Classical-Jazz Fusion CONTEMPORARY GUITAR Larry Coryell HO SAYS BEBOP HAS TO always appear inits traditional setting? Using a classcally-based series of arpeggios asa sort of| harmonic rug, youcan weave bebop lines over it to your heart's, content, This is what Emily Remler and I did on the tune “Six Beats, ‘Six Strings,"from our new album, Together[Concord (Box 845, Concord, CA 94522), CJ-289], We played amplified acoustic guitars (Ovation Adamases) to get a natural, classical-like sound, witha slight, electrified push, to make the solos stand out. If you're an old hand at improvisation, put this month's music— the accompaniment—on tape, and start wailing. Observe that the changes areal fairly standard. For you beginners and intermediate jazzer, the following analysis of te tune’s key centers will guide you through the chords. Ed. Note: For more on scales, see Scale Systems in the July 84 issue of Guitar Player.] Firs, bars | through 8 can be approached with the CTonian mode (asimple Cmajorscale). Measures9 through I2can be played with F Tonian, whilein bars 13 through 16, use G lonian. In measures 17 through 20, the progression Fin7sus4, Bb7sus4, Ebmaj7, Abmaj7is all V TIV in the key of £b; you can use E> Ionian for this entire section, ‘The chordsin bars 17 through 20 can also be handled individually, and you can play F Dorian for Fim7sus4, Bp Mixolydian for Bs7sus4, Eb ‘Am/maj7(add9) Am/maj7(add9 addi6) x 26) retures— 16) = Fmajz/a . Fm7susé “Six Beats, Six Strings” Gmaj7sus4 Bireusd, © 1985 Coryell Music, BMI. Tonian for Eomaj?, and Ab Lydian for Abra. Inmeasure 21, A Phrygian works well. Next, for D7#965 (bar 2), play £b ascending melodic minor (this scale i also known a the ju minor). The Gm chords in bars 23 and 24can be played with F Ionian Forthe Bmi785 in measure 25, use the B Phrygian mode, while fo the E749in bar 26, play A harmonic minor. Finally, blow over bars27 through 30 with E Phrygian. Don't et the apparent complexities ofthese scales fool you. Once you have the accompaniment on tape, try improvising completly by cear—you might be surprised. Also, the rhythmic fel of thesongis ‘important. Think in terms of minor blues phrasing up to bar 17, nd then switch to a bebop feel. For measures 23 and 24, revert toa minor blues attitude, Thetwoendingscan be approached from flamenco perspective (the Phrygian mode is commonly associated with fa ‘menco music). “The arpeggios require alot of steady right-harstciery, and thy ‘ean be played either fingerstyle or with a pick. Be str 10 observe the accenton the second haf ofthe fourth beat in every v7 ssure—itkees| the rhythm moving forward. Have fun! ‘See Notations! 5 «ols, page 109 By (ary Coryell Fmaj7auss : Td Gmaj7 Ebmaj7 “Mase continued on 104 GUITAR PLAYER/FEBRUARY 1986 pLARRY CORYELL Music continued from page 104 Gms Gm7add6 Bm75/E ‘Music contin:i.! on page 182| LARRY CORYELL Music continued from page 106 152. GUITAR PLAYER/ FEBRUARY 1986