iřl
Altout
the
Arrthor
asedin SouthernCalifornia,RossBoltonis curbandand rentlya regularmemberof Al Jarreau's has recordedor performedwith Rick Braun,David Benoit, The Beach Boys, Sheena Easton,Jeffery Osborne,Nell Carter,Donny Osmond,and many others. A few of Ross' TV and movie credits include "EverybodyLoves Raymond,""Fhe Larry Sanders Cuys,a Cirl & aPizza Place," Show,""Fridays,""T\,r/o "Casper,"Switch,"and "TheJeffFoxworthyShow'" Ross has been on staff at Musicians Institutein seminars Hollywoodfor manyyearsandhasconducted and clinicsaroundthe world.His popularvideo on funkguitarand recentCD-Romaresoldinternationally, receivingpraisefrommanymajortradepublications. featuredRossas a guestcolumnist. CuitarPlayermagazinehasregularly pleasevisitrossbolton.com For moreinformation
Acknourrlee|9rÍrents thanksto KeithWyatt,MasakiToriwa,and everyoneat Musicianslnstitute. $oecial by Katrin assistance Groinigand RossBolton.Production CD producedby Bernhard Lassmann.
Gontents page
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B e f o r eY o u P l a y .
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6
C h o r d s' R ' U s
7
S l i p p e r yS l i d e s
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T he Harm o nicR es tS too.
9
Scales
10
a
13-19
....12
20-26
.......14
27-32
......16
33-40 41-42
...20
43-45
M i n o rM a d n e s s
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46-50
1t
C et Pic k yW it h lt
24
51-55
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Throrvin D'o w n
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56-60
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61-64
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65-70
'13 14
T h eF u n k yS h u f f l e . The End-of-the-Book, Just-for-Fun, P u t t i n ' - l t - A l l - T o g ePtahretryJ,a m !. . . . .
lntroelrrction
A
t somepointin the 1960s,JamesBrownand his bandstarted an epidemicthat wouldforeverchangethefaceof modernmusic.Theirnuclearversionof souland R&B inspireda movement thatbecameknownas ,,funk.,,
Thetradition of funkguitarplayingis all aboutone thing:groove.Grooveis the holygrail of being"in thepocket,"whichboilsdownto findinga greatpartand lockingin withthe rhythmsection. When it all comestogether, magichappens! Thisbookwill getyou started w,ithall of thebasictechniques and chordknowledge you needto jump intotherr,,orld of funkand grooveguitar.The play-along CD is a fun,essentialelementfor applyingthelessons. You'llbe refining yourgrooveas you playalongwith eachexample. Remember, funk is partrmusic.lt'smeantto be fun-so enjoythejourney! RossBolton
Before fl It
Yorr
Playrrr
ere area few thingsyou shouldconsiderbeforeyou startjamming:
1) Sincethewholeideaof funkguitarplayingis to gettightwiththe bassand drums,tryto practice witha metronome or a drummachine.lf you'reusinga drummachine,keepthepattern playseighthnotes,kickdrumon simple(hi-hat 'l beats and 3, snareon 2 and4).
)t
Thereis,of course,a CD provided for you to playalongwiththeexamplesin the book'In mostCases/ eachexamp|e wi||be playedsevera| timesat a ,,perÍormance tempo,so you hearthepartin context. Thatwill be immediately followedby a sloner,"practice" version,isolating theguitarwiththedrums.lf you'reworking w'ithout theCD, a goodbeginning tempofor mostof theexamplesis around 76-81bpt. Once you getcomfortable, the realgroovezone is generallybetween B4-102bprn.
3 ) Forno\r,, losetheeffects. Distortion, delay,reverb... all thatstuff will makeit moredimicult to hearwhetheryou'replayingin time.Once you getyourtechniquetogether, thenstartexperimenting with a wah-wahpedal,phaser, etc. 4) Finally,checkout (ifyou haven'talready) the artiststhatcreatedand definedthe worldof funk.A "greatest hits"CD bv anv of thesebandswould be worthlisteningto: - JamesBrown - Earth, Wind & Fire - Cameo - Towerof Power Of course,thereare manyothers...
- Sly & The FamilyStone - ParliamenVFunkadelic - Ohio Players - Prince
Starteel
etting G D
we'll beginby just subdivision, ince mostfunk partsare basedon a sixteenth-note rar.a.nIng muteostxteenrns.
begin (justenoughto mutethe strings), With your lefthandrestinglightlyon thefretboard withyourrighthand.Theexamplebelowshowsthatyou beginwitha downstrumming fourstrokesper beat. stroke,alternating
-
n
-
-
-
-
n
-
= downstroke = upstroke
count:1e&a
hand,and applythesebasicrules: As you play,keepyoureyeon yourstrumming yourfingersor wrist a) Yourwr.istand arm shouIdbe Ioose!A|so,try not to,,Íix,, ontothe guitar. b) Don'tdragyour pick acrossthe strings.lnstead,tryto makeit soundlike you're at thesametime.Thiswill keepyoursoundtightand hittingall of thestrings focused. handmovingin time c) At thispoint,you'llwantto alwayskeepyourstrumming with the music,and keepthe volumeof all the attacksevenlike a machine.lt's alsoa goodideato tapyourfootas you'replaying.And finally... d) Playstrong!This is no timeto be shy.lf you makea mistake,makea big, loud, uglymistake. To keepbettertimewhile you play,trytappingyourfootonce for A word aboutcounting: e a c hb e a t( 1 , 2 , 3 ,a n d4 ) a n du s i n g" e - & - a t"o f i l l o u tt h ec o u n t ,l i k et h i s : h'" h, four-ee-and-u h, three-ee-and-u h, two-ee-and-u "one-ee-and-u
irriele anel Gonquer
lsolating
Sir
ow thatyou,rewaílingon the sixteenths, We,||usethe u|timate funkchord-Egto beginplayingtheattacks. To getthe rightsoundon thisvoicing,try mutingthe sixthstringwith your |eít-hand thumbso thatit doesn,tsound.(Note:Throughout this book,the rootof the chordwill be highlighted.)
O=Íoot
2 .. ÍÍ3 3333
The conceptof isolatingeachof thesixteenths is,withouta doubt,the mostimportant elementin developing yourfunktechnique. As you playthroughthefollowingexamples, keepthe volumeof the scratches evenwith volumeof the chord.Also,continueto tap yourfooton beats1, 2, 3, and 4. Downstrokes: The firstandthirdsixteenth of eachbeat.The firstsixteenth is calledthe downbeat-it'salso your tempoor meter.The thirdsixteenthis called the upbeat. E9 ft
Upstrokes: The secondand fourthsixteenth of each beat.Cettingthe upstrokes "justright" can be tricky.Tryto getthemas strongas the downstrokes withoutthrowingoff thetimefeel.
E9v
E9
V
V
V
ořging
Funk
the
ow let'scombinethesesixteenthattacksto createsome basícone-barrhythmpatterns. We 'l l als o m o v e a ro undt he ninthchor dshapeto some otherkeys.
F9
-
-
-
-
,G9 21333
-V
l.l
Here'sa chordyou can useinsteadof the ninth.Noticethatit usesonly thetop four strings-thistypeof voicingis typicalin funkbecauseit makesthe guitareasierto hear amongthe otherinstruments. E'7
4
Applythisnew E7 shapeto thefollowingexamples. Focuson the higherstrings, andtryto avoidhittingthe lowerstrings withyourstrumming hand!
E7
xx
LITIL.] I tatt TTTTN
Let'smovethe samechordshapeup threefretsto C7.
G7
xx
2314
-V
V
-
Scratch
Or Float?
t times,you maywantto sustaina chordwhileyou'replayinga rhythmpattern, insteadof scratching. Althoughyou may be temptedto stopyourstrumming handin theseinstances, it'sbetterto keepthathandmovingin the usualsixteenth-note motion, "floating" overthestrings as thechordsustains. E9 -
Here'sanotherfour-note chordshape,thistime in the key of C, with the rooton top. Use thisshapeto playthefollowingexample.Be sureto floatyourhandduringthesustained notes.
Forthispattern,movethe samechordshapedown threefretsto the key of A.
10
Now try anotherpatternwith thisFZ shape.
F7 -
Up to thispoint,we'vebeenscratching everysixteenth note;thishelpskeepour time evenand ourtechnique moreconsistent. However, thisconstant scratching soundisn,tal\'\'avs desirable. With the nextthreerhythmpatterns, keepyour righthandmovingin a normaldolvn/upmotion,butstrikethestrings only on the indicated rhythm-leaving silencebetrveen the attacks. A9
x- . :
a aa
!\
1li
V
V
Noi,r,thatyou Canplay in timewithouťthe mutedscratch,you shouldbe awarethatan occasionalscratchsoundbetweenattackscan add a cool percussive effectto yourfunk playing.You maywantto go backand playtheexamples on thispageagain.Fromthis pointonward,experiment and lety'ourearstellyou how muchof thescratchsoundis appropriate.
iThe
Suuing
Thing
Let,sbeginp|ayingsom eoÍ n ti l n o w , a||o f o ur ex a m p| eshave had a,,str aight,,fee|. th e r h y thm swit h a s wingfeel.
of each Theswinggroovehappensby s|íght|y de|aying thesecondandfourthsixteenth this is to hearit first.Listento the CD, and thentry it beat.The bestway to understand yourself: feel,thenstopand trythe swing with a straight Simplyscratchmutedsixteenths Eroove.
straight
swing
Playthesefamiliarrhythmpatterns witha swingfeel.(Useour old reliableE9 chord.) E9
E9
E9
l2
In funk,theswingfeel can be usedto varyingdegrees. Yourlloftensee it notatedlike ="ffi). (,Ťfi this: Checkoutthefol|owing threeswingjams.Eachis a two-barrhythm pattern.
@,m=iť]l G9
@rm=ffir E9
F9
x fT5TTl 7ft t0teto
M-TF
n-n-n 21333 ttlil
Fromthispointon, someof theexamples will havea swingfeelandsomewill be straight.
lEhorďs
'R'
lls
thechords let'stakea momentto embellish eforemovingintootherfunktechniques, we'vealreadyplayed.By movingone noteof a chordshape,we can enhanceour thatany of theseshapescan be rhythmparts,makingthemmoremelodic.(Remember keys.) movedaroundthe neck intodifferent The basicE9 shapeis easilychangedintoan E13chord.Usethefollowingrhythmto practicealternating betweenthesetwo shapes.
The otherseventhchordswe've usedcan alsobe modifiedby changingone note.These chords.Playthe fourth)or just"sr.)s" are knownas "sus4"(suspended nextembellishments betweenthesechordshapes. alternating followingrhythms, r3: rir
l) ) ) )=)
) ) ))
E7 xx
E7sus4
2314
r3r rJr
\ )) ) ) = ) ) ) ) )
A7
I
t I QQ ) rr
-TTTTI
n-]"rn T-ITTI 1211
A.7sus4 xx^ |Tll-5ě 5 fr
rT-n-n tttatl
rT-n-n ' 13 1 1
All thechordswe'velearnedso farbelongto a familyknownas "dominant" chords(more aboutthatlater). Herearesomemorechordshapesfromthatfamily,withembellishments. Thesetwo-barpatterns all featurea dominantchord(seventh or ninth)in the firstmeasure and a "sus4"embellishment in thesecondmeasure.
G7
XX
iTÓTTl s f. I
laLa
TTN-N
n*-rn 1324
O,T_=ffir
G7sus4 xx
sf' fpm rlll.l I tatl ttttta
n-n*n 1324
E7sus4 híf,.r'u NTTN l rnT5l l|al
|--rrn 'l3'Í41
E9
XX
tTttTTl e ft
rrnTt LuJt-] ltatla
--rT-n 3214
lippeÍY
sliďes
(one-fret) he half-step slideis a commontrickthatwill add a littlespiceto your rhythmparts.Be awareof thefollowing: As you slidea chord,makesurethe stringscontinueto ring.You don'twantthe notes of thechordto "die"as you slide. thechord. 2 . The slideshouldbe in time-justas if you werestrumming handas you slide,but keep"floating" 3 . You may be temptedto stopyourstrumming thosesixteenth notes. 1
t.
Beginby justslidingthe basicE9 shapefromone fretbelow-struman Eb9chord,and thestrings. Are the E9 withoutactuallystriking slideyourlefthandup one fret,sounding a l l t h es t r i n grsi n g i n g ? Eb9 ( ,z = Slide)
21333
21333
Now add the sixteenth scratch("float"overthe stringswith your righthandduringthe slide). Eb9 E9
Eb9 E9
Add two moreattacks... Eb9 E9
Eb9
E9
Eb9
E9
...andnow, take one away.
Eb9 E9
16
E13 Here'sa partwith a slideand the thirteenth added. (Remember thethirteenth chordshape?) 21334
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,-
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pbg pg
E13
Now tryslidingaroundwiththesetwo chordshapes. ,,G7
5fÍ
rl
t
I
cilg oq
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3214
Of course,thisslidetechniquecan be usedwith any of the chordsin the book. r3r r3r
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G7
xx fffTFl
řT.Tn TITFN
ME
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t ! d
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8fr
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n-rrn
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Gl3
he Harnronic
Rest Stop
it seemslikea goodideato pauseand lookat why fl t we buildour funktechnique, Flwe've beenchoosingtheseparticular chordsshapesand how theyrelateto each otheron the fingerboard. Inthe landof funk,mostsongscomefromone of two harmonicfamilies: dominantand minor.So far,we've beenusingdominantchords.Let'sbeginthere.
Dorninant
Glrords
Extending Dominantchordsare builtfroma majortriad(1,3,5) witha lowered7th1b71. (9,11,13).You can also"alter"theextensions thechordwill giveyou morepossibilities (b9,*9,l11,bl3). by raisingor loweríng themwhereappropriate All of thechordswe'veplayedarecommonfunkshapes. Theyfit intoa logicalorder whenviewednextto the guitar'sfingerboard. Theseare knownas chord"inversions."
í
..l
\Z
r glzgs
t8
llllinor
ttrhords
Minorseventh chordsarebuiltfroma minortriad(1,b3, and5) witha lowered7thbn. Likethedominant family,you can also"extend" theminorchords(g,11,13);however, unlikedominant, it'snotappropriate to altertheseextensions. Comparethefollowingdíagram to theprevious one,andyou,|lnoticethesimilarities of theminorchordsto thedominant (ln mostCases/ shapes. theonIydífference is thethirdof the chord.)Feelfreeto go backand practíCe any of the previousexamplesin thisbook withtheir"parallel" minorchordshapes.
GmiT
xx
uml/
xx
GmiT
.Í -1
xx
1r3b7I5
aterin the bookwe'll be playingsomesingle-note funk parts,the notesof which are takenfromscalesrelatingto commonfunk harmony. The threescalesmostcommon to funk areminorpentatonic,blues,andMixolydian.Althoughthereare manywaysto playeachof thesescales,for demonstration purposes, we'll limitour focusto two patterns each. lf thesescalesare new to you,try experimenting with themoverthe progressions shown. Noticethat,like the chorddiagrams, the rootsof the scalehavebeenhighlighted. Any of thesescalepatterns keys. can be movedaroundthe neckto different
lUlinor
Pentatonic
We startwith thisscalebecauseit'sthe mostcommon.lt hasfive notesratherthanseven (typical of mostscales) and is regularly usedwithdominantas well as minorchords. C minor pentatonic
ffffTO,u
T-NTI taaat I a]-TTra l-l-n-n
rot 555TTl l--'1......t#
rTr{-ir ?et t?? I
l?l
f-tTrn
(in the positionsshown)overthis Tryrunningup and down eitherof the abovepatterns progression in G minor.Jam,experiment, and havefun! Gmi
20
Blrres Likethe minorpentatonic, thebluesscaleis alsocommonlyusedoverdominantas well as minorchords.lt is basicallya minorpentatonic sca|ewithone noteaddedú5). G blues
fffffQ,n
ffitoo ltotoi
ril-T]-t f.ÓT-l-] aTt-r5l
#
n-n-n
G
ltaotl
{TT-TF+ n-tril
sbCG
BbC
lUlixolydian Thisseven-note scaleis directlyrelatedto dominantharmony.Unlikethe otherscales,its useis generally limitedto dominant chords. C Mixolydian-----1
[Tf{Tl 'o
o t t Ia o
lT-n-n .5ÓTIÓ n-rTFt G7
ITIiT] nu
totttt lllltl
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itm
FC
G7
FC
Pleasekeepin mindthatthereare manyotherchord/scale optionsavailableto you!This is meantonly as a generalreference. Use thisinformation as a placeto start,and letyour desireleadyou deeperintotheworldof melodyand harmony.
inor
]Ulaďness
H
ere are a few examplesof how to applyminorchordshapesto funkrhythmpatterns. is createdby addinga a mini-melody Noticethatin eachof thefollowingexamples, note or two to the basicchordshape. Ami9
AmiT
XX
you only need you;for the nexttwo examples, Don'tletall thechorddiagrams intimidate to moveone fingerfor eachnew chord.
@ nmzsus+ 7n fTlTTl mT-t
n-riTt tttlta rrn-n 1324
Ami7 řsmt,zt mT-t Ť.Tn
ffi
22
AmiTsus4 XX fEm I
ll?l L!rLL..l
7ft
ltitta | 1322
n-|.]-n 1324
AmiT
XX
rfATtr't fr I tatl [T-NT 1322
-,!-É
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AmiT
XX
Ami13 X
AmiT
x
Amil3 x
Here'sa common minorchordprogression, movingfr om the lmi chor d (Ami)to th e l V mi c h o r d( D m i ) . .^.
S,
-'El
(ffi=JJiJ) Ami
Dmi
xx I I Iaaol0fr
ř]?i-fl l.ft INTT
ri-Tl-n tlatll n-fi-r
tttala
ffi
1314
3111
Thisone'sway up highon thefretboard. Noticehow muchspaceis leftat the end of the (Keep pumpingthatrighthand!) secondmeasure.
O
St'"i t.i
GÍmi
Ami
xx xx lTITTlnft ITITTIrqr
Ttr|l TNT r-rrn
n-ř.n 'l
I I taao
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1444
444
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LJíml Aml xx xx [T.TTll3fT rT.TTlt4ÍT řrTrT] řrrřř1
l-lJ'rfl l.....l.....].....#
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et Piclry
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any times,the bestpartfor a grooveis a simplesingle-note line.Thesepartsare generallyshort,repeating ideasthatuseveryfew notes. Thefirsttwoexamplesbelowaremutedparts.To getthissound,lightlyrestthepalmof yourpickinghandon thestrings nearthe bridge.The pressure shouldbe justenoughto stopthe sustainof the notes.To helpyou stay"in the pocket,"keepyour pick movingin sixteenths withthe music. *N.C.(Gmi)
*N.C. = No chord
O
N.c.(A7)
The nextthreegroovesusea skanksound.This is the ultra-cooltechniqueof isolatinga singlenotewhilestrikingmorethanone string. Thiscreatesa big,percussive soundthat reallycutsthroughwhenthe bandis jamming.lt can be difficultto execute(especially the upstrokes), so be patient. Lefthand:
The trick is to mutethe adjacentstringswhile fretting the noteyou want to hear.
Righthand: ln general,scratchthe noteyou wantto hearalongwith one or two of the adjacentmutedstrings.
24
It'sthe mutedstringsin tandemwith the singlenotethatgiveyou the chunky,,,skank,, tone.Thisfirstexercise shouldgetyou movingin the rightdirection.
9,m='fr'fr) N.c.(Ee)
Thispartwi||definítely getyou spankin,the skank.
N.C. (Ami)
Here'sa challenging partwith morethanenoughupstrokes to confusethe groove.Tryto "push"the Bbup justa littleto givethisjam a bluesysound. N.C. (Gmi)
ow let'stakewhatwe've learnedand createsomereal-liferhythmgrooves.Thisfirst jam hastwo guitarparts(Cuitar1 is in the rightchannel,and Cuitar2 is in the left). Thetotallengthof the progression is eíghtbars:fouron the E minorchordsandfouron theA dominantchords.Noticethatthepickingpart(Ctr.2) changesonlyone noteas the chordschange. r3r r3r
U ) ) , ) = )) ) ) )
EmiT
xx
A7sus4 xx
fT6TTl r rr rTTŤ-1
ri-r|t] tttlta Trřrn
26
'7ft
Emi13
A7
xx
Em17 Emi13
xx
1ft
A7sus4 xx
A7
xx
i{ ;'&
Thistwo-bargroovealso hastwo guitarparts.C u i t a r1 basicallystayson one chord,while Guitar2 doublesthebassline. D9sus4 D9 xx xx
,,-D9 ctr. I
Db9
rT--rn rl-tit l ttaLto
tt t|r + l + + ' ' . l - L g| | ? l l Ý | l ? l l ( rtrtrtttttttttl
n-n-n
3214
3214
3214
partmovesup theneckquicklyusingchordinversions. Thissingle-guitar Checkoutthe -C7) (87 in thesecondmeasure-this half-step movemen t is nota slide. C7 firffio,u
TNT |1t1Ťl rrrFn
D9
xx xx 7ft E[il 8 f' EEE ó f. nTl_il f,m !-trt-] L.l-t.]_t-.t LILLLI LLLLL] Ltr?.t-I9 LL|LL.] LurLL] L!rLL
IT-ITII 7 h
C7sus4 XX
10fŤ
C7
XX
C7
B7
C7
rltrr
rlilll
ffi
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Lt t tl ?ttlal _ l
xx xx xx fflTďlt: r. |]-rTTll2 ft[T[T0.l13fr lttata
I-rH-.] 2314
lttate
2314
l...]....l....lT
ttlltl 2314
B7
C7
xx xx fl-TTď]12fŤ-TTTďll3ft TTTTN TT'TN
rrn-n [m ttlata
ttrttl 2314
lttata
2314
3214
iÍlre Frrnkyr shuffle shuffleis a commongroovein manystylesof music,and it can be foundin funk The I as well. Up to thispoint,all of our grooveshavehadfoursixteenth notesper beat. The shufflewe'll be playinghere,however,hasthreeeighthnotesper beat.In musical terms,this is oftenreferred to as a "1218groove"(4 beatsx 3 eighthnotesper beat). Thisfeelcan be playedmanyways.Here'sone approach.Noticethatthe strumming patternbeginswith an upstroke. Althoughthiscan feelstrangeat first,it worksbecause (beats2 and 4) aredownstrokes the backbeats and will eventually giveyou a stronger senseof time. G9
G9 V
21333
Forthisexample,continuethesamestrumming pattern, butsustain thefirstnoteand ,,Í|oat,, your handoverthe secondeighthnote. G9
Let'sexpand the previouspatternby adding one attackon beat 2.
Finally,thistwo-barpatternis basedon a classic'7Os (Don'tstopstrumming funkshuffle. overtheAb9 chord.) G9
Ab9
-!ť"
c9 V
29
Hereyou'realternating betweena skankpartin the firstmeasureand chordsin the second measure.
0 rJTfi=ffir
F7sus4 X |....Ť+^IgIQ]lórI
r-l-m ||el
T-fT-t
l
r-Tan 13141
Now you'redoingthejob of two guitarists! you'replayin' You'reslidin',you'reskankin', chordextensions-y6s/1's a freakin'funkmachine!
E9
XX
F9
[f,Eorl-l-fmzr' t0tatt
lalaaa
21333
21333
N-N_N
m
TTTTN
n-[t-n
Fl3
x [TíTTI7r. tatfal TTITN
n-n-Ď --n-n 21334
F9
xxx fTTTT-l't n Ia|...
rFrrn ffn-n
n-n-n 21333
E9
F9
lTIl-Tlo rfTITTl r r |ÓlÓtt lo!...
rrr-r-t nlln n-n-n Ffr r r r
n-n-n n-n-n 21333
21333
ťhe Ene|.Of.tlre.BoOk' ilrrst-for-FlrE,
P utti n' - lt-Al I-Tog eth e r, Partyr Jarn!
fínaljam includesmanyof thetechniques discussed in the book.Therearefive This I sections; eachone is eightbarslong.We'll takeat look at eachsectionseparately and thenputthemall together at a littlefastertempo. sEcT|oN A: Thisfírstsectionis centeredaroundthe familiarE9 shape.The last chord jumpsup thefretboard and may requiresomepractice. '#;.
,t:
\))))=)
)J ))
,Eb9 , E9 39 Bm5* ffi6fr ffiot trTTn nTfn ffi
ffiffiffi 21333
21333
21323
SECTIONB: Now we moveto the lV chord(AZ).To createa melodyon thetop string, we basethissectionon threedifferent inversions of the samechord. "3l Ť;
/ -=
\ )) , )) = ) ) ) ) )
A7
ťhlFo sr' tltetl
T-rm ltltl .-n-n 1211
30
G7
xx [TÓl-l-l s rr
rrnTl I teta ruTit trtJtl 1324
6fr
A7
xx re[I
LtLl_ltl I ltta
TNT
lltttl 1324
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sEcT|oN C: Thísis knownas ,,thebreakdown.,, The bandhitspn the firstbeat,and the guitarp|aysa sing|e-note partwithon|ythedrumsbehíndit.This repeatsthreetímesand thenonceagainwiththechords"warking up,,tothe nextsection.
sEcrloN D: At thispoint,we'vemodulated intothe key of c minor.Thissectionmight be called"thebridge'"Thesechordshapesmove aroundthe neck,so takesometimeto getthemunderyourfingersbeforeplaying with the cD. This is a four-barpatternthatre_ peatsonce.The lastchordleadsyou back intothe nextsection.
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SECTIONE:The lastsectionbringsus backto the keyof E. The highvoicingand sixteenth-note tripletgivethispartmoreintensity. Playthistwo-barphrasefourtimeswith onefinalhit at theend. -3+ť;.
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FYI:Thesixteenth-note tripletcan be an effective devicefor addingsomeflashto your playing.However,if overplayed, thislittlerhythmic trickcan be annoying to yourfellow bandmates, so useit sparingly!
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