Table Of Content

Mel Bay's Jamz Guitar LICKS ayssnscrnn: “To may primary teacher of sigle fe emprovnuton. Ih Hil anc Jy Roniey To the memory of Charfe Clnistian and Chatie Parker To my brother Lloyd, whase practicing of plaro sonatas and concert gave my young eas a sense of form, so many years ago. Acknowkdament te Mare Loneragan ate Chron Sotrmry for he ia repvation of the anes Martyn ies and Michae! Lobel, nowledgeabie recording engineers 'Bil Bay. encouraging fa, ane patient. Raves and huzzahs to: Dewey Delay, who knows a Jot about bass playing aid can be heart as my partner of the sccompanying weeoring Ker Armstrong, who made the pickups forthe gular used on tre recording CD CONTENTS TRE BEEREEEER Visitus or the Web at htt:www.melbay.com — E-mallus at [email protected] About the author Alan de Mause lives in New York City, whete he teaches at Columbia University Te ers College anc In his own studio, eis free lance guitarist active in many projects and also does voice over narraticn work. When not writing, teaching, or playing music, Alan is involved with the Hunger Fro- lect. World Runners, and the New York Road Runners Club. This is the third In a serles of books by Alan for Mel Bay Publications Inc. ‘your relatonsnip with your gullar Is Ue same as itis with the rest of your life. Every time you pick up your instrurrent you meet yourself, and every time you play 2 hote 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? Car learn to do It Musicians pleying the right licks at the right moments In our lives have probably been the catalyst for ‘more musical careers thar any other precipitating event. All jazz artists in thelr formative stages study musical models. These models are the licks, phrases. sections. choruses, and thr total recorded autpu! of their favorite players. When learning, not only is alright to copy other players. It Is Impossible to begin in ary other way. To eventually create your wn Jazz licks you first need to hear. play through. and imitate a Int of existing jazz Licks in context of phrases For our purposes a ick wll be considered a short melodic fragment, Most often ft is only « measure or {wom lenge with even the longer ones belng bullc up of twe or more shorter fragments Phrase are the next inrget uni, made pc ick: Standard song fore ix ride up fw sis of four measure phrases, The harmonic structure of these phrases Teused to improvise upon Since these four measure phrases are so important, Itis better to stuay a shorter lick in the contex: of a longer four mezsure phrase than by itself. Licks always end up in phrases anyway. Alse. it Is nearly Impossible to create a phrase by butting and gluing togetner several snort 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 context of phrases and Sentences than It Is to learn only individual words and string them together in hopes of forminga sentence. Each lick in this book, then, will actually be a four measure phrase, usually comprised of shorter licks. Sometimes these phrases, or longer licks, will be Tollowed by ad tonal four measure units built on the continuing cherd progression of the standard tune from which the first has been taken. And further. I also stress studying licks sct in longer phrases for another reason. This is to help the player in sce ing, hearing, and playing jazz lines woven through chord progressions. The beginning jazz guitarist often having a background In Blues or rock,can usually handle pentatonic blues scales In simple har ‘moric situations by “playlag In a key,” but has a hard time playing through a more complex. quickly changing set of chords. Tre problem with “playing ira key” without giving respeet to the pattern of resalutians is that the discrete harmonic distinction between chords gets fuzzed over. So, fan improvised chorus is a stage, the four measure unit is an ideal place to start getting your act together. It's my intention thet working with these licks will help you distinguish the differences between chords, anticipate the sound of one chord (following another, and eventually play < line of ‘yout own through a serles of chord progressions, By studying these examples you will see how a line Can delineate or spell out :he harmonic underpinnings even without accompaniment. When you are really into it— When you find licks iat Leconte your favorites, Ley bewoine part of your language. IC hard not to use them. And, let's face it. at moments of indecision, they are the musical lifesavers which give a Sense of secutily. Since you will know them so well. you will be able to use them as beginning statements to be devel: ‘oped, You can aveld using them like a boring comic with « memorized Ist of one liners by listening to {hat tte Uoire inside you that says, "ET play fis liek ane more time, TIL—"- Let your licks help yur creativity rather than hinder it. Invention is stil the name of the game. s The Lick Layout Accompanying ett lick is this Information: ‘a Roman nume-als indicating harmonic analysis (see below! informal analysis of lick illustrating a particular aspect (see below), © Inatcation of suggested tempo. d Name of standaré tune whose chord changes have supplied the harmony for the lick. Licks are base onthe rst furmeasures ofthe tune, unless indleated eters: a m he ‘musical example Standard chord symbels. TT Position in which tick is played and/or full bartes indicated, e.g., IV. an¢ BIV, Partial barres are indi: cated hy the numberof stings to be Rare from a possible sx plus the position at which they ‘a Fingering. The symbols “+” and "~" indicate a temporary finger shit out of pesitin. A shift to a higher fret is noted with “+ and a shif: to a lower position with *~ ioTablature, 29. QW / tdomVidom / dom Vt 1 Saint Thomas © sequential, scalar, med/fast ©) @® measures 9-12 £7 BT aw a Fits BPM 4 S. 4 Pe saat 14 22id ime gan qo ————S 1a) This Is the harmonized scale in C, extended to the seventh degree Pom om vv Mv cM? Dm? Em? FM7 G7 m7? CMT Roman numerals above the llcks Indicate the basic function of the chords (symbols written directly above each measure in lick) as they relace to the Key of the lick. Extended and altered ‘chords are not noted in the Roman numerals just the basic chord. Chromatic chords nat within the key of the lick are named according :o their spelting in rela~ tion to thelr lower or upper neighbors. In the lick above, the £°7 chord, analyzed as 4°, is named inveletiono tne poston ofthe preceding 7, whch fs the IV chord inthe Key ofthe ick, B®, If you need background Information on the building of harmonized scales and the usefulness of the Koman numeral system of analysis, see the Dooks listed In the background information sextivn ‘on page six. Lick descriptions ‘The licks int Usis bouk Can be analyzed in a number of ways. For each lick Ihave 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 step, and step and a nal intervals. arpeggiated: The lick corsists primarily of chord tones, seperately articulated, sustained arpegglation: The lick consists primarily cf chord tones played with lve left herd fgets 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. lager intervals: The distance between mary of the notes in this lick is that of a fourth or more. internat line: The lick follows pivatal notes of an ascending or descending suggested by the chord progression ‘music in two parts: The lick Is self-accompanled by a note or notes below the primary line. Tempo Is indicated by 2 general description in English These descriptions along with the track tional itallan counterparcs and metronome markings are indicated below re foun Very slow (Largo and Larghetto) mm, =40-65 Stow (Adagio) 65 72 Slow/medium (Andante) 76-104 Mediura (Moderato) 108-116 Med /fest (Allegro) 120-162 rast (Preste) 168-192 Very fast (Prestissim) 200 and above Getting more mileage from licks These are suggestions on how lo expend en ary perticular ick tn thls book, fa Flay the lick using the one fingering illustrated in several Keys in different areas of the fingerboard. Play the lick in one key using 2 varety of fingerings in different ateas of the fingerboard, © Play the lick In the several keys available in a single position, alongwith the different fingerings appropriate to the scales of those keys, 4d Play the lick in even or straight time feel, and in swing teel € Play the lick in tempi other than the one indicated. J Half time and double time the lick. Be aware of what :his does to the ‘requency of chord changes. 4g If the lick is in 3/4 time. play it 4/4. and vice versa. Add or temove notes as you see fit. 1h Digplace the shythmics of the lick, using the basic intervals as they are i Alter crucial notes to turn major sounds into minor, minor into dominant, etc, J Play the lick backward, upside down, upside down an¢ backward. k Ifyou area fingerstyle solo quitarist, accompany the lick with bass notes, chords or any other evict you like. In many cases you will need to move the line up an octave, or change Keys. Ke Anger as necessary 1 in general, allow your imagination ts roam freely. Sit dawn formally with pen‘ jam en lick, or free associate, or do whatever works best for you. and paper. or Why these licks? One of my goals in writing these 101 licks has been variety. I've used a diversity of chord progre Stons, for instance. without overemphasizing the ubiquitous t-Vl eadence. ver so. there is much that sequence internally within the ones I have chosen. In case you would like to read through sectlons uf this book as daily exercises, I've made a point mixing Keys and tempi. [Another goal has been accessibility. so I've kept most of these examples within the first seven pos tlons of the guitar, kept the fingering position-oriented, the tempi reasonable, the music tablatur ‘accompanied, the food and drink affordable. “There ate sume licks which must be played finger style, identified as such. for the growing ranks Jazz finger siyle players. However, don't let that stop you flat pick players from adapting them to yo! styie. Background information on licks If you would like to expand your knowledge of the underpinnings of licks,harmony, scales, mode arpeggios, etc, , here are some excellent books: Theory ‘Theory and Harmony for Everyone, by L, Dean Bye Reading ‘Guitar Positions Stucles, by Roger Filiberto Developing Melodic Sight Reading Technique. by Tam finuner Technique Building Right Hand Technique, by Bill Bay ‘The Deluxe Guitar Scale Book, by Mel Bay Deluxe Gultar Arpeacio Studies, by Al Hendrickson and Art Onzeck chords Rhythm Chord System, by Mel Bay Satz Guitar Vol. Il by Ronny Lee Deluxe Guitar Chord Progressions, by Johnny Rector Guitar Fingerboard tlarmony, by Edwa'd McGuire o 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, Voss. | and il, by Vincent Brecice Jazz Guitar Seales. 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 Harmonic Mechanisms, Vols. |. ll. and Ill, by George Van Eos Also very valuable The Complete Johnny Smith Approzch to Uuitar, by Johnny Smith Mel Bay's Jam Book/Tape Series All of the above books are published by Mel Say Publications, unless otherwise noted. me W I WV v VI Vir vill TABLE OF CONTENTS Major Seventh Sounds .. . - Dominant Seventh Sounds . Minor Seventh Sounds... . . Diminished Seventh ‘Sounds... .. Augmented Sounds......++ Varieties of Licks Built on Chord’ Progressions from a Tunes anereedictions : a Endings . I Major Seventh Sounds EALIIN AT: Can be used with ; scalar. arpeggiated. med / fast I'll Remember April ae areeeri eli ate Bd ewe == | Png er pase fe ee You Stepped Out of a Dream Cua DMT i a 2 ae s at ids ibe afer a ete pa fisdaee Gare P Ada 022 tas See = a aha oi ie Se bi Here's That Rainy Day GMT Bi EeM7 AeM7 : pie enir® ae 1923) 923492 (41D 1 41d 14S puke 3138 4430 043L B14 BE ABE