Example 3
Played entirely in the sixth position over another lIm-V-1 tumaround, Ex. 3 opens with a descending
Bp blues scale plus an added 6 (G). The 3 (D) makes a brief appearance on beat ur and leads us
into a descending root-6-5 line (&$-G-F) that connects to a half-step bend to the 65 (44) followed
by the 3 (2b) and 4 (EA). Bar 3 again shows how you can planta big old b3 square on the down-
beat of a major-sith chard and get away with it. Here, the D} acts as a chromatic neighbor to the 3,
which doesn’t appear until the “and” of beat awo. The rest of the lick should be familiar by now, but
this time we sting the -root wrap-up (C-Bb) with a slide from the 5
Ex. 3 :
Jai f=) }
Cm7D PW ‘BPO
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Example 4
Many credit Chuck Berry with inventing the type of atemating bent and unbent unison syncopations
that inhabit the first five bars of Fx 4, but it was T-Bone who originally brought them to life many years
earlier. The lick begins on the IV chord and establishes another hemiola, but not before opening with a