BLUES FUSION Concepts
FUNK
BLUES FUSION
Phil Short is an experienced
session musician with a string
of international touring, live TV
and radio performances for
artists such as Chipmunk and
Tyler James. In 2016, Phil won
the prestigious international
competition Guitar Idol,
earning him recognition as
one of the industry’s top
up-and-coming guitarists.
With a broad range of stylistic
influences from rock to jazz,
Phil brings his own unique flair
to the Lick Library roster.
Cover pic @Phil Short
UK £19.99
5 060088 826287
RDR0573
P H I L S H O R T
Concepts
Funk Blues Fusion Concepts is a course designed
to equip already proficient rock guitar players with
harmonic knowledge, commonly found within the
rock/fusion style. The course focuses on ways in
which to view the fretboard to gain confidence with
note choice, explores multiple tonal options that can
be played over Dominant 7th chords and explores
ways to expand musical vocabulary.
The course is also designed to be a first introduction
to the concept of playing over chord changes, and
PHIL SHORT
matching ones note choice to the specific chord
that is being played. The course delves into how to
view the fingerboard to enhance smooth, musical
transitions throughout the harmony. The chord
progression used is a basic I7 IV7 V7 blues in a fast
paced, swung, funk style, a feel commonly used in
the rock/fusion idiom.
FUNK BLUES FUSION CONCEPTS
The blues is well known and loved by all
guitar players, and is a great place to practice
implementing these new visualisation and harmonic
ideas. There is an example study with TAB for
students to learn and analyse with the aim of lifting
ideas into their own playing. There is also some
bonus improvisation footage that students can use
as inspiration to fuel their own creativity.”
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FUNK
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©2018 Roadrock Music International Ltd LEARN SOME OF THE GUITARS MOST ADVANCED AND CHALLENGING IDEAS
 Funk Blues Fusion
Standard tuning
= 120
A Intro - Mixloydian b6 tonality
E alt. (  5)
H P
P
H P

1 2 3 4

3
el.guit.

P H P H P
12 1612 14151412 7 8 7
13 13 13 15 13 9 7
13 13 9 9 7
14 9 10 7 10 7 8 9 10
15 (15) 14 14 9

B Mixolydian
H P P
5
A7 H
6 H P
P
7
H
H H 8
H H

3
3
H P
H H P P H H H P H H
7 23 2 7
58 8 5 3 5 5 4 3 5 8
6 6 7 7 5 6 5 4 62 4 6
7 57 7 7 5 7 5 5 2 5 5 5 5 7
7 7 6 5 7 3 4 4 X
3 5

H
H P
9 H 10 P 11 12 H

H P.M.
H H P P H
7 10 9 (9)
8 8 10 8 (8) 7 8 7 10 10
7 9 9 9 8 7 11 12 13
11 7 9 11
10 10 7 10 7 8 9 10 11 12 10 12
9

P
D7 H P
P
13 14 15 16

3
full
P
H P P
10 10 14 12 14 131210
13 13 13 (13) 12 1312 12
11 14 13 12 11
1612 14
15 15 12 15 12 1314 15 16 17
14

A7 H
H P

sl.
17 18 19 20

3 3
full
H P
H sl.
17 15 14 15 14
13 13 14 17 16 15 15 15
12 12 (12) 14 12 14 14 1814 16 14 18 16 (16) 16
14 17 17 14 17 14 15 16
16

1/4
 E11 D11
H

21 22 23 24

2 2 2 2
H
16 12 14 10 14 12 8 8
15 12 12 12 12 12
14 12 13 1114 11 12 13 12 11 9 (9)
14 12 1112 14 12
14 12

E mixolydian b6 tonality
E11 P
H P

25 26 sl.

3
P H P
sl.
8 12 8 7 8 7
9 9 10 7 10 7 8 9
9 9 9 7 5 5
9 6 6 4
7 5 3
5 4 (4)

D11 H P E alt. (  5)
27 6 5 28

3 3 3

P.M. H P
4 5 7 8 7 8 7
5 9 7
5 9 9 7
4 7 4 5 6 9 10 6
3 5 7
4 5 7

A7 Free Improvisation
29 30 31 32

C Lydian Dominant tonality

P
A7 7 7
33 34 7 35 36

3 3
5 3
P
7 9 11 7
8 8
6 8 69 6 7 8 8
7 5 5 7 9 7 5 7 9 9 11 (11)
7 6 46 67 97 6 7 9 10
6 0 3 5 (5) 5 7 97 5 7 9

2/4
 P sl. H P P H P
H

H
37 H 38

H P sl. H P
H H P H P
10 12 14 15 1412 10 12 14 15 17 15 14 12
10 12 15 1412 14 15 17 15 14 12
12 11 14 12 14 16 12
11 11 12
10 12 10 14

H
sl.
39 40

3
½ full
H sl.
17 15 20 17
13 14 20 20
14 12 14 14 19
14

D7 H P H
9:4
41

9:4 9:4
9:4
H P H
12 14 17 20 17 14 12 12 14
9 11 14 17 14 11 9 11 14 17 19 17 14 12 14 17 19
7 9 12 15 12 9 7 9 12 15

42

9:4 9:4

14 17 20 17 14 12
19 17 14 12 14 17 19 17 (17) (17)

D7 b9 tonality
P

43 H 44

P
H
8 7
7 10 7 8 9 10 9 8 7
8 9 8 7 5
7 10 9 6 4
6 5 3
5 4 (4)

3/4
 H H sl.
A7 H H
45 H H 46 47

3 7
6
½
H H
H H H H sl.
10 12 9 9 11 10 12 1417 14 12 10 12 14 19
8 12 10 10 8 10 13 12
9 9 12 9 11 11
7 11 12
9 14
7 10

Whole tone tonality

E11 H
H H
H
48 49 50

½
H
H H H
17 12 16
13 14 13 13 15
14 12 14 14 15 11 13 15 11 13 15
14 12 14

D11 E11
P
P H
H
P H
51 52 53 54

P
P P H H H
12 8 12 13 14 16 19 (19)
12 8 10 13
11 9 9 11 12 (12) 10 11 11
10 10 12

E alt. (  5)
Altered Tonality
D11
H P

55 56

½
H P
19 12 16 15 16 15 13
13 15 16 17 17
13

4/4