . 'I ...-I~ ~ . Lenny sings the same [!] The small (cue) notes are . In the first bar. - v' ~~ A ~ '" FIVE O'CLOCK BELLS ill [] Let the chords ring into each other...'\ .- :. . -.. .. 'J 1...the notes...--. He does the same thing in line 6. -.... .._A c=z: . • -... Lenny sings.. .-~~J_... ~l I • TR _______ . "':" .... ...a _--_.... :: ~ . second beat.-... _I:' ._ .. ". -"'- ~ ~ _. .::.

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.- I ~ 3 tJ. .- .. LITTLE BLUES Lenny uses a lot of the same rhythmic and harmonic devices in LITTLE BLUES.A.. r w .serve his musical imagination....- ~ "'- . 4 I l. The extra note in the chords is a 13 or a #9 depending on the root you hear. could be . _'\ - --. ........ Let go of all but the 6th string. [JJ [. 4~ ~ .~""'_' or ..2J (!&J The chord in bar one is cut short by lifting the lst finger. .. 0 X. The changes in this twelve bars are a lot like the changes in EX.1[-. . 14 in BUILDINt THE BLUES... ~'" . '7 . ..... c.iIo! 11 Jhn~Jh~ 2. Listen closely to the recording. oJ ~ .. Lenny frets two strings with his 3rd finger._ L- -. Lenny is always careful to stop sounds or let sounds ring as necessary to... .BUILDINt THE BLUES (key of C). For o}Co X . -'" :2 . . ... L ~ '"'_ ... oJ . fI:: -...~ 0 2~ J ~ C" J_ ... In bar three.. 48 . G o Lenny sets up his move to a slower tempo. Lenny makes these partial barres with different fingers as the situation demands. r_ oJ ... Watch for these as you work through the solo. example .J 4 n t 0 ~ J ~ I 0 1_. )(... 10 4 I 0 4 _ 1". -..". .-L. El3 L...(key of E)' that he demonstrates in.

I r oJ _I ....L I ~ - -:::: . ...." .. . . _. . . - .. 'Z .. . .. '" .A . ~ 1 / pf . ) p r ... r . - ... r ~r r -'if..... r .. C' - ...... pr "1"" r .... "'-'- " I J... - r .. ~ ... V .....If.... ~ .. "" .. r ~ .' J:: ."""r...... oJ ... r .." .. - ..J(_ } III j - _. _'}_ - @ 1979 Gut String Music (BMI).... r_ . - -- ... rr-r f .. LENNY BREAU " J m .. .-------- 1 I J I pl ...... <oJ .... TN International copyright secured All rights reserved 49 ....._ <oJ J I I. . ~ p~~ } [!] i "... A . . "" a i .... . ~ "... ......... . . .. -r ~ - r .J r J - I .. _.. ... . OJ rr ...... -..... ~ " f J . oJ - .-~ In:-----:. . _. . - ......... .....FREIGHT TRAIN arr...... " 1 I I .. Nashville. "2 . '.....

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.=. .. . t .. Lenny frets two strings with his second finger.. ... J ."I'. The thumb pick plays the bass notes (stem down) unless indicated otherwise...... -cr .J.. .....2 ::w ...z.I • • • rH1 lII[ x . FREIGHT TRAIN OJ ~ Lenny mutes the 4th... - ~ .. ~ . is slightly different than the one demonstrated in THREE AGAINST TWO but the idea and the feel are the same.L - ... } 1.. . "': ~ ~ .." J _.. "t ':!' oJ " §j r . . using the edge of his palm. . 5th and 6th strings at the bridge. _. . J J .LL f s._ ...... . ~ The half note triplet figure that.: ... begins in bar three... I.. .J... L~ 1) "7 >J V ) -i:. " ...e'% .... . ~ oJ 1 .A r .. ~f ~ -I .. .... " '2 I 'Z - r .. oj ... j " } .L'!.... -:z oJ - ... In bar one.I _-= ~1 ~ j .. ... 3 r1 2~ " ~ .. _.. "".... r s.. '... .- l ~ I [1QI r .." ~""l ~ ~ . .. 59 ..J " :.... tr -0 . _I .

P. Box 120355. order direct). 16 Music Circle South. Nashville.. MD 20907). Jim Ferguson has done an excellent job of editing the column. P.O. Box 288. . MD 20907) "Standard Brands .Disk Labs.O. Lenny's recordings are not easy to find. You might also look for . P. TN 37212. THREE AGAINST TWO and HARMONICS AT WORK) is available on cassettte from Mel Bay "Publications. out of print in USA) "Mo' Breau" (Adelphi Records. They are worth the effort it takes to track them down. Silver Springs. etc.. out of print in USA) "The Velvet Touch of Lenny Breau-Live" (RCA LSP-4199. Direct . Now!" (Sound Hole.DISCOGRAPHY. FIVE O'CLOCK BELLS and LITTLE BLUES are on "Five O'Clock Bells" (AD 5006. 60 .Chet Atkins and Lenny Breau" (RCA AYLl-4191) "Lenny Breau" (SO 112. Silver Springs. TN 37203) Lenny has been doing a column for Guitar Player Magazine for a couple of years now. "Guitar Sounds from Lenny Breau" (RCA LSP-4076.. Check your local library for back Issues. The SEMINAR (BUILDIN' THE BLUES. FREIGHT TRAIN is on "The Legendary Lenny Breau .. Box 288.O. Nashville. Adelphi Records.

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