Meee e garae ens Ne Orage eats aSMel Bay’s jazz Guitar LICKS sy ssnscnane To my primary teachers of single fine improvisation, Jira Hall and Jimmy: Raney To the memory of Charlie Christian and Charlie Parker, To my brother Lloyd whase prac cof farm, so many years aa9. Acknowledgment to: Mark Lonergan and Christine Sotmary for help in preparation of the manascript. Marlyn Ries and Michael Lobel, knowledgeable recording engineers of plano sonatas and concerti gave my Young ears a sense ‘Bit Bay, encouraging, fair, and patient. Raves and huzzahs ta: Dewey Dellay, who knows a lol about bass playing and can be heard as my partner on the accompanying recording, Kent Armstrong, who made: the pickups for the quitar used on the recording. CD CONTENTS 4) eB teks 76 47; a i iets 72879 Fe Seren Bieoso ia Etc ocaec ] bexs 3-86 (90) rapes Episisecee (27) Fig Uses rst Licks 8885 (22) Ai Lite 272 288) BS eke eee (43) El oes 225 (1:00 item 7325 (43, raR9, 1905 By WEL 8 ALLIGHTS RESERVED. NTEROATIONAL COPYRIGHT Se Visit us on the Web at hitp:www.melbay.com — E-mail us at email@melbay.comAbout the author ‘Alan de Mause lives in New York City, where he teaches at Columbia University Teach er's College and In his own studio, He is a free lance guitarist active in many projects, and also does volce aver narration work When not writing, teaching, or playing music, Alan is involved with the Hunger Pro ject, World Runners, and the New York Road Runners Club. This is the third In a series of books by Alan for Mel Bay Publications Inc. ‘Your relationship with your guitar Is the same as it is with the rest of your life. Every time you pick up your instrument you meet yourself, and every time you play a note the rest of your life comes with it.” =Alan de MauseIntroduction Licks can launch a lifetime Listen to that lick! How is It done? Can | learn to do It?" Musicians playing the right ticks at the right moments In our lives have probably been the catalyst for more musical careers than any other precipitating event. All jazz artists in their formative stages study musical models. These models are the licks, phrases, sections, choruses, and the total recorded output of their favorite players. When learning, not only is It alright to copy other players, It Is Impossible to begin In any other way. To eventually create your ‘own jazz licks you first need to hear. play through. and imitate a lot of existing jazz. Licks in context of phrases For our purposes a lick will be considered a short melodic fragment. Most often it is only a measure or twa in length, with even the longer ones being built up of two or more shorter fragments. Phrases are the next larger unit, made up of licks. Standard song form is made up of a series of four measure phrases. The harmonic structure of these phrases is used ta Improvise upon. ‘Since these four measure phrases are so Important, It Is better to study a shorter lick in the context of a longer four measure phrase than by itself. Licks always end up in phrases anyway. Alsa, itis nearly impossible to create a phrase by butting and gluing together several short licks, Think of it this way: in learning to speak a foreign language, It is easier to hear how individual words are used In the con: text of phrases and sentences than It Is to learn only individual words and string them together in hopes of forming a sentence. Each lick in this book, then, will actually be a four measure phrase. ust- ally comprised of shorter licks. Sometimes these phrases. or longer licks, will be followed by addi- tional four measure units built on the continuing chord progression of the standard tune from which the first has been taken. And further. . . | also stress studying licks set in longer phrases for another reason. This Is to help the player in see: ing, hearing, and playing jazz lines woven thrnugh chord progressions. The beginning jazz guitarist often having a background in blues or rock, can usually handle pentatonic blues scales In simple har- monic situations by “playing In a key.” but has a hard time playing through a more complex. quickly changing set of chords. The problem with “playing in a key” without giving respect to the pattern of resolutions is that the discrete harmonic distinction between chords gets fuzzed over. So, if an improvised chorus is a stage, the four measure unit is an ideal place to start getting your act together. It's my intention that working with these licks will help you distinguish the differences between chords, anticipate the sound of one chord following another, and eventually play a line of your own through a series of chord progressions. By studying these examples you will see how a line ean delineate oF spell aut the harmonic underpinnings even without accompaniment. When you are really into it— When you find licks that become your favorites, they become part of your language. It’s hard not to use them. And, let's face it, at moments of Indecision, they are the musical lifesavers which give a sense of security, ‘Since you will know them so well, you will be able to use them as beginning statements to be devel- ‘oped, You can avoid using them like a boring comic with a memorized list of one liners by listening to ‘that little voice inside you that says, “If I play this lick one more time. I'll—", Let your licks help your creativity rather than hinder it. Invention is still the name of the game- 3The Lick Layout Accompanying each lick is this information: a Roman numerals indicating harmonic analysis (see below} b informal analysis of liek illustrating a particular aspect (see below). ¢ Indication of suggested tempo. d Name of standard tune whose chord changes have supplied the harmony for the lick. Licks are based at the first four measures of the tune, unless indicated otherwise, as in the musical example ¢ Standard chord symbols, F Position in which lick is played and/or full barres, indicated, e.g., IV, and BIV, Partial barres are indi- cated by te punter of strings ta be barred from a possible six, plus the position at which they q Fingering, The symbols “+” and "~~ indicate a temporary finger shift out of position. A shift ta a higher fret is noted with "+" and a shift to a lower position with "=". ‘A Tablature, 29. @) IV‘ / Idom Vidom / lidom Vf 1 Saint Thomas ©) sequential, scatar, med/fast ©) @_ measures 9-12 7 ee c1 Fits BMT 3 4 One 7 3) 2424 34 2 ot 14 2214 ti eese BSD a) This Is the harmonized scale In C, extended to the seventh degree I " mow vow ow of M7 Dm? Em? FM? G7 Am? BY CM7 Roman numerais above the licks indicate the basic function of the chords (symbols written directly above each measure in lick) as they relate to the key of the lick, Extended and altered chords are not noted in the Roman numerals just the basic chord, Chromatic chords not within the key of the lick are named according to their spelling in rela- tion to their lower or upper neighbors. In the lick above, the E°7 chord, analyzed as #1V®, is named in relation to the position of the preceding E°M7, which is the IV chord in the key of the lick, B®.If you need background information on the building of harmonized scales and the usefulness of the Roman numeral system of analysis, see the books listed in the background information section ‘on page six. Lick descriptions The licks in this book can be analyzed in a number of ways. For each lick | have chosen one or two non-technical, general descriptions, explained below scalar: The lick goes up and down hill in a scale-like manner using smaller half step. whole ster and step and a half intervals. arpeagiated: The lick consists primarily of chord tones, separately articulated. sustained arpeggiation: The lick consists primarily of chord tones played with the left hand fingers kept in place In the shape of a chord, ‘Sequential: The four measure phrase consists of several shorter licks, similar in shape, intervallic distance. and rhythm larger intervals: The distance between many of the notes in this lick Is that of a fourth ar mare. Internal tine: The lick follews pivotal notes of an ascending or descending line found within and suggested by the chord progression. ‘music In two parts: The lick is self-accompanied by a note or notes below the primary line. Tempo is indicated by a general description in English, These descriptions along with the tradl- ‘ional Itallan counterparts and metronome markings are Indicated below. ‘Very slow (Largo and Larghetto) mom, =40-63 Slow (Adagio) 66-72 Slow /medium (Andante) 76-104 ‘Medium (Moderato) 108-116 Med /fast (Allegro) 120-162 Fast (Presto) 168-192 ‘Very fast (Prestissimo) 200 and above Getting more mileage from licks These are suggestions on how to expand on any particular lick in this book, a Play the lick using the one fingering illustrated in several keys In different areas of the finger board. » Play the lick in one key using a variety of fingerings in different areas of the fingerboard. ° Play the lick In the several keys available in a single position, along with the different fingerings apprapriate to the scales of thase keys. a Play the lick in even or straight time feel, and in swing feel. a Play the lick in tempi other than the one indicated. J Half time and double time the lick. Be aware of what this does to the frequency of chord changes. @ If the lick is im 3/4 time, play it 4/4, and vice versa. Add or remove notes as you see = Displace the rhythmics of the lick, using the basic intervals as they are.{Alter crucial notes to tum major sounds into minor, minor into dominant, etc. J Play the lick backward, upside down. upside down and backward. ke Ifyou are a fingerstyle solo guitarist. accompany the lick with bass nates, chords or any other device you like, In many cases you will need ta move the line up an octave, or change keys. Re- finger as necessary. I In general, allow your imagination to roam freely. Sit down formally with pencil and paper. or jam on a lick, or free associate, or do whatever works best for you. Why these licks? One of my goals in writing these 101 licks has been variety. I've used a diversity of chord progre sions, for instance, without overemphasizing the ubiquitous 1l-v-I cadence, Even so. there is much that sequence internally within the ones I have chosen. In case you would like to read through sections of this book as daily exercises, I've made a point mixing keys and tempi. Another goal has been accessibillty, so I've kept most of these examples within the first seven po: tons of the guitar, kept the fingering position-oriented, the tempi reasonable, the music tablatur accompanied, the food and drink affordable. ‘There are some licks which must be played finger style, identified as such, for the growing ranks. jazz finger style players. However, don’t let that stop you flat pick players from adapting them to yo style, Background information on licks If you would like to expand your knowledge of the underpinnings of licks.harmony, scales, mode arpeagios, etc. , here are some excellent books: Theory ‘Theory and Harmony for jetyone, by L. Dean Bye Reading Guitar Positions Studies, by Roger Filiberto 1 Melodic Sight Reading Technique, by Tom Bruner Technique Building Right Hand Technique, by Bill Bay ‘The Deluxe Guitar Scale Book, by Mel Bay Deluxe Gultar Arpeagio Studies, by Al Hendrickson and Art Onzeck Chords Rhythm Chord System, by Mel Bay Jazz Guitar Vol. i, by Ronny Lee Deluxe Guitar Chord Frogressions, by Johnny Rector Guitar Fingerboard Harmony, by Edward McGuireImprovisation How to Play Jazz Guitar, by Alan de Mause (Acorn Music Press) Guitar Power, by Alan de Mause (Amsco Music Publishing Company) Guitar Improvising. Vols. | and II, by Vincent Bredice Jazz Guitar Scales, by Vincent Bredice Jazz Guitar Lines, by Vincent Bredice Fingerstyle Jazz Guitar ‘The Art of Solo Jazz Guitar, by Alan de Mause Jazz Guitar Etudes, by Alan de Mause Harmonie Mechanisms, Vols. |, II. and Ill. by George Van Eps Also very valuable The Complete Jahnny Smith Approach to Guitar, by Johnny Smith Mel Bay’s Jam Book /Tape Series All of the above books are published by Mel Bay Publications, unless otherwise noted.x i a iv Vv VI Vil TABLE OF CONTENTS Major Seventh Sounds. ....+-++++++- Dominant Seventh Sounds... - Minor Seventh Sounds......--+ Diminished Seventh Sounds . Augmented Sounds.......- avis. ite ere Varieties of Licks Built on Chord Progressions from Standard Tunes .....- + Introductions ....+++++++ digs age BS Seite VHT EndingS .....eeeee reese ance ee eetI Major Seventh Sounds LO ens Can be used with... scalar, arpeggiated, med / fast Tl Remember April 6M" Boe =o aes Ba ps elt A 1 B= Sep (S41 & £4394 142 4-1 3414 514 Can be used with. 20/1. / IM fs. scalar, very fast You Stepped Out of a Dream Cm7 Dem7 w eb ee ee | A . bar ey ee ee 41342434 4415 32 1 AN4 ' 2148 Can be used with... sequential, slow Here’s That Rainy Day GM BM EeM7 APM7 i 3. 0 / SM / VIM / OM = oy 1923 1 323 S23 (413 1 403 14D fide BIBS 403) 14]i 231d By ABECan be used with, . - 4. DVI FOVIIM J EVEITY f tit Vidom Spring Can Really Hang sequential, arpeggiated, slow You Up the Mosi cht BM7 CeBIT Cat Aw Dw? G7 EMT Ab 7 Vibe td 4 4p 4 4 eh 8 ROARS Sh 25Atd2-121 — a eT era Tie. ——s II Dominant Seventh Sounds Can be used with RVC Sweet Georgia Browr ae eg measures 17-2C D wt A £4, aT AL 4 ee dpptiteee me ir a ee aS —— 2142 13 i-l ty 34 BIA] 3B) 34 I a3 44 Can be used with. . 6. Hdom /"/./V/'/. Ppeguteredart cater, fast Up a Lennie A oT ui! bs —_—— = —_— {to 2 Gs Sdiiar ese! He eae = ee aay p22i-d) 43 12154 3424 1214 243) 48211 424 SS eeeCan be used with. . 7. Idom / Vidom / Iidom / ¥ scalar, arpeggiated, med /fast Blues measures 7-10 3 2 20-0 20 21 3 482) $142444613 2LiB4 244 3 zee SSS Sa mae | — i Can be used with. 8. lildom Vidom / Iidom V / Idom IVdom / Vidom i sequential, medium Jiee Work If You Can Get It 87 & A D7 67 a AT " ' 0 eS a am as 1—¥ 2331+) | 46432 4 o4352142 1 ' 42 a =—z = = : = 1 Sa Ill Minor Seventh Sounds Can be used with 9. T/*/./ */. /7/. / temporary key: G minor mbe! ‘i arpeggiated, larger intervals, med/fast ru Hemera oe om ' biggaaieeg nies aeCan be used with... 10. 1/ V/1/ Idom G minor Blues scalar, med/fast Gm7 boa Gm7 a i 4 41242214 BAB Hi [td 24 1254 entiel 4 =" aa as q ees Se = = we WM. WAIVE. scalar, arpeggiated, med /fast Co 2 GeaT + = i 7 G minor Blues, cont. SSIL 4123 (452213 4413 44/3 1342 12. Vidom {¥/ 15 "1, ‘ music in two parts, scalar, med / fast G minor Blues, cont. D7 om wl ET i YZ tape diay iy pe i a 143 7131 -[423 at BO ae as = SS —= 25a+253 =eIV Diminished Seventh Sounds 43. VIP [*/, (71, {°/. key: D minor Can be used with scalar, larger intervals, med/ fast Exercise ay $43) 121 34-1 HB4) 2414 225214 34 2d asegi4 a eee aa a FP rt Can be used with. . scalar, fast S‘Wonderful 6 eT i EeM7 é SeaDoo Zo SIS AZIZ Rar H44Z -/84239253 143 WI. PSP LT Can be used with... scalar, arpeggiated, medium Spring Is Here APT APM wel Bema dtd Fit 10 RAT ert S| LE rege 13421146 22 3 1434 21343 4 212 42 1243 ans at = _ @4 a= a ee 5 7656 —S | 1 = ———* =Can be used with... 16. 13° / WIP / i ¥dom / IV I Got Rhythm (orig: B) arpeggiated, scalar. fast alternate chord changes eT GT Aw? AeT Bu7 Aw? = =D7 yan TD Fi lge tate car mg 4234 Diels 1 344 2144 243) -11214 tee V Augmented Sounds Can be used with... 17. WEP tel le . scalar, arpeggiated, med/fast Exercise Av#s v ~ 3 -rantit = ; 7 : e )2-hh 2231 4632 did segh 94) #24492 2104 Sao as —— Se Can be used with... 16, 1/'7. 1 AvaS +7. . aes apa, fast Take the A Train A il EMSC) 4, 40024 3 paar s4ae BS isldell 3B 242 == - SsCan be used with... 19. 1/ Iidomés | IV / Vidom Some Day My Prince music in two parts, sequential, med / fast Will Come yet Dts ; ee ae 1 J Pp Ded pat ss a na = 4a 1 Bt a] BI 14 RIS Boy + "fs aa Can be used with. 20, 15 / IMG 15 1 TVET VT . music in two parts, sequential, very slow It Never Entered My Mind c CHS ed 4 Crh pe DaG CM7 5. 4 B14 2102-34-14! 2 $191 4 131 grat 314i 2 S45) IBI9Z 300 Four measures worth of music and beyond The best solos sound both spontaneous and etemal, as though they had sprung out of Zeus's forehead In one seamless complete creation. When I try to teach a lick for study from ane of these solos, I think “I'l just remove the best part right here. ..“and find it loses its tuster and doesn't make as much sense out of the larger context. ‘The players of these solos learned the way you and I did and now they have reached a point where they can hold in thelr mind's ear larger and larger units—even the whole solo. By “hold” I don’t mean pre-planning in detail every note along the way | mean hold” the same way you do When you drive a 20 mile trip to work. You don't know exactly what you will be doing ten miles into the trip but you have no concern about it and have full confidence that you will arrive with It having turned out the way you thought it would, It may nat seem very magleal to you but it would to a non-driver who has never gone that route With practice you can “drive” through an improvised solo the Way yau would @ car trip. ‘You probably can hold a number of components In your mind already, such as the har- mony, scales. arpeggios, physical basics of the fretboard and the feel of the lenath of a measure of two of improvised music. You already use this knowledge In your craft auto- matically and without struggling with it, Being able te do this allows you to spend your ¢ working on holding in your mind the components of four measures: worth of Improvisation and aim for larger units. When you have mastered larger sections. the four measures will then flash by. cause little worry and be created easily as one measure Is now. 5Can be used with. 27 PLY sequential, fast The Song Is You ch Fe7 Gu cr ¥ Ww ¥: Pt J 2 4 3 t 454,43 aZ a-l Ne Can be used with. . eu fae, 7 The Song Is You, cont. Fen Fer Got C7 Vv M34 13 1 45;4 34351 34 8 4-2-1442 212 Can be used with... 29. IV *IV° / Idom Vidom / tidomV/ 1 Saint Thomas sequential, scalar, med/fast measures 9-12 go 67 BT cr Fis PMT 2azd 34 sags 1h 22id ieee BatCan be used with. 30. H/V/IVI/ NV S'Wonderful scalar, fast measures 5-8 Font BT EMM] «Cm? = Fm? BET Ul) (Od BL34 (dan ee 4181 IELTS BELT ES SL. 1/ dom / 1/141 ee ee ees i om arpeggiated, larger intervals, med /fast Lady Be Good eM cs em GN gite7 1 2 wi : i iit 434) 214 241 Aged zie 3 44245141 4452208 nea | 32, 1/V SEV Can be used with... "scalar, med /fast A Day in the Life of a Fool Ae? ET Aum Ey 4 v Ww vi vi 13428 1 430% 21 242 +R1A2 12343921 19Can be used with. . . Body and Soul 33. I / 1 #idom / 01 / ill *lim measures 9-12 arpeggiated, slow Elm? Dr DMT EtmT Fo Ew] a AA AW (22 24 14. 23 414 13052 4154 25414-1234 Can be used with... oi eee pny fT nee nyeane Body and Soul, cont. Ebw1 C7 Fras Bea Fhe APT DPM] (ee At 1 = i 234) 314314 2234 321 1223 page 2412 B2dg id 21 1B Bq 4 51 “ 35. 1 / HEIVm *Vildom / MI Vidom IV /T er wp . om scalar: arpeggtated. slow Body and Soul, cont. DM ET Pew Gut C7 PeMTBTEWT AT =|“ DMT a aa — aia _ 3 a4 ° q o x 1S (04d [Rae] Hr VRID 414 at Ad AR 1232Can be used with. . . 36. 11" / Im7 | Im6 My Funny Valentine internal line, medium . (orig: C minor) Am And Ai dc $18 3S £221) £28 1 4-81 1S 14 Bt Can be used with, . . 37. 1 / Md FIV #IV? f Tid vf Sellar, Sequential, nied pest Youre a Sweetheart mt Mh Cm: ¢#eT = GM7— G7 aw 7aR) a sem 3) 4 1A 494d Can be used with. - 38. 1 / IM >Vidom / H / Vdom Four scalar, arpeggiated, fast measures 13-16 FMT Abul = 067 Gui cats v we ' s , Pe & 113S1I44 1 B11 3 41144 3322 | 4312924 259. W/V ITIP Can be used with... internal line, sequential I've Got You Under My Skin Pa ang, EeM7 £ B47 v > 343154) £2 2eeae-1 BI arse Tete Saye simak E oe oe —_ 7 ; : 40. V/V IT (Can be used with... "music in two parts, sequential, medium Fly Me to the Moon Aw7 Det ot M7 41. VI/1/ V/1/ temporary key: A minor music in two parts, sequential, medium rey 87 e1 Ame So . um if a Q Fly Me to the Moon, cont ~ 1 a043r3 3241 241, Sordi 214 Wigki a & 5.5. ‘A ss g = Soa 2s = A — 22Can be used with. 42. 1/7/. / Vildom /*/. i achiir fast teh: Whispering EMT D7 ¥. a Ww batts te (42424 32441342 32413 492 14 Side iste Sa Can be used with... 43. 1/71. />Itim / Vidom Out of Nowhere scalar, fast GMI Beal £07 " I a Bat 2314 3644 1 B64 Ziszis 25H AS A 44, 1/7), (1 / Vidom Out of Nowhere, cont. scalar, fast GMT 87 &1 w i { 3 AI1B4D 32440 4457 § RixTH 1 42E 4321 3Can be used with 45. Idem / Wdom / Idom /*/. i i, sequential, slow /medium Blues in C Major cr wi C1 vw i it évi vil - Feiee 431 3123 % 11313 4 32 Can be used with... 46, Vl and IFV in quickly shifting keys Giant Steps sequential, scalar, fast Bi GM BF] EbMT Ant 5 2 144 25 23! aa1 431 43( 5432 21442 2144 47. see above sequential, scalar, fast Gun Bem EMT rar ‘BM FmT BET a Giant Steps, cont. 248. Ill Vidom / HV / IIT Vidor / HY baronial liom lom music in two parts, med/ fast (fingerstyle) 1 Got Rhythm (orig: Bb) Ewill ih Dull =n Ew AT Dwi 67 gyi Vv ay dw 4” snd ZT) 5 Hp a es poe tga T gods gree gery gr args ; f 7 49. IIdom / IV *Vildom / ill Vidom / IV music in two parts, med /fast (fingerstyle) I Got Rhythm, cont. c C7 F BY Em? AT = Dm? = G7P9 év vi d BY Les BY F 133i-40 ' i 1314 2492 4 i 7 gree yee SSS i Can be used with. . . 4 g'242 123 50. WV / *IV° /1/ Idom Stormy Weather scalar measures 17-20 Ariat A’r EeM7 07 wh W Ww 424/353 B HBF #124 MABS4 2M oid aca sis $131 AISI A eS ae 25Can be used with. . . 51. a re pc II? / Vidom. Wouldn't You? oo7 of Fey Brito v W ik 3 glt@ard gat 4 24 2-143 maid, 214 I +, a acenie Deis median Wouldn't You? cont. eeT Abies Dent 24432 42 Bi ASri-l ge rtd sat 44 Can be used with 5. TS Vide *. =o Se Se dies car Everything I Have Is Yours Cnn Aer 7 109 fi Halas 11d Bt 4th 2042 131 1442-14 -4id Bad 26.Can be used with. . 54. IP / Vs VES dom That Old Feeling arpeggiated, scalar, med /fast measures 7-10 FO7 Br ts) Cul GI 1s iv A, +444 we a ' “14234 2 35141 3a araered § 35. 1VE/ VI Ildom / VIldom / Vm Idk iy ane coe . LYE / VIT Ilidom / VI idem / Vm Idom ; music in two parts, sequential, med /fast Confirmation FMT Del = -€67 AT Dw G7 Cw FHS See 0 es i . 2 1t04 38 4h 2 (a-l 4 -$ 221 2 8 -2 934,55 § z = —— as —z —— 56, IVdom / IlIm Vidom / HV / 1 music in two parts, arpeggiated, med/fast Confirmation, cont. Aw? Dy GwT C7 FMT iiew u ; as a= Vokes cre 2-113 42 2-3) #342 O33 2231 os = oe SS { a7Can be used with... 57. Ms shied vie eae Suddenly It’s Spring Cw Dy Gut , o per ces oI # & 4 2 2 — 14 a > 3 1435 4r 34 4itt3 8, SH oR pene Siuiemocmer pst Suddenly It’s Spring, cont. Cw Fr BoM D7 OG? v 21434244 (244 $8 4382 (434 2541 L4tan 3B Can be used with. . 59. 1°Vdom / iV / MVE / IV Girl Talk sequential. scalar, slow /medium FMT Br Gwui(@r)C1(E) Aw Ink Gui] (Amt BeHa)C7 2) 43 31 BI 4524 paid 2182 43, -13 2414 1113 12384)4 28Can be used with... 60. I/V S11 "/, I key: C minor Blue Bossa arpeggiated, scalar, med /fast measures 5-8 S Der ot Oni = ca age oft 53432 142 3 1422 tad Alti S432! 33214 1 38 Can be used with... 5 I Got Rhythm 61. Vi / Hd JMS Vite key: C olan pat Sees measures 17-24 fal D1 Dwi 67 - YY deed oyrtel 6 342 413 2414 34 234 214 4208 62. VI/Iidom/H/V larger intervals, scalar, fast I Got Rhythm, cont. GmT a ow " 7 ‘ 4 f ; =. 7 a flees (251 1133 3-1 (24 1 34 rag nese paras RF 29Can be used with. . 63. 1 /Im/ Vm / Vidom sustained arpeggiation. med/fast (fingerstyle) The Man I Love Ebu eho) Bom? C1 we Ww qu 1 é ts = sustain pS 1 AL) ADIL BLA BRID DABy 43Lb 3202 1. IWm6 /V/ TV / IV Oe aired eae nacton mind int The Man I love, cont. Aomie By (a) EMO AeM7 Gm BOT ' i ra Bul B 23140424 3) R040 4004 2134 purt vets Can be used with... 65, Md FIL Md ‘tr yD mi + . IAs heal mediaset A Night in Tunisia et Dal ee Dw : am £ S | 22144222 3411714334 419242142 13 343% ==Can be used with. 66. VI/*Vv! 1? / VEPldom / The Man I Love music in two parts, internal line measures 21-24 em Cur AAT Ate Col GUT Fm BET a (BMW, 1 1. = ¥ 415 of 301301 t 13123534 B12) 4 43 240 Can be used with. . . Se es peat What Is This Thing Called Love? cr (22) Fm an Saat + oe 42064) 245 4 art 4412 13814 264214 OF Fe ele What Is This Thing Called Love?, cont. Dal a ar Cw 4) 414424 199143923 1541 BIA nd a, cece SL69. 1/ *llldom / It / V eee . a mm music in two parts, scalar, med/fast A Foggy Day FMT begkh ED Sid 2) 4 Fd 4 BtB 4 84 2425 a44 =e Can be used with 1 eae Just You, Just Me cow Deq C4 ' Ful By (#s) fae SSeS £3, 4 2 oh 4 +41 14 3Bia421a34 mae Natio, aoe BbM7 FT Am Be? m7 413 2-344 34131434 ZSL2/224) 4 Boaezes Pe ae eee 3 areCan be used with Django 72, 1/ 1V/V / 1 Key: F minor sequential, slow/medium Fim Ben? Cr Fu m 3214 3 214 2 421 eitid Ziel rm — =a Can be used with. 73. I Mlldom / VI*ViIdom / 1°iiidom / I *tIdom But Beautiful arpeggiated, slow measures 27-30 Ani BT Ew? Fa GAT = BT Amt be als. gq wz pdyidg 42) 2144203523 143 4431 IH34 -Gii3 23Il 244-14d2 Can be used with 7a. V/V/V i Sequeritinl: ried /fast The Way You Look Tonight EVN Cm7 fe) Fm Bb ces) w eeCan be used with... 75. IV/Ivm /1/ Hdom music in two parts, sequential Moonglow ce cme G AT av Ey “i v VII Introductions Introductions to tunes can be as long as eight measures (or more} or as short as a par Hal measure. so. | have varied the length of the examples here. They can be stretched or compressed to fit your needs, Just as any of the previous licks can. Since introductions played by a guitarist in a band are most often expected to be fuller, even unaccompanied, these are denser than single line solo licks. ‘The harmonies of these introductions are not as standard as the previous licks. and are not meant to match any particular tune. If you like. you can derive a chord function analysis from the standard chord symbols above the music. Since string players favor sharp keys and wind players favor flat keys, I've Included introductions and endings in all majar keys. Minor keys occur much less frequently in jazz, and are represented by one example. However, I encourage you to extrapolate more from the major key examples77. slow/medium G Fe Eto bi edgier DD £421) oo a = = 4 Let notes 7"; : ring» 201 ote fo (3 13el g2id 2142 14 at dice 8 2 ates = —aa tt - = ee j ae ra Z 78. med/fast GAOT Geil we Fn 3879, medium (fingerstyle) eel Eo Aug x Bull Ghe ' ee a 35 [2 ae te ed tba hag FE Eng Bas go AMT Bik Byil 2 vi Obs, fad ried 224-774 81. very fast 7 aw ie Fest BMS m8 gs cA ie 2 4 BS82. med/fast (fingerstyle) GM? A? DM? = Dee a GM7 APT Dbl 1 ' Bn | | 1 1 1 aT ap ae aie ar 2 83. slow/medium GMT Fin? ET DP SPM DANG Elm Fac? Hel + k Ray 7 £2 4 be weaganas that 4 usa + 13 4-a 84, slow/medium AMM Pe _ AME BeBe? yan 3785. slow (fingerstyle) Fn, Br GnlCwl Fin BECO £7 gered 3 bs ate i gm gv svi z i = r ——E a_7I_ = 86. rubato F frie EF Fish ee Eh Av? Gt GPE Gate CD FL FIDE Fr un z eg ral or = a a 87. med/fast (fingerstyle) e Gu Ge fe F7 C1309 ! tte” eed,88. slow (D minor) VI Endings Endings of a tune commonly start in the last or next to the last measure, or are tagged on to the last measure of a song. My examples of endings are meant to enter songs at different points. and so are not all the same length. Like the introductions, they can be condensed, padded, or otherwise altered to fit a particular situation, Also, Ike the intro- ductions, they are fatter than the single line ticks, since it is common for a guitarist to end a song in a full-blown solo style. All major keys are represented here, plus one minor, Note: On the accompanying (optional) cassette I have played all of the Introductions and End- ings fingerstyle, but In the text only those which cannot be played with a pick are marked fingerstyle. 89, medium C Dwi Cr | DMT OC DAT Ss ‘eS pue 390. slow (fingerstyle) An DD Ap hid Awl DD Dads Eull AD Dis Bes ¢ av gv dun ay 92, siow/medium (fingerstyle)93, slow/medium bs MW S ‘TH 2 424 $4214 4 gh ot | _ ee 94. fast | Chm A/F FbI3 BMS . gm pe" at 5 42 ane) SSS 5 = 3B 95. slow96. slow (fingerstyle) 97. med/fast 98, slow/medium a299. medium 101. stow (C minor) Cm ws GHO CHMTEpilogue Since there is no end to information, and I imagine that being licked to death is a horri- ble way to die, | will stop now. Take what you have learned from this book and merge it with what you already play now. Then do some music craft out there in the world! Gilan de Mauseiam te ee ed SEER hawt tee ae neers a8 reef To Serpe ee eae ota cae rae ngs ar Ta SSE Ree rae oom lar Jazz bi terme tree aaah ETT nt tae a as Sater ne. Sv ee aes ae oes Seaees SS. mes se a Ree Seetr ere ee COUNTRY, =e PT tae teen cated ew Bot Woyucee na ase eea CHORD BOOKS & CHARTS eves fc et oD eoeireerient ea MEL BAY PUBLICATIONS, INC. \\ l #4 Industrial Drive, Pacific, MO 63069-0066 1-800-8-MEL BAY (1-800-863-5229) 7 79-05576 3 ISBN O-78bb-2300-4 > *17-95