Joe Bona Massa

I

Miss You, Hate You Cont.

Dutro Solo Excerpt # 1 "Miss You, Hate You" ends with the previously mentioned jam in E minor, in which Joe really stretches out with playing that runs the gamut from angular, fusion-like lines to classic blues-rock phrasing. The first excerpt from this section begins with a ringing triplet phrase in which the middle finger plays the C on the A string, and the index fin­ ger performs the pull-off from the 2nd fret to the open high E string. All bends in this excerpt should be played by the middle finger. The low C and high F# against the E played by the bass imply an Emin9'76 chord, a particularly evocative and sophis­ ticated harmony for what began as a toe-tapping, sing-along classic-rock song. It's the first clear demonstration of Joe's flagrant disregard for stylistic or genre rules among many that we will encounter in the pages of this book. He's always tasty and plays in keeping with the feeling and mood of the song, but he doesn't confine himself artificially by obeying predetermined limits set by himself or anyone else. That's a useful lesson for any artist concerned with originality and self-expression.

N.C.(Em)

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,,--..... 2 0

B 3

Dutro Solo Excerpt # 2 The next excerpt begins with the droning, open low E string, followed by a 7th-position phrase in which the index finger is used to barre the D, G, and B strings at the 7th fret. In the second measure, extend your ring finger to play rhe G on the A string's 10th fret, then slide down to the 9th-fret F# at the end of beat 2. Follow the let ring indica­ cions carefully here.

� (Slow demo, 0,11)

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