ACKNOWLEDGEMENTS An artist, | feel, is a sum total of all the influences and experiences that have touched his life. | would like to thank some of the many people who have shaped mine. VINCENT BREDICE — my teacher, who instilled in me the highest musical values in dealing with melody and technique. From him | learned the ideal of reaching virtuosity, an apprecia- tion for classical music, and most of all, the beauty and romance of the guitar. The late FRED BREDICE — whose musical genius so touched me that all of my life | have attempted to emulate his magical sound and expression. DJANGO REINHARDT, TONY MATTOLA, TAL FARLOW, WES MONTGOMERY, JIMMY RANEY, JIM HALL, CHUCK WAYNE, JOE PASS, JOHNNY SMITH — for their enormous contribution to the advancement of the guitar and for helping me to see my way more clearly. CHARLIE PARKER — in my estimation, the greatest improvisor of this century. SONNY ROLLINS, MILES DAVIS, BUD POWELL, CLIFFORD BROWN, JOHN COLTRANE — to these and the many more giants of that era, my humble appreciation for giving me such strong roots. VON FREEMAN, my Chicago brother, along with EDDIE HARRIS, BILLY WALLACE, JODIE CHRISTIAN — who all began to “rattle the chains,” leading me to a freer way of playing music. IRA SULLIVAN — whose high-level musicianship swept me away into areas | had never before known and who taught me the true meaning of playing music. TONY CASTELLANO and STEVE BAGBY — two close friends with whom | shared some of the highest musical moments in my life. The late WALLY CIRILLO — who was truly special to me. His teachings still reverberate in my soul. RAVI SHANKAR, BELA BARTOK, STRAVINSKY and ail the masters. | have tried to remember here as many people as possible. Of course, there are many more. May | extend my love and appreciation to them all.FOREWORD Some of the most lyrical, beautiful solos | have ever heard were played by the man who wrote this book. The same man has also thritled me with his astonishing ability to play “outside” or atonal lines that make sense, These are the result of many, many years of serious study on Joe's part, a study borne of a deep tove of the guitar and virtually all forms of music, especially improvisational types. In this book, Joe has written down the essence ot his style in the form of solos over a collection of chord progressions to some common standards and jazz tunes. A careful study of these solos should give any guitar player lots of musical food for thought; and a rare chance to share in the music of one who genuinely has the power to inspire. Itis an honor to know this sincere, warm and dedicated man. 1 know of no one who has more teeling or tove for music than does Joe Diorio. Ted GreeneThis bach i dedi to my wif, Myena ture artistic genius.INTRODUCTION - Throughout my career as a guitar player and teacher, | have found that the three most frequently asked questions have been: = 1) How do J improvise over chord changes? (Be-Bop style) 2) How do | play free or atonally? (Playing with less harmonic restrictions) 3) How do | combine these styles? After having answered these complex questions many times, | decided to write some material on this subject. I have presented here two types of solos over the same harmonic progression. The first solo in each set is designed in the Be-Bop style and will give you insight into the technique of developing continuity in our compositions (improvised solos) over a given set of chord— changes. These solos will help you better understand ideas that are used in the style of Be-Bop and how to connect one idea to another melodically, by way of chromatic passages, scales, and chord arpeggios. { have written these solos so that you may extract segments or individual melodic statements from these progressions and use them in creating your own solos. The second solo in each set will demonstrate the way in which free-style playing is— approached. By the use of wide sounding intervats (which create the outside tonality) com- bined with the Be-Bop material, we arrive at the FUSION of the two styles. Therefore, the material in this book is designed to widen your improvising sense in two directions. The second type of solo is also constructed so that individual ideas may be extracted and used elsewhere. - I have added chord accompaniment for each progression. The solos will sound far richer when played over these (or similar) chords than if they are heard without any harmonic support at all. Also, these accompaniments will widen and enrich your chord vocabulary — and give you insight into melodic and harmonic direction. Some of the solos and chords may seem awkward at first and the wide intervals may~ present a picking problem, but by overcoming these obstacles, your technique will be enhanced and your ability to flow in all directions will be strengthened. May the melodic sense that is in all people find greater expression because of this book. Soe Daraco JOE DIORIOJOE DIORIO’S CREDITS Joe Diorio is presently on the teaching staff of the Guitar institute of Technology and has previously taught at the University of Miami. He has recorded with such artists as Sonny Stitt, Eddie Harris, and tra Sullivan. Joe toured Europe with Ira Sullivan, Steve Bagby, and Tony Castellano, where he played in two jazz festivals — The international Festival Laren, in Holland, and the Jazz Festival Meddelheim in Antwerp, Belgium. He also played and toured with Stan Getz. Joe has done five albums with Spitball Records: Rapport and Solo-Duo with Wally Cirillo, Straight Ahead to the Light with Steve Bagby, and two solo guitar records, Joe Diorio — Solo Guitar and Peaceful Journey.EXPLANATION OF NUMBER SYSTEM . PHRASING AND SLURRING ........ PHRASING AND PICKING THE TRIPLET PICKING SUGGESTIONS ...........-- EXPLANATION OF CHORD ACCOMPANIMENT FO! MAJOR AND MINOR SCALE HARMONY . ALTERED AND UNALTERED CADENCES . SOLOS AND CHORD ACCOMPANIMENTS CHORD ACCOMPANIMENT . BOSSA NOVA SOLO #1 . BOSSA NOVA SOLO #2 . CHORD ACCOMPANIMENT . MODERN SWING . CONTEMPORARY S! CHORD ACCOMPANIMENT . SWING CONTEMPORARY SOLO #1 . CHORD ACCOMPANIMENT . BE-BOP SOLO #1... CONTEMPORARY SOLO #2 . CHORD ACCOMPANIMENT . BOSSA NOVA SOLO #3 ... CHORD ACCOMPANIMENT . BE-BOP SOLO #2.. ULTRA CONTEMPORARY PEACEFUL JOURNEY.... CHORD ACCOMPANIMENT . CONTEMPORARY SWING CHORD ACCOMPANIMENT BE-BOP SWING CONTEMPORARY SOLO #3EXPLANATION OF NUMBER SYSTEM In the number system used in this book, the numbers above the staff indicate positions, and the numbers below the staff show the fingering. The numbers to the left of the treble sign are bar numbers. - Remember, the first finger determines what position you are in, PHRASING AND SLURRING Phrasing dynamics are achieved by picking a note and slurring up or down into another note. Slurring is especially effective with minor seconds, major seconds, minor thirds, and chromatic passages. Examples #1, #2, and #3 illustrate this principle. The technique of accenting every other note in a group of eighth notes gives the music a pulsating effect. See example #4. P=Pick $=Slur >= Accent note Example 1 ps ps Bossa Nova Solo #1 Bars 5 and 6 e -Example 2 psps ps ps Bossa Nova Solo #1 Bars 14 and 15 Example 3 P ps s Bossa Nova Solo #2 Bars 13 and 14 ~éxample 4 swing Bars 1 and 2PHRASING AND PICKING THE TRIPLET The use of the triplet in adding variety and holding together lines is an essential part of improvised music. The following examples will help you better understand the technique of phrasing and picking triplets. Example #1: In the following bars, pick the first note, hammer the second note, and pull off the third note. P =Pick H = Hammer PO = Pull off =3= Bossa Nova Solo #1 Bar 3 Bossa Nova Solo #2 Bar 3 Be-Bop Solo #1 Bar 2 Ph po 3m Contemporary Solo #2 Bar 1 h P po Example #2: All notes are played backward with a sweep. M=Down — = Up or backward AA “oA ae Bossa Nova #1 Bar 11 Modern Swing Bar 15PHRASING AND PICKING THE TRIPLET Example #3: Triplets are all to be picked down with a glide. an noo ne ° = Pay é =< S| Modern Swing Bar 7 Example #4: Combinations of above-mentioned. h 5 Dake 5 _ an Contemporary Swing Bars 11 and 12. Anes . [Saeseeees | Contemporary Swing Bar 4 ws 3a P hpo pees Hines aE Contemporary Swing Bar 25 - SN 1 Modern Swing Bar 29 3 =PICKING SUGGESTIONS Alternate picking should be used as often as possible. Down strokes are used to accent stronger phrases and syncopation. Wider intervals are combinations of down, up, anc alternate picking. In each of the following examples, two or three possible picking com= binations are shown These two bars can also be picked alternately, MaMa etc Example 1 teaa ADA ARM mana n fat Bossa Nova Solo #2. Bar 1 Example 2 5 AMA mma a3 a aa Bossa Nova Solo #2 Bar 11 Example A PARA Rana Bane nant Contemporary Solo #1 Bar 1 Example 4 Mama Rana mana mann 33 >> a3 a> Contemporary Swing Bars 1 and 2 Example 5 MAMA mama Aman offen Mann Apna Contemporary Swing Bar 3 13FINGERING Quite often the same finger is used to play two, three, or four notes in a row. Although this fingering may seem awkward at first, it will increase the independence and flexibility of zach finger. LEARNING SUGGESTIONS When range will permit, learn these solos in the bottom, middle, and high registers. Cultivate a habit of learning as many Individual ideas as possible in no\ess than three different olaces. EXPLANATION OF CHORD ACCOMPANIMENT FOR SOLOS These chords offer a variety of harmonic alterations that will help improve your ear and shord vocabulary. Memorize the spelling of each chord. Finger only the circled strings, all thers are not to be sounded. Recognize the notes in every chord and their interval relation ship to the tonic or root. . -xample: In the chord A1305, there is ROot, 05, 67 3, 13, Root : : A, Eb, Gh C#FH, A. MAJOR AND MINOR SCALE HARMONY {as applies to the chord progressions and solos In this book) The most common progression referred to in this book is the IImi7, V7, | Maj, which, in the ey of C, would be D-7, G7, C Maj. By looking at the scale harmony in the key of C, wecan see ow this comes about: C Maj 7 D7 E7 FMaj7 G7 A-7 B-705 | Wt tt Vv v Mi vu “he II chord is minor, the V chord is dominant 7, and the | chord is Major. in minor keys, a common progression is IImi7»5, V7, Imi7. This is derived from the armonic minor scale harmony. C-#7 D-7o5 — EoMaj7#5F-7 «G7 AbMaj_— BY ' " mW Vv v vi vil he 11 chord is mi7.5, the V chord is dominant 7th, and the | chord is minor usually without ve #7. ALTERED AND UNALTERED CADENCES At times, the chords in these progressions will be altered, A chord is considered altered ~ it has one or any combination of the following: 65, #5, 9, #9. _xample: Unaltered — D-7, G7, C Maj/D-7,G7,C-7 _ Altered — D-7, G709, C Maj 75/D-765, G7#5 #9, C-#7SOLOS; . CHORD ACCOMPANIMEN Remember, FOR BOSSA NOVA SOLO #1 AND BOSSA NOVA SOLO #2 this numbers 8 8 6 8 6 6 6 tells you on which fret tH the chord 0 begins. ont mnt par rar 2194 orat tra 1 Cmill Cmill C79 Fmill Fmi9 Fri? Fmi7/E% oa a raze = Wate Bisa 2134 oat ror Dmi7°5 Dmill’s G7+9 _G7°9_Cmill Ci Cmi? 1 A T ¢ T ara, 1243 1 f201 2 941 aati 1 942 ° E’mi7 Ebmi7 abs D9 DiMa7 DMa7 — ae rresa Target 2raet BP13 AP135 G13°5, 2 o41 1 1204 Dmi7's Gi3#9_APo(G79) G79 1 Cmitl mais 2Cmi it x.BOSSA NOVA SOLO #1 In the Key of C minor, the most common and important progression is D-705, G7, C-7 (also referred to as Imi 765, V7, Imi7.) Bars 5 through 8 and 13 through 18 are examples of lines that work over this progression. Remember, you may wish to extract these fines and use them in your own solos. Bars 8 through 12 contain a lImi7, V7, | Mai progression. (In the key of Db: Eo-7, Ab7, Dp Maj.) Note that the dominant chord G7 is altered to G769. “BLUE 8058" Dmi7 5, 3g om Omi79§ -Cig59 SHE 3 x as sl a a2 2 32312 Omi7 $5 G7. 47BOSSA NOVA SOLO #2 With the use of fourths being interspersed throughout this solo, we create a wider- ~ sounding tonality. Bar 1 in C-7 is constructed mainly in fourths. Bars 5 and 6 are made up of fourths descending chromatically. Bars 11 and 12 in DoMaj 7 are constructed in fourths. (Bars 9 - 12 are in the key of Do.) This 16-bar solo is constructed in four-bar sequences so as to provide material for other solos of your own. Example: Bars 5 - 7 and 13 - 15 for D-765, G7»9, C-7. ra aa Oi7's aia. faa ® 7 2934 2312 : ri 8 a: oie 1a pee a Ae On Fen 3 Dmiz's 2 pmi7bs 2 G7CHORD ACCOMPANIMENT FOR MODERN SWING AND CONTEMPORARY SWING. 2 1 3 2 ns i Y4zat 924 194 vote vate A139 Emit1 &b7b5 mitt B75 6 3 4 $ 2rae Sami | darn 152rt Fmio Bris Bhists ebm emis Abia 1 3 5. ~ jaa ff H ¢ ue juni C at at “oie 2 2399 BbMa7—-BMaS_G/A. Arg Dmi7 F/C Bmi7’s — Bbmi7 7] Hite 1 t 23 2143 1324 2134 1334 1333 1 324 3 4231 Gmitt FMaa Emi795 A13%6 Ami11?5 Ami7's D7b9 Dp 13°9 G7tsto cists G79 Cmit1 &>Mas5 5, 3 | a Et 5 Emit aistg Dmi7's, 7s cmi7’s, Fisho Bbma6/9 MODERN SWING This popular progression has a beautiful way of creating tension and release while winding through several keys. In Bars 3 and 4, a I-7 chord shifts to a V7»9 in the Key of Bo. _ Bars 5 - 7 show a Il-7, V7»9, | Maj progression in Eo. Bars 11 - 13 have a “Key of F” feeling. : Bar 17 creates tension with the G7#5 chord, which is released at Bar 19 with the Eb Maj chord. Bars 27 - 30 use the #-705 and V7.9 chords for the ending climax and beautifully resolve to the tonic. Bars 1 and 2 and Bars 25 and 26 provide material for the altered dominant A79. an“STELLA QY STRAT" 5 GO——_ eas y . 2 3a vat, —& a tty tg A a3! ¥ Fmt) S42 7g Ji ¥ eg 879) aitt goad 123, 1 oat EMa7 30 Geyer) 5 8 hma7 vee ae Peay wT 1 ee: Bmi7b& 14 a4 5 Emi7 AT Omi7 Dmi7/C 34 Bmi7 ag2 1923 zai4 2444 38 rat? —5 Azo (Om samel— yoy, —3 132 3 Omi7rs 1214 3431 1213CONTEMPORARY SWING This solo melodically fuses tonal and atonal music. Bars 1 and 2 are constructed in fourths, built on the altered dominant chord A7.9. Bars 3 and 5 are also constructed in fourths, built on minor seventh chords (C-7 and F-7). Bars 6 - 9 contain a combination of fourths winding around thirds and seconds. Bars 10 - 12 are Be-Bop oriented. (Note the syncopation.) Bar 13 — note the fourths. The last eight bars, 25 - 32, are somewhat unusual; study them to learn about playing through altered chords. a . J STELLA “ys on 1 2 4-3-3 1 a3 ane read cee 7 ? 759 F7b9 Fmio Bb7 ce 3=Maz7 3am a7 BPMaz 4 cress a nea tee brat 2gta Emi7 Ar Omi Dmi7/C emits Bbmi7 G79 cmi7's F7#9 fa) aes aa aeCHORD ACCOMPANIMENT FOR SWING AND CONTEMPORARY SOLO #1 Gow ce te 4 2 2 3 ie ot rss zie aot on ig 4 3 3 tt 1 Ht f Hf H a HHP Ton ihr pase Amié ao : 2 2 + + 23 23 3 24 a1 &7 sus. Bmiz /Ft Go/GET/ rit oath rante “1264, 1326 Amiti = Ami6/9 Bmi?’s 79 Ami6/9 Amis2iatt zai zig 2011 tea4 O9+11 os cMa6/9 Ami6/9 e7tts — ET+#9 5. 8 6 5 ia ath r ei aattt f2iar 2 gat 2 oat Ami6/9 c7's Brs H Ami6/9 Amit7/3, SWING | So that your lower register playing will be enhanéed, learh tii ‘s0f0!af"obfave lower. Playing in minor keys helps major key improvising. Often you confront a II-7b5, V709, |-7 progression in a major key. Notice that this progression occurs in several places in this solo in A minor: in Bars 2 and 3, 7, 8, and 9, and 10 and 11. Notice also that this solo changes to Maj 7 at Bar 13 and returns to A minor at Bar 14. Ami7 Bmi7?5 evs Ami7 5 7 9 a4a2 1412 a1 29 4g 1a ais? aera iat 25(ee 7 Bmi7's reba 24 ~ pow 7 CONTEMPORARY SOLO #1 — We now took at how this minor key solo begins with the use of fourths. Bar 1 contains wide-sounding fourths. Bar 2 contains close-sounding fourths. Bars 3 and 4 are closely knitted, opening up in Bar § with a large major seventh skip trom F to E. Bars 6 - 16 are Be-Bop oriented inside feeling), briefly touching outside at Bars 9 and 10, Sree nts 5 Ami7 7 Bmi7's eva ” Ami7 118? | Are" 5 Dmi7 Dmi7, 4 aa) Zo 9414 3328 4iat 12269 fe 1 ian i i + og I coo 1 rite 1423 Er] arith AMat Ftmilt Bmi7 E79 AMa7 AMaS 4 Gmitt 18 FMa7 May u 10 8 8 8 8 ¥ TT f fT it te C+ He i i - PI aT Fare 29a torat aaa: Ami7’5 D139 D795 79 Dmitt 0575. C7 sus. C13'9 10 10 5 5 4 fen Te) q T H + v4 raze reaes 24 atte TT Bore - Gmilts Gmi7's —c7I6’9 C79 FMa9 = PSHI1 = Amit1 = O7Pots 3 2 6 6 5 4 T T tT H tras 23004 Bat “ha 29 rere a zat Gists G9 Gmie cists Wre Bymitt Amit1f5 D7+9 28aN 142 ) FMA7 x BE-BOP SOLO #1 Combinations of II-7, v7/lI-7, V7, | Maj 7, and altered II-7, V7, | Maj 7, make up the majority of this chord progression: Bars 1-3 Bar 12 Bars 17 - 20 Bars 21 - 22 Bar 24 Bars 25 - 27 Bar 28 Bars 30 - 31 Bars 13 - 16 are a modulation up a major third to the Key of A Major. This is a very common modulation and progression (I, Mi Il, V, | [A Maj 7, F#-7, B-7, £7, A Maj 7]) found often *~ standard tunes. tampo: moderate 10 brisk Gmirs 29S eta -f moe TORN Sit d8D AMa7 mee Frnt? ——me B17 ee 9 ey AMA 35 —~ 13 2 Gmi7? 4? 10 tte, oat? 10 17 ao taeg aT, 9 4 5 ‘Ami7"6 pyre. a Fig 123 rer Gmi7 orbe FMa7___Ami7b5 D7>9 CONTEMPORARY SOLO #2 This solo does not always identify with the harmony, and because of that fact, ithelps us improvise atonally while diatonic harmony is being played (the same set of chord changes as Be-Bop Solo #1). Bars 3-7: fourths and fifths Bars 11- 14: fourths By wavering inside and outside of the tonality, this solo gives us clear insight into the fusion of traditional and Avant Garde music. 301 aay 5 of Maz gBti35 tate o.ot4 7. crs p34 She rele eis eee zs oe — ; ee a Maz Fimi7 aatt cy]5 cmiz. Sor's 4; Ma? Ami7 5 079 7 7 Gy zaza i244 “824 f CHORD ACCOMPANIMENT FOR BOSSA NOVA SOLO #3 s ” Wie 4A 5 T 8 = z r 2143 2 ae Mao Ars»9/e> Ami7___ Ami7 o7'o a © ‘20 I Tat = pat rarer cimit1 Ft7's/cl__B7 sus. 1 43 2143 BIDE GMag___Gmi9 00 tH iT 2194 as orga 2ore Srar Pp eae 7 A7iS__ area Dmi7__ G1313 n rare OMma7 1342 GMa? 1294 2ate 1324 Bo Bro 2393 9 3 4ar GMai3s_Gmi7__C9 au 12 Bmili/E raray B7sus. 89 2 333 2393 Ami7 2393 Gmi? risre = fararn 89 sus. BY7 sus. 33 1334 Amit ore ctmitt A7 sus. 1 rrets Amit1 rer Amits 2131 o7s 2. 2 1 1 i t ee Tt H af 2 oa Tn 4 cobs Fimi11/B _ B7tso EC) 2314 cre 2a c7/8? G7 sus. rarer 4 3 3 q ae | ain vans zeit aati B's sus. B79 Mais fe}1% Hitt a Sant og4e att dart rea t843 rat 1904 aay GO SUS: Ara DMaa_—OMaod_——AISS OATHS Amit! Amitt 1 1 10 ri 10 T 1 yee Tees | arti oats Tz yp ta04 tt D199 D7tstg GMa GMa&_——Gmili_C13 ctmitt 1 5 6 2 1 fer pare tr ire at n1e4 aon B7 SUS. Bros Ami11/E BP7 sus. A7 sus. Dmiz7 s7 gaat 3 42 “a Omitt G9 BOSSA NOVA SOLO #3 This solo is mainly built around the creating of melodies with motifs, which are small musical ideas or themes. Examples: Bars 3 - 6, 13 - 18, and 37 - 44. 34At Bars 25 - 28 we are in the Key of F. At Bars 29 - 31 we are in the Key of Ep. Tied in around these motifs are contemporary ideas. Note bars 7 - 12, 19 - 25, and 32 - 36. 3 For easier counting, the quarter note eel ee throughout this piece may be interpreted )) | d “WAVE* tumpe: Bors Nove (mam) (AGLOOY metres ) 3 AmiZ 5 D Maz BS 7 Ami 3 FHS 6 Fi7ts B9, B7 = 1230 T te ba2zt atag a4? ' o> . 587 Az, Dmi7 G7 Coe yaiat a a git! ae 2322 5 O Ma? es BQ {wone) —_— ia 3 Ami7 3a, 04 a ' ; 2123 ~—- OS -o2 7 ove 3 Mat 2 Gmi7 73 | 7s B7 sus. Bas anaes Ctenttt 2 4 Bmi7E 1 at 201 2423 cles 35Fn?) B47 /AD Se 8 yin D Maz 42 omi7 A Ar9 « 5 2 ca Ss ee al 2432 saat ° a 7 sus-. 87454 Bmi7 aa 387 ar 2L CHORD ACCOMPANIMENT FOR BE-BOP SOLO #2 3 4 3 5 e243 at 1842 Hy 1928 By = Fmi7 Bont Brmit eis Eo 1324 1 234 1342 1342 1324 1234 rate 2 oar a42f viet 3 re BE-BOP SOLO #2 These two choruses are of the Charlie Parker - Sonny Rollins vintage. In Chorus #1, Bars 1 - 4 make up one phrase, the same being true for Bars § and 6 and for Bars 7 - 10. Bars 11 and 12 form one phrase and will also function as a turn-around in other situations. 37(A turn-around is the 2 or 4 bars at the first ending returning back to the beginning, and also the 2 or 4 bars at the end of a tune before it returns to the beginning. Chorus #2 has the same layout. Bars 1 - 4 make up one phrase as is the same with Bars 5 and 6, 7- 10, and 11 and 12. In Chorus #1, Bars 5 - 12 may be played up an octave higher. Chorus #2, the entire solo, can be played down an octave. sonpo nodoewtegn BLES 687 5 ee Eo Bo? ' 2114 2942 gate ve ee A BOT mir nt SR tortie 3 2e18 9» 2942 saat at2a 4448 Goud) Chorus 2 aya il B34 es -32 4F. Bbi3 34a 49 a 10 Eritt riers erdtaee | 14 10 38tmprovise on Chorus 3. Bb7 ebe = Bb7 © = =e = + eb7 &0 = + 3 Bb7 Omi7 G7 Cmi7 Bb7 Comi7 c#O CHORD ACCOMPANIMENT FOR ULTRA CONTEMPORARY 5 8 4 3 6 i i aE at THe Tae roe Fatt a7 Fmitt es Eo ee . 1 3 5 6 6 q + : qn it H fey iL He + Et 1320 0 eb a GI Bbmae/o Maz Cmi7z Chmi7 — Dmi7 Emi7 Fmi7— ET = LL 39ty The resi “Taz4 BP mitt rare a4 324 Bmi7 rio 13 13 ul I 10 9 8 8 + ta q + con HL T342 wee base teat eit Po 2a aig BbMa7 Maz ENG imi11 = Dmiit = Omi7’s 7% D7 7 7 8 8 10 10 12 a) + t 1 T32e Tre t 2143 c7 Co Gmilt =~C18— Omit Cmi7 Fo Fo W 8 7 6 oe { T Beat aaa Baa 2134 BY7 o’7 c7 B7 ULTRA CONTEMPORARY (3 CHORUSES) The 12-Bar Blues Frame is used for an excursion into atonal playing. Remember that these lines will stretch the Blues Harmony to the outside limits. Chorus #1: By taking a four-note motif (the first four notes of Bar 1), and using the same interval construction (Bars 1 and 2, Bar 8, and Bar 9), we can see how melodic patterns can emerge. This technique of taking small ideas and moving them around to different tonalities >an add great color to any solo. 40Chorus 1 10 bron (aLWES) aa2t preaoa oe 1 4422 - e 4 5 6 8 9 sae reo 10 2! 4, 10 7 1 1249 2928 ciaeo) a: | agadstd Choruses #2 and #3 are a good mixture of inside and outside playing, and are dominated by fourth and fifth patterns extended into long lines. Chorus 2 4294 12a1 aiaan af4ieg 1294 4412 aes 1 1 214 2414 aor art 41Chorus 3g STC + aa a2i4 _ : toed toad Improvise on Chorus 4. 13 v * PEACEFUL JOURNEY This original composition is in the Classical style and should be played rubato. For the most part, the E and B strings are open. producing a singing effect. Hold the arpeggios (which are shown in the diagrams) as long as possible, and bring out the melody which is on the first beat of each measure.24t ait 14 + z 6s aan aar aaritardCHORD ACCOMPANIMENT FOR CONTEMPORARY SWING G4 janens ] + oT { + ann 1420 24rd race 215 233 s'va7 B’mas Ami7'5 07 Gmi7 c7 Fmiz7 87- ebmMas SE 4 Emi7’s 1342 Brma7 ™ bt a9 &’Ma7 E’ma13 Omi7 rat 2 oat Ami7?S 1924 Dmi7*5 Brae 07 1394 aratt reots 1 236 G75 Cmi7 aon a 2H Dmit1 mo Gmitt 324 e'Ma7 o 241 Dbghs PETE ors = } Tae Cmi? 1425 Cmit7 o 2at cmi? 1333 3 aa Bobs 1 3 7) Hoi rit a4 Fmit1 — B13%9 1a23 EMa7is Ta3e eas 472341 T a 42tt 3 5 6 3 8 i 1 FY + 4 tt te J a 124 Tia 1 sae Wiig 3 aah mint zat Cmitt Dmi7ts EbMa7 Cmil1 F7%9 8? Mac/9 Cmitt F 79 it 21194 CONTEMPORARY SWING This solo is in great contrast to the Slow Bossa since we now incorporate 16th notes. (If they present a problem, slow them down to 8th notes.) The fast 16th note passages give us the feel of doubling up (Bars 9 - 16). Here, also, isa — good example of how melody can still be touched upon while playing the fast Bars 9 - 12). Reading the text, “Phasing and Picking the Triplet,” at the beginning of this book, will help you better understand the technique of picking the 8th and 16th note triplets in this piece. ~Bbmaz7 Ami7’s 07's Gmi7 co ® z ra 42a 144 Tera arg, atti 7444 Dmi7 G7 Cmi7 F7 15 3, 535 5 35 Pray 1 4 t1se 242 orbs 2 faat 1 fo 1 : Ghmi7 raze eos 1oAmi7?5 Gmi7 ouey 3 24 ae! 2a! 2044 4124 2124 . - Fmi7 eo ebMa7 omi7's — G7'a 34 hanes Siendea toate a= To oe ater23 Emi7°5 “3a 5e82 4124 fara E'ma7 EbMa7#s ra 23 gai? aot 4E’miz_; Dmi7ts 35 e 26 * 42 oa) 241 T Ccmi7 Dmi7 E>Ma7 F7 B’Ma7 a = a me aay ha : CHORD ACCOMPANIMENT FOR BE-BOP SWING AND CONTEMPORARY SOLO #3 1 1 3 5 4 3 mm - fe Ga oa eR TH > $Te ut 0 iit} EIIIT] 2900 eat rire inea Sat BON feaaae | DUNST Frttt Fmitt Bemitt Bbmitt Eb7 E79 Ahm a7 6/9. AMa6/9 A - errr Le 214 ae CMa7 6/9 CMa6/9 CMa6/29 CMa6/9 athe re rreer DbMa7 6/9 PPMa6/9 Dmitt 10 6 8 4 6 ee Cmiz7 Cmi7 Fmi7 Fmi11 B13. 7bo E’mag Ebmitt 508 4 7 > 4 arn z rretra raaad AbMag — APMaG/9_ Amit D7°9 GMad C33 Britt E79 12 8 8 1 , Hf tra | trek aoe rae Gar Amilt Amit! Dig 9 2 2 f 74 z rae tag 0 atti 210% 7 Fimitt FRmil1 B13 Brg EMa7 Mad c7tseg cr 1 3 6 8 8 uw WW fH 1 it + +1 ra tess erie Ta33 th BTese ia 1 042 Fmitt Fmi7 B>mtit @’mi7 Blmi1t E13 ArMa7 6/9 A*Ma7 9 7 6 4 Ay feed 4 i 13 244 aee otra 2 2 D'Ma7 O'Ma7 Cimit1 FHS Smit Bb7bg DO 518 6 T + it T renee ret a 42 ere paw Bbmitt Cmittts Bbmitt Eb7bs Tf abmas/o c7bo BE-BOP SWING By modulating up in major thirds, this solo passes through several keys. Bars 1-5 Key of Ab Bars 6-8 Up a major third to the key of C Bars 9-13 Up a minor third to Eo. Bars 14 - 20 Up a major third to G - Bars 21 - 23 Down a minor third to E Maj. Bars 25-36 Back to Ab Each key is mostly made up of the II-7, V7, | Maj 7 progression. Examples: Key of Ab Bars 2-4 . Key of C Bars 6,7 Key of Eb Bars 10 - 12 Key of G Bars 14, 15, 17, 18, 19 7 Key of E Bars 21 - 23 Key of Ap Bars 26 - 28, 33 - 35 : ‘Try learning this solo by taking one key at a time. . bore ee IT if 7 Fmi7 Bmi7 2 7 eb7ho 8 arouamit = ajaet AbMa7 pbmaz7 Pri? 39 4 345 5 4 a 3cmi7 ars 4432 rma 3 root fpegtet | adage a7 abr e’Ma7 3 Fmi7 8 mi7 9 aate 24a Per: 4124 ~ a’Ma7 Ami7 e 79 GMaz7/ at - ) me Maz Ami7 o7'e iy ' 'Ma7 o'ma7 chni7 Fi 13 oo 1,3 242 242 ania’EW 5 _, Abmaz7 c7ts CONTEMPORARY SOLO #3 ee Cs With wide-sounding fourth and fifth intervals, we play through the same chord progres sion as in the Be-Bop Swing solo. (Carefully read the text pertaining to the Be-Bop Swing for a clear understanding of the key changes.) Note the added chords at Bars 3, 11, and 27; they have become a standard part of improvising on this harmony. tempo: moderate ta bright Fmi7 Bbmi7 Emi7 7a 13 TS e146 mis aiaa 4 4a, 1244 d *aaz ova7 Omni7 co? 8 cMaz7 Maz dale naiaans 2 i gait A’Ma7 a D7 GMa787 saad EMa7 55