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Licks from some of the greatest jazzruston players thal have evel'lived at the same time. You will soon realise that: there are no rule, associated with pIaymg outside and:.'any note can work over any chord at any time. Musical motifs, when they are moved around the neck, have a way of keeping the listener interested.
Licks from some of the greatest jazzruston players thal have evel'lived at the same time. You will soon realise that: there are no rule, associated with pIaymg outside and:.'any note can work over any chord at any time. Musical motifs, when they are moved around the neck, have a way of keeping the listener interested.
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Licks from some of the greatest jazzruston players thal have evel'lived at the same time. You will soon realise that: there are no rule, associated with pIaymg outside and:.'any note can work over any chord at any time. Musical motifs, when they are moved around the neck, have a way of keeping the listener interested.
Droits d'auteur :
Attribution Non-Commercial (BY-NC)
Formats disponibles
Téléchargez comme PDF, TXT ou lisez en ligne sur Scribd
Jazz
10 COOL JAZZ FUSION LICKS
ONTHE CD
TRACKS 19-21 6
“a
Find th
Wi impr
52 Guitar Techniques reeRuany 2003,INSPIRED BY JAZ GUITARISTS Charle Christan, Wes Montgomery and
axophonist Charlie Parker, Berson has been a huge success inthe jazz and pop
world y began his p al career singing at the age of eth, and
{ten uses his wari tenor voice to sing along wath his soles. Arpegaios are ver
ommmen in bis playing style, so ve included a couple of them ita typical Bensor
style liek, just to start the piece
Tuse the term ‘piece’ very loosely of course, as this int supposed to be a piece of
rmusle per e, but a demonstrat ne outside ideas that you may wish to borrow
ALTHOUGH ESSENTIALLY A BLUES guitarist, Pord is more than capable of jazaing
with the b
of them. Hes also one of the most tasteful improvisers on any
ding up to one mean guilatist. BARS § and 6 see Robben plaving over
an imaginaty B7 chord, which works (as pretty much anything does when you're
at exactly the right point
playing outside!) because it resolves back to Bs minc
12-{i2)
esruany 2002 Guar Techies $3,Jazz
0 COOL JAZZ FUSION LICKS
THE THUNDER FROM DOWN Under is up next. Best known for his work with Chick
Corea's Blektric Band and Vial information, Frank Gambale isthe undisputed ki
ofthe sweep picking technique, as well as an excellent guitar teacher His teaching
videos are certainly Worth looking at if you want to pursue this style. The line st
nice melodic approach, and Ive included one of his tacemark sweep licks in BAAR 5
ve.
eu Bu
44 4
1e-Ci7NtPHeHT-T—SAITHT
Bu
14
1517}——1597
pe
GETTING A JAZZ TONE Rill
| RECORDED THESE EXAMPLES with a Wayne gutar(by
‘Wane Charvl) using ether the bridge pickup (a eff
Beck erembucke),or the bridge ard middle (Alco t)
‘configuration This was then plugged inco a Marshall MPI,
‘wth EQrweaked in the syle ofeach ply.
@ BLOWTHE FUSION
FURTHER LISTENING
‘OBVIOUSLY, THE LICKS HERE
are buta ty taste of each
player’ style so it's dificult to
recommend any one album to
Inspire your playing So, we'd
simply say you should try any
of these: George Benson ="The
Best of George Benson’ or
‘BeyondThe Bue Horizon, Robben For Hand Of
Blues’ and Mystic Mile Frank Gambale ~‘Live’ and ‘The
Best of Frank Gambale'; Brett Garsod — ‘Quid Pro Quo’
and'Exempe Scott Henderson ~"Tibal Tach With Gary
‘Wil’ andVial Tach Tones'Allan Holdsworth ~The
‘Shxteen Men OF Tai’ and Metal Fatigue'sJohn McLaughlin
"Passion Grace And Fie’ or ‘Friday Night In San
Francisco’ Pat Metheny ~ ‘Bright Size Lif’ and’Pat
‘Metheny Group':john Scofielé ~'Blue Matter’ andPlek
Hits Live and Mike Stern ‘Odés Or Evens’ and
‘Sandards (and Other Song)’
54 Guitar Techriques FEBRUARY 2002@ TRACKS 19.2!
ae
listen t
Rane
had an overhaul recent
‘Quid Pre Quo
humbucker approach... Als
piek and three fingers (like
ALTHOUGH GARSED HAS WORKED with fe
Voice’) and AOR
‘Exempt’ or their La
will eave you in no di
wy Aussie John Parham (remember
‘duo Nelson (stop snickering!), i
rg with T} Helmerich) that is of
work i the two
st. A.quick
Vnele Boe Spac
ssarre relents
bt that heS a phenomenal player. Brett's sound has
with out-ofpphase single colls replacing the standard
>, Brett
Shavin Lar
cagio in BAR 1 wth a
rather than Gambale-sweep style
oe E 2 ef fe =
Dasist Vieror Wotton an th
lick utilises the ‘move u
then
ds of a master. Probably th
beginning of BEAT 3, resolving th
‘Vital Tech Tones?
anproaeh, which ean s
ams is ust plain insane, The fist
nd obvious, but not in
important note ofthis lick is the F#
ay
. 10-11 10-710
lerson is another disciple of Chick Corew's Elektre Band, and can also be found
Tribal Tech records, shigging tout with (bassist) Gary Willis. His latest solo
releages have shown a more bluesy side, while his work with Steve Smith andl hunati
Bu
14-406) 1244
2
x £
|
1: i
——— 1
FepRUARy 2003 Guitar Techniques $5Jazz
10 COOL JAZZ FUSION LICKS
Ca
=i eA
1“
eS
YORKSHIKEMAN HOLDSWORTH DOESN'T so much have
branch of music. He possesses arguably the best legato technique on the planet and
‘chord voeabulary that is totally unique. He's been known to-use the odd soni
spe! from time to time — je physica! fngering patterns that work well on the neck
especially when played at ridiculous speeits) ~ so Ive tried to reflect that in the
chosen ks below
10-19-1410: 0191-1
— oe ee
FT te ao gO pig ra i016 ta 16-19
ase sss ee a ee ete te a
‘es tee ce a ee
895
sasT49
16-15-16 —
2-15
51a 1512-112)
56 Guilar‘Tachniques FEBRUARY 2003® TRACKS 19-2
are
am
JOHN MCLAUGLIN IS ANOTHER guitarist that defies description, categorisation
|, most of the time, transcription. Whether #’s his groundbreaking, fusion work
with the Mahavishnu Orchestra, his Indian-influenced lies with Shakti, his jazz trio
Hlamgnorid), ot his Spanish leanings with AL DiMeola an Paco De Laven, he's a
‘musical soul thats constantly on Ue move, This ck would be just aé appropriate 0
Metheny, Joli Scofield and George Benson would
vork well witha sexui-acoustic ~ but it really is up to you. "¢
acoustic ~ ikewise, those for P
teeter.
Aaae1214e12-14
Tee
aeRO
e111 9-9 He 2
50 OH oe
10-07
Pees
MODERN JAZ2,
EGEND METHENY taught at the University of Miami and Berklee
his recording debut at just 19 with (avant-garde keyboardist) Paul
and legendary jazz bassist Jaco Pastorius. His style is always instantly recognisable
and he enjoy’ freeform solos that take the listener on a musical journey that’ always
Intriguing. Metheny particularly likes to take motifs and ideas and move th
the neek, so stuck one such example in BAR
ar Techniques $7Jazz
10 COOL JAZZ FUSION LICKS
—r
Tenia
i
it ate,
4
1615-14
A716:
ANOTHER UNIQUE
/OICE IN the Jazz guitar world is that of John Seofield, Not only
1s he possess his own sound, but his own sense of timing too — he iso lad back
Scofield uses a lot of wide intervallic phrases and neat chromates to great effect
and hopefully, I've successfully demonstrated that in the lines provided. He's played
swith some of the greats ~ Miles Davis, Charles Mingus, Gary Burton ete ~ but my
favornte work of his would have to be his Blue Matter period, featuring the
heaviest funk drummer in Fusion, Dennis Chamb
101910
— oo
12—14— 12-40
'58 Guitar Techniques FEBRUARY 2003@ TRACKS | 9-2)
rm
PRISE
OUR FINAL ENTRY — and lit s
nudied at
W191 12-10-10-14-12-109 a
at 940
42
12104120 129-129 12-8 206)
2 10
@PROTIP
TALWAYS SAY PLAY THE
‘need to playthrough them
slowly at frst. as there
are some pretty tricky
fingerings in there ~
cexpecilly if you want to get
‘them up to the track speed
of 141 bpm.
FEBRUARY 2003 Gitar Totes $9