‘Spicing It Up Objectives + To learn to use pickups and fils effectively. * To learn the modes of the harmonic minor and melodic minor scales. Pickups A pickup is @ note or a short series of notes (a couple bars or less) that precedes and “sets up” the main phrase or thematic statement to foliow. In popular musio, pickups are normally used to ereate: 1. A brief intro or “set-up” to start a song. 2. Away to link together sections of a song (verse, chorus, bridge, etc.). 2. A recurring ‘hook’ that can repeat in various places in the 2ong or 2olo. Most often, the pickup preparation is a smooth lead-in to the next idea, but sometimes it can act as a radical contrast to it. What determines the type of pickup to use? Stylistic considerations are crucial in choosing your approach to creating a good pickup idea. Here are a few possibie pickup ideas 10 “set up" the solo or melody that you might play over a slash chord progression (the Chapter 16 chord progression). Stylistic considerations call for blues and Mixulyuiant svutus. Tiy to Continue with your own solv based on the provided pickup ideas. Fig. 4 Itis also common to play off the V7 that precedes the tonic (or first chord) of the phrase, section, or theme. Here are two examples of superimposing a B7 arpeggio to set up the E chord. The second ‘example sets up the ear for the diminished sounds that occur in bars 2 and 3 of the progyression by using the C note and creating a B dominant diminished sound. This could later be modified and recycled into the fourth measure ot your solo. Fig. 2Chapter 16 Fills Another part of bringing excitement and professionalism to a performance or recording is to add fills to the basic song. There is no official structure or format for adding fills, and it is very easy to “overdo it” Fills, like pickups, occur in almost every popular style. The main purpose of a fill is to highlight the phrase, melody, or solo at a point where a space, rest, or breath has occurred. You are playing during a break in the action—filling around something. In deciding when or how much to fil, style is erlical, and instrumentation can make a difference. You may be called upon to play fills in a “call and response” manner with a vocalist or another melodic instrument. The melody and phrasing of that musician will create spaces for you to fil in ideas. The ends of phrases, motifs, or long sections are all excellent places for fils. In a vocal situation, listen to the lyrics. Be aware of the story being told and its emotional content; you can complement it with your fills. ‘Sometimes you can copy the other's melody exactly, or with a slight variation. Short, strong ideas are needed for effective fills—not overplaying! Listening to the bass and drums will also give you fill ideas; if you fill in rhythmic unison with the band, you are creating a very strong device called an “ensemble figure” Here is an example based on Fig. 1, this time with a melody and lyrics, to show two typical fill Placements: Fig.3 Guspel-Blues ¢ = 75 fil #1 ti 2 rt E EGA Be Te cl Omir ea | - * : =e ttt ee po a ba-by I got the blues, Chapter 16 Lick Here is another pickup idea that could set up whatever solo or melody you play over the Chapter 16 chord progression: ~ by ha. _ Seats Ger Ge = = = = SSS I ae IA aw ee ee : 79} Chapter 16 Chord Progression E/Gt A Bey BB OCT Chi? ABB EXERC! In the spaces provided, write your own pickup ar Play them along with the CD. ISE 1 nd fil ideas for the Chapter 17 chord progression. BS op opal 6 SSS = a 6th mode: Locrian #2 ] 7th mode: altered aPutting It All Together Objective * To analyze and improvise over different chord progressions and styles. EXERCISE 1: Phrasing Exercise Here is another repetition exercise to help you “copy” your own phrases: Play an idea, copy it with ‘some small melodic and/or rhythmic variation, and then play an “answer” idea. Here is a demonstration: Rock J =160 cs Now it's time to put all the elements together and put them into practice. When looking at a new chord progression, always begin with the key center approach. Remember that modal interchange and secondary dominants are variations of key center thinking. Any chords that don't fit into the key center system can then be analyzed using the chord scale approach. Arpeggios may be used with either approach to spell out the harmony to the listener or create melodic interest. Each of the progressions below has specific elements that need to be taken into account when improvising. Remember that style, taste, and experience will constantly reshape your playing. The ear is the final judge! Following is a series of solos, each with a corresponding chord progression and audio track. Use the solos as launching pads from which to develop your own ideas.Chapter 17 SOLO1 ‘Try this country-rock lick over Chapter 17 chord progression 1. www} chapter 17 Chord Progression 1 This progression has a country-rock feel. Make sure you understand the function of the slash chords. Country Rock J = 95 E & E Gisus GH Ctmi7 YY Ctmi? SOLO 2 Play this blues-rock solo over the second chord progression. 84Chapter 17 ® chapter 17 Chord Progression 2 This progression has a blues-rock feel. Even though the first six measures might indicate the major ‘scale, this may not be appropriate to the feel of the song. Experience will assist you in making the proper stylistic adjustments to your scale choices: Blues-rock eighth-note feel 4 = 110 A E A E SOLO3 This ballad solo goes over the third chord progression. ule® chapter 17 chord Progression 3 This progression has a slow sixteenth-note ballad feel. Slow tempos can present a challenge, as every nuance of a player's choices can come under close scrutiny. In addition, there can sometimes be ‘several ways to analyze a progression, and they all may have merit. Be flexible, and remember: if it ‘sounds good, its right! Use the solo above as a launching pad for your own ideas. 16th-note funky ballad J =70 Gmi7 ‘Cmi7 Cmi7/B> Gmi7 Cmi7 Cmi7/B Cmi7 Ebma? EWE Cmi7 Ebma? soLo4 Play this over the funky sixteenths chord progression below. (gate are — ROBO epee ae t: Chapter 17 = wee 1a WO 2 gaa et — — wet oe chapter 17 Chord Progression 4 ‘This progression has several slash chords. Be careful to deduce their function in the progression. Funky 16ths 4 = 110 DG ee ‘mat F7sus F7 Bmi7 Bhma? Ami? BmiT cmi7 cm Fae z ee 87SOLOS Play this one over Chapter 17 Progression 5 with a bossa nova feel. 4 aoe gee r —— Tr — — +. — ote Te a = B = a 2 _——— chapter 17 Chord Progression 5 This progression can bea litle deceiving. What isthe tonal center? Sometimes the first chord is not ee play dame the key: Bossa J = 120 x DE ‘Ama Cma7Chapter 17 ® Chapter 17 Chord Progression 6 Play this last one with a strong backbeat feel. What is the tonal center in the first four bars? In the B section, do you need to play a different scale for each chord in the third measure, ors it too fast to make the switch? Reter to the solo above for suggested solutions. 128 Rock J = 90 Emi D Ami Emi D Ami G/B BID! Emi Emi/Dt EmiD Emict C aAt this point, the player needs to practice improvising over as many progressions as possible, developing a sense of style and a vocabulary of phrases. Listen to as many artists and tunes as you ‘can; experience is the best teacher. This is an ongoing process that will continue to accelerate your growth. Keep going! fe Ce Ua ts 1. Be able to use key center and chord scale thinking to come up with scale choices for the given progressions. 2. Be able to construct melodies over the given progressions using all devices.Afterword melodies that can be used in solos or as part of tunes. Mastering these elements is an ongoing process, but the main goal is to MAKE MUSIC! In addition to the control of scales, arpeggios, etc., this book gives you the ability to make good choices over just about any harmonic situation you will encounter. Be thorough, take your time, and always remember to experiment and make these sounds your own! The resources provided here will come together to help you develop your own sound and style, T- material presented in this book will give you the physical tools with which to constructGuitar Notation Legend ‘Gutar Music can be notated thee atferen ways: on a musical Stan tablature, and fa hythm slashes. -RAYTHM SLASHES ae itn above the ‘sa SU hres inne yon ited Usa tne chr darams tue at eo ot te st apo the ance fo “rete chod cigs. Roms totomads nate ng tes “THE MUSICAL STAF shows pte nd ths an ede by bares ito. eases Paes red afer he st even er ole ophabe TABLATURE gapicaly eee (tar gertar. Each ari Fepesens 23 sig an ac re repens ‘am sting, 2 et D A ‘st an stirgs en, played tgeter ‘pon D chara EG @®@ Definitions for Special Guitar Notation LESTEP BEND: Skee nota end pep. {ENO AND RELEASE Sire rte nd ‘nd pa cae ten ease Bako ‘he gal ae, On te est es WaRATO: Testing i rad by rpc ‘wdig and easing ete wid De traiva and MOLE STEP SEND: Stik enters ‘pane sep. A PRE-BEKD: Bend ate nite men she it WIDE VIBRATO: The ics ase toa gtr gee by vet whe ting fans ‘GRACE MOTE BEND: Siete note ars inet bend up since. Such (CROTON) BEND: Se te rete arb up 14 sip PRE-BEKD AND RELEASE: en he ote ‘lndeatea Srt tand lne he ber tack oe orignal ote AMMER-ON: Stk fest (owe) ete ‘nt coe gate sound th ger ote ‘ont eae sia th chr foe br ‘rato wiht peg ‘Isa BEND: Stk the tw ates Simutaressy nd bend te ewe rte tothe ptr of he igh. PULL-OFF: Pace tot gers on the nates tobe sounded. Sie et ot ant ‘wi era el etn of stun the sacand ower) nae, y David Caer» Maser Class ‘This Master Class wth MI instructor Davi Oasis ay decks ot aco plait why mas ich, Thorowgh grounding in He eset of cass and fingesle technignt. Topics covered indade ees anc seas fe stoke ad rest robe, 1 Se ete, throng pater, aural and arial haar, tremolo and rsqueado, and more. The book inddes 12 inease esos for righ andl hand in sandr’ noon tb, andthe CD Seares 92 solo acousic tacks (09695171. 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