Mel Bay’s Jazz Guitar LICKS ig sense ane To my primary teachers of single line improvisition, Jims Hall ane jimmy Raney To the memory of Chari Christian and Charlie Parker ‘To my brother Lloyel, whase practicing of piano: sonatas and ¢ ‘of form, so many years ago. Acknowledgment to: Mark Lonergan and Christine Sotmary for help in preparation of the marsscript. Maryn Ries and Michael Lobel. Knowledgeable recording engineers. Bit Bay, encouraging, fair, and patient. Raves and thurzahs to: Dewey Dellay, who Knows & lot about bass playing and can be heard as my partner on the accompanying recording, Kent Armstrong, who made the pick-ups for t cert! gave my young ears a sense ¢ quilar used on the recording. CD CONTENTS Aare Bigiies oa fig Gens caso (a2] Boeean ee fae Eicets | Bete ro a a Bisse aa “ 51089, 87985 BY MEL BAT FURLICATIONS. mo [ALLRIGHTS RESERVED, NTERAATIONAL COPYRIGHT SECURED B Ml! MADE AND PREVTED I Visit us on the Web at hitp:/www.melbay.com — E-mail us at email@melbay.comAbout the author ‘Alan de Mause lives in New York City. where he teaches at Columbia University Teach- er's College and In his own studio, He is a free lance guitarist active in many projects and also does voice aver narration work When not writing, teaching, or playing music, Alan is involved with the Hunger Pro ject, World Runners, and the New York Road Runners Club. This is the third In a series of books by Alan for Mel Bay Publications Inc. Your relationship with your guitar Is the same as it is with the rest of your life, Every time you pick up your instrument you meet yourself, and every time you play a note 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? Can I learn to do It? Musicians playing the right licks at the right moments In our lives have probably been the catalyst for more musical careers than any other precipitating event. All jazz artists In their formative stages study musical models, These models are the licks, phrases, sections, choruses, and the total recorded output of their favorite players. When learning, mot anly is it alright to copy other players, It Is Impossible to begin In any other way. To eventually create your own jazz licks you first need to hear, play through, and imitate a lot of existing jazz. Licks in context of phrases For our purposes a lick will be considered a short melodic fragment. Most often it is only a measure or twa in length. with even the longer ones being bullt up of two or more shorter fragments. Phrases are the next larger unit, made up of licks. Standard song form is made up of a series of four measure phrases. The harmonic structure of these phrases is used to Improvise upon Since these four measure phrases are sa important, It Is better to study a shorter lick in the context of a longer four measure phrase than by itself. Licks always end up in phrases anyway. Also. it Is nearly Impossible to create a phrase by butting and gluing together several short 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 con- text of phrases and sentences than it Is to learn only individual words and string them together in hopes of forming a sentence. Each lick in this book, then, will actually be a four measure phrase, usu- ally comprised of shorter licks. Sometimes these phrases, or longer licks, will be followed by addi- tional four measure units built on the continuing chord progression of the standard tune from which the first has been taken. And further... I also stress studying licks set in longer phrases for another reason. This Is to help the player in see- 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- monic situations by “playing In a key,” but has a hard time playing through a more complex, quickly changing set of chords, The problem with “playing in a key” without giving respect to the pattern of resolutions is that the discrete harmonte distinction between chards gets fuzzed over. So, if an improvised chorus is a stage, the four measure unit is an ideal place to start getting your act together, It's my intention that working with these licks will help you distinguish the differences between chords, anticipate the sound of one chord following another, and eventually play a line of your own through a series of chord progressions. By studying these examples you will see how a line can delineate or spell out the harmonic underpinnings even without accompaniment. When you are really into it— When you find licks that become your favorites, they become part of your language. It’s hard net to use them. And, let's face it, at moments of Indecision, they are the musical lifesavers which give a sense of security. ‘Since you will know them so well, you will be able to use them as beginning statements to be devel- ‘oped, You can avoid using them like a boring comic with a memorized list of one liners by listening to ‘that little vaice inside you that says, “If I play this lick one more time, I'll—". Let your licks help your creativity rather than hinder it. Invention is still the name of the game- 3The Lick Layout Accompanying each lick is this information: @ Roman numerals indicating harmonic analysis (see below) ‘b Informal analysis of lick illustrating a particular aspect (sce below). ¢ Indication of suggested tempo. d Name of standard tune whose chord changes have supplied the harmany for the lick. Licks are based on the first four measures of the tune, unless indicated otherwise, as in the musical example below. © Standard chord symbols, F Position in which lick is played and/or full barres, indicated, e.g. IV. and BIV, Partial barres are indi- cated by the number of strings to be barred from a possible six, plus the position at which they occur, ie., 4/6II1. q Fingering, The symbols “+” and “~" indicate a temporary finger shift out of positian. A shift to a higher fret is noted with “+” and a shift to a lower position with ~~". A Tablature. 29. @) Ive / Idom Vidom / iidomV / 1 Saint Thomas ®) sequential, scalar, med/fast ©) @® measures 9-12 Oeboyy 6°7 nn & B7 a C1 Fits BPM w 3 @ 2424 34 sen ar 14 221d pied Bad a) This Is the harmonized scale In C, extended to the seventh degree: I " WW vow wi or M7 Dm? Em7 FM? G7) Am? (BY7 CMT Roman numerals above the licks indicate the basic function of the chords (symbols written directly above each measure in lick) as they relate to the Key of the lick. Extended and altered chords are not noted in the Roman numerals just the basic chord, Chromatic chords not within the key of the lick are named according to their spelling in rela- tion to their lower or upper neighbors. In the lick above, the E°7 chord, analyzed as #1V°. is named in relation to the position of the preceding E°M7, which Is the IV chord in the key of the lick, BP.by 3 If you need background information on the building of harmonized scales and the usefulness of the Roman numeral system of analysis, see the books listed in the background information section ‘on page six. Lick descriptions The licks in this book can be analyzed in a number of ways: For each lick | have 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 haif intervals. arpeggiated: The lick consists primarily of chord tones, separately articulated, sustained arpeggiation: The lick consists primarily of chord tones played with the left hand fingers kept In place in the shape of a chord. Sequential: The four measure phrase consists of several shorter ticks, similar in shape, intervallic distance, and rhythm larger intervats: The distance between many of the notes in this lick is that of a fourth or mare. internal tine: The lick follows pivotal notes of an ascending or descending line found within and suggested by the chord progression. music In two parts: The lick is self-accompanied by a note or notes below the primary line. Tempo is indicated by a general description in English, These descriptions along with the tradl- tional Italian counterparts and metronome markings are indicated below. Very slow (Largo and Larghetto) Slow (Adagio) 66-72 Slow/medium (Andante) 76-104 Medium (Moderato) 108-116 Med /fast (Allegra) 120-162 Fast (Presto) 168-192 ‘Very fast (Prestissimo) 200 and above Getting more miteage from licks These are suggestions on how to expand on any particular lick in this book. a Play the lick using the one fingering illustrated in several keys in different areas of the finger: board. b Play the lick in one key using a varlety of fingerings in different areas of the fingerboard. © Play the lick In the several keys available in a single position, along with the different fingerings appropriate to the scales of those keys. Play the lick in even or straight time feel, and in swing feel. e Flay the lick in tempi other than the one Indicated. / Half time and double time the lick. Be aware of what this does to the frequency of chord changes. g If the lick is in 3/4 time, play it 4/4, and vice versa. Add or remove notes as you see fit. ‘h Displace the rhythmics of the lick, using the basic intervals as they are.i Alter crucial notes to tum major sounds into minor. minor into dominant, ete. Jj Play the lick backward, upside down, upside down and backward. ke Ifyou are a fingerstyle solo guitarist. accompany the lick with bass nates, chords or any other device you like. In many cases you will need to move the line up an octave, or change keys. Re- finger as necessary. I In general, allow your Imagination to roam freely. Sit down formally with pencil and paper. or jam on a lick, or free associate. or do whatever works best for you. Why these licks? One of my goals in writing these 101 licks has been variety, I've used a diversity of chord progre sions, for instance, without overemphasizing the ubiquitous I-V-1 cadence, Even so, there is much that sequence internally within the ones I have chosen. In case you would like to read through sections of 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 are some licks which must be played finger style, identified as such. for the growing ranks jazz finger style players. However, don’t let that stop you flat pick players from adapting them to yo style. 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 Studies, by Roger Filiberto Developing Melodic Sight Reading Technique, by Tom Bruner Technique Building Right Hand Technique, by Bill Bay ‘The Deluxe Guitar Scale Book, by Mel Bay Deluxe Gultar Arpeagio Studies, by Al Hendrickson and Art Onzeck Chords Rhythm Chord System, by Mel Bay Jazz Guitar Vol. Il, by Ronny Lee Deluxe Guitar Chord Progressions, by Johnny Rector Guitar Fingerboard Harmony, by Edward McGuireImprovisation How to Flay Jazz Guitar, by Alan de Mause (Acorn Music Press) yr Power, by Alan de Mause (Amsco Music Publishing Company) Sular Improvising, Vols. | and Il, by Vincent Bredice Jazz Guitar Scales, 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. |. Il. and Ill. by George Yan Eps Also very valuable The Complete Johnny Smith Approach to Quitar, by Johnny Smith Mel Bay's Jam Book/Tape Series Alll of the above books are published by Mel Bay Publications, unless otherwise noted.I ut vi Vu TABLE OF CONTENTS Major Seventh Sounds... +611 ++eeee0s Dominant Seventh Sounds... - ‘ Minor Seventh Sounds.....-- Diminished Seventh Sounds. . . Augmented Sounds......--- ~ Varieties of Licks Built on Chord Progressions from Standard Tunes ....+ ++ 16 Introductions ....---++++ ere iene ee bene TF Endings ..-.+s++eeeeree eee 120 ODI Major Seventh Sounds LEC CNL Ys. Can be used with, .. scalar, arpeggiated, med / fast I'll Remember April Go" i3— A te Bot (341 4 2134 1424-1 B4i ad 2ore't. fom 17, Genesee scalar, very fast You Stepped Out of a Dream CMT Den7 w wo pee reer srasre eet ie eee eee aS 41342434 4415 3 4 AN4 ' 2142 Can be used with 3.1 / uM / VIM SOT * ae sequential, slow Here's That Rainy Day EeM7 APM7 Ge eT 1323 | 323 (323 1403 1 413 1413 fide 31S AEBl ABl 231A BMT ABECan be used with... 4. FVII / FVII J EVEITY f tit Vidom Spring Can Really Hang sequential, arpeggiated, slow You Up the Mosi cmt BM7 MTT Cat Aw Dw? G7 EMT Ab pip as 4 41 14 Hae #2342447 4 23 4032-121 1 a ——— t II Dominant Seventh Sounds oo. cs cin RVI ATS i. scalar, fast Sweet George aoe DT wi tee pages a Tie — eae — Zi4z2 13 inl 4434 BI4t 31 34 I a3 44 Can be used with. . 6. Hdom /*/./Vi's. il arpegglated and scalar, fast pe Lam FI 7 vi tt 2 aR to eo p22zi-ds 43 1254 5424 1214 2431 48211 421Can be used with. . 7. idam / Vidom / Iidom / V Blues dar, ar} iated, med /fast aeaiay, arpa mais measures 7-10 C1 an 7 67 uw pal fl 20 2) 3 492) Si42d415 2134 244 faa = Can be used with. 8. Ilidom Vidom / Iidom V / idom IVdom / Vidor Nice Work sequential, medium If You Can Get It B7 & & 7 67 GT AT 1 " " ——¥ > 28.31 SE A Ee a 42 = SS ee ——— et II! Minor Seventh Sounds Can be used with. . . 9. T/*/./ */. /*/. / temporary key: G minor il arpeggiated, larger invervals, mmed fast it heme ee om 3 244 21 244 22138 41 42H deeded 2d 21 4 2p iG JeeCan be used with. . . 10. 1/ V/1/ Idom G minor Blues scalar, med/fast 4 41242214 Bh wii [td 24 pis4 entitid Sa SS Ee gq SE ee oe Hi. W/V ITT". scalar, arpeggiated, med/ fast CT oO GmnT G minor Blues, cont. aSid 4:23 (4324213 4215 4413 1342 12, Vidom /V/ 11". * music in two parts, scalar, med/ fast G minor Blues, cont. gy DI 143 6131) -[429 a-8 =e = —IV Diminished Seventh Sounds 43. VIP /*/. /*/. / */. key: D minor scalar, larger intervals, med/ fast Can be used with cer bie Exercise oo ar rs B43 1 prs! te — Zt 4d Add 2414 d29204 34 20 2352514 53 SS === asl Tae TAP TY, Can be used with scalar, fast S'Wonderful EOMT dl iM W ea 2 SISLISZIS 4141 H44Z 1) 429253 143 1s, PST PST ; Can be used with... scalar, arpeggiated, medium APT Spring Is Here AM wh AeeT Bema ated Set rib STDS tte EOS Cree a2 3 213923 4 i434 aia a2opa Ss e433 — slCan be used with. . . 16. 14 / WAP / ML Vdom / IV 1 Got Rhythm (orig: B°) arpeggiated, scalar, fast alternate chord changes GM7 GPT Awl MPT Ba ET Aw? Dy £234 Si-l43 1 344 2114 2431 eit | G2 RAH1 4 V Augmented Sounds 17. VEEP TT de Can be used with... scalar, arpeggiated, med/fast Exercise Aves H : te > = 4 + er @ 32rd 2231 4632 4144 inp BA 024 432 24 SS Can be used with... ae. rth bvas 77, Take the A Train scalar, sequential, fast a ESOT) a wow 41424 3 padi sae Biplasll & 24z t T = 5 aCan be used with... 19. 1/ Mido / IV / Vidom Some Day My Prince imusic in two parts, sequential, med /fast Will Come BeM1 Dots BeM1 oe va J W i My oa Bt teen 1 8 T aig 5 2 E 1 Se i i —— 20. 15 / IMG 15 / EVE) VE Gait neuer BAI Neti tine perts sequential tery maw — 1 Never Ertered My Mind £ CHS co HS gr orn pe DG) CM7 z sis 413t 319) 9 14d 25487 sd 1S Zt S14 212-S4esel Four measures worth of music and beyond The best solos sound both spontaneous and eternal, as though they had sprung out of Zeus's forehead In one seamless complete creation. When | try to teach a lick for study from one of these solos, I think “Il just temove the best part right here. ..“and find it loses its luster and doesn’t make as much sense out of the larger context. ‘The players of these solos learned the way you and I did and now they have reached a point where they can hold in thelr mind's ear larger and larger units—even the whole solo. By “hold” f don’t mean pre-planning in detail every note along the way. | mean hold” the same way you do when you drive 2 20 mile trip to work. You dont know exactly what you will be doing ten milles into the trip but you have no concern about it and have full confidence that you will arrive with It having turned out the way you thought it would, It may not seem very magical to you but it would ta a non-driver who has never gone that route. With practice you can “drive” through an improvised solo the way you would a car trip. ‘You probably can hold a number of components In your mind already, such as the har- mony, scales, arpeggios, physical basics of the fretboard and the feel of the length of a measure of two of improvised music. You already use this knowledge In your craft auto- matically and without struggling with it, Being able to do this allows you to spend your © working on holding in your mind the components of four measures: worth of improvisation and aim for larger units. Wher you have mastered larger sections, the four measures will then flash by. cause little worry and be created easily as one measure Is now. 15Can be used with... 27. Peas inal pt The Song Is You FMT all Gu cr ’ ” ¥ a — i 2 fo 3 t 49414 3 1 AZ a-l Can be used with. . . 28, 1/ P/V peed fast The Song Is You, cont. Fen peer mi oy Vv ayaa 13 1 49;4 3431 34 3 dated zig Can be used with... 29. IW eIv? / dom Vidom / Ido V / I Saint Thomas sequential, scalar, med/fast measures 9-12 bm; #7 Bi C1 Fis BPM i s zazd 34 ised) 14 221d ieee BE — = = .s = — = 4Can be used with. 30. H/V/IM/NV S'Wonderful scalar, fast measures 5-8 FT BT EM? = Cm7 fm? BbT ae? (S41 923d aoe 91d 4131 IRIS D4 IES Car be used with... Sl. 1 / Wdom /1/ 171° arpeggiated, larger intervals, med /fast Lady Be Good GMT a emt GM7 @ie7 is _ 434) 214 Lat Aesth cits 6 Ad2d 54d 44S 220d tie SSS as i | t Se Can be used with... 32. qv SS ase A Day in the Life of a Fool Aw &7 AwiT ET " v bo kceree os ae (348 1 43 43 ZY 2 ez. +2142 12343721 19Can be used with. . . 33. WM #ldom / 11 / iil “lim Body and Soul arpeggiated, slow measures 9-12 Een? D1 DMT Efe? FT ET 1 Ad Au 122 24 14. 23 414 13012 4154 25414-1234 34. W/ VITIlidom / VEIT / 1 #lim #Vd Cat 5 lom [im fom arpeggiated, scalar, slow Body and Soul, cont. Ebw1 cor Fras Bea Baw AT DPM? em Ar 2 Sd) B14 314 225d B2i 1223 231 DHI2 BAH IS 21 13 3H1 4 FE 35. 1M / HEIVm °Vitdom / Ht avr on ere i. Vildom Vidom scalar, arpeggiated, slow Body and Soul, cont. DM1 Ent Peal Ga C1 PRWTBTEWT AT = DMT W sea enei omar SS v 4 13 1149 (eae ert 1212 4142 0 4d 25401232 14 134 O aaa SEECan be used with. . . 36. 11 / Im7 / m6 internal line, medium My Funny Valentine (orig: C minor) Am Aw#1 Aw Aue ic * : 5 S _— $ StS 8 £21: 28 + 44-381 13 2e 2 37. 1 Midom / IV #IVE / 11d ee . jom om . scalar, sequential, med/fast Youre a Sweetheart MT hh Ch c#e? GM7 GT i} - | aa = eo ape sALA 1 32 (96-1 7931 F124 Bi 4142 4842 Can be used with, . . 58. 1 / 51H VIdom / It / Vdom Four scalar, arpeggiated, fast measures 15-16 Fy Mew) DPT Gund CH v w v wa 11331144 1 31138 Ho14d 3322 1 4312924 & 2Can be used with... 59. W/V ATP m . Dee Gresacauentiat I've Got You Under My Skin - yr Bes EM ey £ > Bagi o4i 2 2247224 1 e1a13a4 Aga Soe ee ee ee —_—_—i— / Can be used with... 40. V/A VST music in two parts, sequential, medium Fly Me to the Moon AwT Dut oT CMT ¥ i w @) (2) (4. f 4 a Bi thad tl -4 8-11-22 | spt doped Bel 4 '2n 30-1 41. VI/ IE / V /1/ temporary key: A minor music in two parts, sequential, medium Fly Me to the Moon, cont FMT 7 £7 Amo m n a " (4) 2s “y 314813 3241 2411 Be vaviegid @sai4d 3 22Can be used with. 42. 1/'/. / Vildom /*/. ii: Sabin past Whispering 144424 32441342 3413 492 14 314s 144% —s : = —- 45. 1 /*f. 75th 4 Can be used with. . "scalar, fast sl Out of Nowhere GMI Bil si B41 2514 ZI44 1 S14 Zi4tis BEI AB A 44, 1/°/, (1H / Vidom Out of Nowhere, cont. scalar, fast Mt Be7 ge of i i ro 2 41342 2442 646 5S BI-TH 1 904 agzi 3Can be used with 45. Idem / WVdom / Idom /*/. sequential, slow /medium Blues in C Major C1 FY Cr gw y Bim 4 oz ‘Can be used with... 46. land II-V in quickly shifting keys Giant Steps sequential, scalar, fast om Ma M1 BT Bbw fut D7 “1 -T) se Fett tent! ees tei 23 S20 431 431 (432 20442 B44 an Saiet scalar, fast Giant Steps, cont. Gar BPM BMT Per BM1 Fmt BET We 2Can be used with. . . 48. Il Vidom / HV / IIT Vidom / 1V music in two parts, med/ fast (fingerstyle) I ee Emil AT Dm g Ewr AT Dwl =—-GT ay" ¥ er id Pe a 4 Ate tot Meee gee grtle a 42 4 49. IIdom / IV >viIdom / Ill Vidom / IV music in two parts, med / fast (fingerstyle) 1 Got Rhythm, cont. c C1 F Bry Ew? AT = Dut? G7#9 iv vi d BY! Dy N By 222 24 23 l eanee Can be used with. . 50. IV / IV? /E/ Idom Stormy Weather scalar measures 17-20 Aten A’r Eem7 7 G24 DGS B H4BI2 FILA VABSA ILA apd asia sis #131 AISI 2 25Can be used with... 51. #1" / Vidor / III? / Vid 4 pobdiic very; fat ue Wouldn't You? oe Cy FPy Boo v w a Steeped Bad 4. 24 2-143 mai4i 214 52, IP VSN. " sequential, slow/medium Wouldn't You? cont. eer Abts Dom 24432 42 S145 21-32 i eS 1421 44 Can be used with 53. 1/ Vidom / IT / V ind I Necrcnilal: slow/medium Everything I Have Is Yours C7 Poy Dat G7P9 nage 14tgrs 1, 43a 19 4642142 13131442914 -414 343 16 26.Can be used with. . 54. IP / V/ VIS Idom That Old Feeling arpeggiated, scalar, med/fast measures 7-10 FO7 Br ds) Cu GI uJ Ww + or “l14234 2 1351481 4 dad t ar2eisi gs 32 Can be used with. . music in two parts, sequential, med/ fast Confirmation 55, IVI / VITINdom / VI iidom / ¥m Idom FMT Dw? ad Ay a Fs v u v SAIL 3S oh (3°) 4 $2212 8 -2 F342 5 56. IVdom / Illm Vidom / iV £1 ‘i music in two parts, arpeggiated, med/fast Confirmation, cont. Aut Dr Gat Ot FMT few " 1 aS ae : : = =, t x7 P my A-l'3 4 2 -2-3) +4342 «03 2423 eg SSS SS SS 1 27 ‘7. I / Mido vi Can be used with... at serieiittanieceion fret Suddenly It’s Spring ¢ wT Dy Gw7 C7 wy 4 4 FS 5S AdBh 45 Bo 44d 454 OM = r a es > anane Sor a tie 58. an vVils eked Vist Suddenly It’s Spring, cont. wt Fr Bhn7 M7 OT v 21492244 (244 39 482 1434 £240 L4edn 2 59. 1'Vdom / IV / IVE IV Gan be tee Eee m ; sequential, scalar, slow /medium Girl Talk FMT B7 Gui) Cn(Eh) AwT dnb Gl (Am BeMT)Cy Ai 43 31 BI) 4824 paid 2182 143) -13 24 14 1113 1235 4)4 28Can be used with... 60. I/V/1/"/, f key: C minor Blue Bossa arpeggiated, scalar, med / fast measures 5-8 S Dé7 ots Cm at t mn + 3432 142 3 1422 tad AlHi FS AGLI 33 214 1 5 eS SS es ete ere Can be used with. . . 61. VI /fidom / Il'/ V / temporary key: C I Got Rhythm scalar, fast measures 17-24 Avi 07 Dw 67 I a , = whey Coos ar eel 4ottid 1-t4l (342 443 2414 34 284 2141 4210 a “2 =. =v 4 SS et zs 78 Se 62. VI/ dom / | ¥ larger intel: aceilar, fast 1 Got Rhythm, cont. ad a or i at Cw a ' 4 Sao efits | emt i big ea SSS aay (251 13S Bet 1 24t 34 IZ 21 SH H- a9 3 <3 a = ee —SSE— = 29Can be used with. . 63. 1 / Im/ Vm / Vidom sustained arpeggiation, med fast (fingerstyle) The Man I Love Ebu7 Ebi) Bea? Ci wh Ww qu i — — Spree SSP SsSSerra-ns Lek notes Sustain pS 0AZI ADIZ 2041 R17 BIVGt 45K ZOD 64, Wm6 /V/ TV / IV sustained arpeggiation, med /fast The Man I love, cont. Ame BR (er) EM9 AWM] Gm BOT i Z! 4m pul Br z bse ee oe 23140424 Sp re uzoer 4064 2134 piel ors = 1s Can be used with. 65. dom / 11 3idom / 1 / key: D minor aaa arpeggiated, scalar, med /fast A Night in Tunisia 67 Dal e7 Du? Etre lite Pe as nes ping | 22ted222 3411714834 41242942 is 3432 4 66é 15 = eee EEECan be used with. - 66. V/V? Iv? / VEPIldom / The Man I Love music in two parts, internal line measures 21-24 ca Cur AgT Ae Col GbT FT BET wh Bul-w, ' T= a ¥ (eb 12334 3121 4 43 | 240 2415 oF 3901301 Can be used with. . . 7. Idom /*/. ue is Thi ons oetaiited, cole hae What Is This Thing Called Love? ci (bg) Em7 ~ 420641 £245 45201 4212 18 id APA L I A el 68. Hy ie fe if z : What Is This Thing Called Love?, cont. Deal Gr Cm SL69. 1/ "idem / I / Vv bi eh ap ler " Imusic in two parts, scalar, med/fast A Foggy Day 31402144 24,4 813 70. T°Vil / Vidom / 11 / Vv Can be used with, . sequential, med /fast Just You, Just Me feu7 Der Cy Fall By o¢#s) Paki EO SAS. At - Sa (4 g14a1a34 a ert. Aiea irik Just Me, Just You, cont. eeM7 FT NG 41S 2-344 341351434 L222) 4 Beaezes : Vana seer gare 9 = 327 WhVEE Can be used with 2. UF Key: F minor i sequential, slow/medium Django Fin Ben Cr Fat Ml Can be used with. . 73. Hitidom / VP5Vildom / 1 ltdom / 11 *ttdom But Beautiful arpeggiated, slow measures 27-30 Awl Br ew Fy) GmT BT, AWTS ite ? 3 e224 42) 2144213523 143 4431 134 “4113 23)( 244-1442 Can be used with, . TLE - a sequential ned /fast The Way You Look Tonight Fm Be7 ces) AoCan be used with... 75. 1V/Ivm /1/ Hdom music in two parts, sequential Moongiow e ci e Ce ~ ale ¢ G AT VII Introductions Introductions to tunes can be as long as eight measures (or mare} of as short as a par- Hal measure. so | have varied the length of the examples here. They can be stretched or compressed to fit your needs, Just as any of the previous licks can. Since Introductions played by a guitarist in a band are most often expected to be fuller, even unaccompanied, these are denser than single line solo licks. ‘The harmonies of these introductions are not as standard as the previous licks, and are not meant to match any particular tune. If you like, you can derive a chord function analysis from the standard chord symbols above the music. Since string players favor sharp keys and wind players favor flat keys. I've Included introductions and endings in all majar keys. Minor keys occur much less frequently in jazz. and are represented by one example. However, | encourage you to extrapolate more from the major key examples.76. slow Fang Ewit Deal aists ° 78. med/fast Pen] Fin En] AS fru igeande ste B | ne Sie Sha tay = sa — = a 16 3879, medium (fingerstyle) a in 10 seg = ae Tk == = a — q a= 80. slow, rubato (fingerstyle) bs ste 2 é se By g4 232 81. very fast - sil ag Fiat . Da Lg cw?82. med/fast (fingerstyle) GM? a9 DM] De ee A] Del ' Be | | 1 1 1 aoe a ae: ar ae 83. slow/medium G1 FinT 2u7 DP PMT DANS ET Fiat Yl £22 + , 1 4 4a. 7. 2 pede ane ganas ah ag 4134 qd 4d - 4 42 a e 2a | ere, 84, slow/medium He By Ang — ebiste bx) = jew 3785. slow (fingerstyle) Fin Br Grn Fim HCD) £7 iain 3 5 ie omy =e 86. rubato F fhe Ee Ftd fhe M9 Got G ore ore Fl PPB FT pm Ee mB ” en a¢2 iso gs oF 87, med/fast (fingerstyle) FE Gut Gio whe FT C1369 } as £8 3888. slow (D minor) Braz 42310 2ZSpBr1svr2zi4 F VI Endings Endings of a tune: commonly start in the last or next to the last measure, or are tagged ‘on to the last measure af a song. My examples of endings are meant to enter songs at Gifferent points, and so are not all the same length. Like the introductions, they can be condensed, packed, or otherwise altered to fit a particular situation. Also, like the intro ductions, they are fatter than the single line licks. since it is common for a guitarist to end a song in a full-blown solo style. All major keys are represented here. plus one minor. Note: On the-accompanying (optional) cassette I have played all of the Introductions and End- ings fingerstyle, but In the text orily those which cannot be played with a pick are marked fingerstyle. 89. medium90. slow (fingerstyle) Ant D9 Aho % And D9 DADs wll AP? 7 Des c av ” av gv den 91. slow (fingerstyle) En? ene 7 M7 92. slow/medium (fingerstyle) Bw? &2. 493, slow/medium EF BT E a 5 int | = 3 95. slow96. slow (fingerstyle) Bui Bh AG OMT BM, Aa DNS ees yr 28 ve ies BaP pe FP Ritara z a 97. med/fast £7 Bill 98, slow/medium Eb fn D eb OR BMS 4m 2 tv a299. medium Gu l3 cia emoe4 101, slow (C minor) Cm Ais Grd CHAT ff.Epilogue Since there is no end to information, and | Imagine that being licked to death is a horri- ble way to die, I will stop now. 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