1. Guitar III & Guitar IV 15th night Spring 2003
Group work – 1 hour of class put aside for group work.
Last of jazz blues.
Review
Go over performance night.

2. Some common Parker tunes and other Jazz Blues songs
Parker Blues
Some common Parker tunes and other Jazz Blues songs

3. Will cover a number of tunes
Now’s The Time
Billies Bounce
Au Privare
Straight No Chaser (Monk Tune)
Blue Monk
Mr. PC
Birk’s Works
All three of the 1st 3 are in the key of F. Get used to it.

4. Chord changes You will need to know the following chords:
F, F7, F9, Gm7, Am7, Bb7, Bdim7, C7, Cm7, Dm7, D7, Em7.
Looks worse than it is.

5. Easiest is Now’s The Time
Has a repeated melodic figure that makes it easy.
Then a descending Line.
A little hook at the end.
Timing can be an issue – we will work on that.

6. This whole piece is in 8th position
This whole piece is in 8th position. This is the opening riff and is very easy and is repeated throughout this song. Make sure you can play this. Note timing below the notes.
Count & & & &
silent on 4

7. First line is the opening idea from the last page played
2 times! (The B7 is optional)

8. Back to repeated idea.
2nd line ½’s ½ of each measure is the same.
2nd ½ will start a descending line. See arrows.

9. 1 (&2) 3 & & 1 &
Starts with same 5 note pattern then does a turn towards the end. First pattern in 2nd bar should be to hammer pull. The 2 notes on the 7th fret should be played with a stretched index finger.
The last phrase is just an answer. Note the timing that it comes in on the and after 1 and then is almost an inverted rhythmic figure from the start of the tune.

10. Billies Bounce. One of the most famous of Parker’s tunes.
Not easy to play but you should all be able to master it.
Chords on the next page.

11. Here is Billie’s Bounce from the Real Book Vol 2
Here is Billie’s Bounce from the Real Book Vol 2. We will do only the melody which is up to the repeat. For extra credit try to tab out and learn the solo. It isn’t all that difficult but will take some significant time.

12. 13

13. Gm7 at the 3rd fret. Like Am7 that is at the 5th fret

14. Here is the goal! In a couple of weeks you should all be able to play the notes and the chords to this.
Note that the tempo is very fast. Goal is to be able to play it at ½ speed by the end of the term.

15. Next slides take Billie’s Bounce one part at a time.
Learn each one before moving on.
Most of this is in 9th position.

16. First measure. Note the Chord voicing!
& & & & (&
Fingering hammer

17. Here move up to 10th position
(& ! ) & (& ) & & & &
etc.
Look at the setup on this line.
Next slide has the 1st 3 measures.

18. Get this smooth before moving forward!

19. Stay in 10th position. First note with index and slide up.
& & & & & & &

20. 1 (& ) & ( & ) & (&
(13)
Some fingering options. Could be done in 11th position and then play the C that is written on the 1st string 8th fret on the 2nd string 13th fret, or stretch your hand to the 8th fret and play the line in 10th position.

21. Try the whole 2nd line!

22. Now the 1st 2 lines.

23. 1 ) & & & & & a &
Start in 9th position. (Stretch to 8th fret)
Move up to 12th position.
Play 11th fret with index stretched.

24. & & & (& 3) &
10th position for these measures. Use index on the 8th fret – slight stretch.

25. (& ) & &

26. OK, now the whole thing!

27. Straight No Chaser Monk tune
Easy looking at first but time makes it a bit challenging.
Ideas can be used elsewhere.
One of my favorite tunes.
Chords like last 2 songs.

28. From the Real Book.
This is the jazz music Bible. There are a number of Volumes but this is in Vol. #1. Which is the most used.

30. Do entire piece in 10th position
& & 2 (& ) & & & (& 3 4)
Look how the repeated line starts on an entirely different beat – then the end of the phrase – so cool!

31. 2nd lick
& & (& ) & & & & &
Notice the playing with time on all of these! Again cool!

32. 1 & & & ( & )

33. 1 & 2 & (& 4) & & 2 (& 3 ) & 4 & & 2 & 3 & &
For this section just watch the timing as it seems to turn on you. The held note in the first measure is on the and after 3 and in the next measure it is on the and after 2. The last measure is all 1/8th notes so that should be easy from a timing standpoint!

34. 1 & & & & & (& ) (12 34 )

35. Now finish it off!

36. One for you on your own Au Privare is another 12 bar blues in F.
Not all that difficult but has some great lines in it.
The chord changes are more modern than the others we have looked at. But very doable. Gives a good movement and bridges traditional bebop with blues bebop.
Harmony is more advanced. Lots of II V’s in this. Note the Bb7 then next measure is Bbm7 to Eb7 back to the F. This is really a nice voice leading tool. This change really adds interest to the tune and hides a bit of the 12 bar blues.

38. C7

39. First line. Take it one phrase at a time
First line. Take it one phrase at a time. A little bit of a tongue twister at first.
The progression here is interesting the Gm7 to C7 is like a IV substitute. Leads nicely back to F – very common in Bebop.
I really like the last measure in this line. You ½ barre and flatten the 3rd finger then the index finger.

40. 2nd line. Tricky part here is the timing
2nd line. Tricky part here is the timing. Listen to it and try to feel it along with counting it. First measure particularly is a bit difficult to master the timing. Just take really slowly.
By this point it is pretty easy. Plays well on the guitar.

41. All previous comments apply. I do put the C7 in at the end
All previous comments apply. I do put the C7 in at the end. The end is a turnaround of I VI7 II V. C7

42. Whole song. Take slowly C7

43. Blue Monk Another Monk Tune. Melody is usually harmonized in 10th’s.
Has a New Orleans funeral march feel.
Great set of changes to give you a different blues feel than the previous tunes.
This is played rather slow – like a balled.
I wrote the whole harmony out.
Very good to split the parts. One player plays the top line and the other player the bottom line.
Then try as a solo piece – not easy.

44. From the Real Book

46. Counting on this is easy.
Line starts totally chromatic then in the 3rd measure goes scale wise other than the one skip.
Feel is everything on this!
Count 1 & 2 (&34) & 2 (&34) & 2 & 3 & 4 (& 1 ) (&2) (& 34)

47. Very similar to the 1st line until the last beat of the last measure on this page. The melody just moves up a 4th.
The last beat is a triplet – play very deliberate and separate each of the notes!!!

48. Last line. Same figure as before
Last line. Same figure as before. Interesting part is that the melody is the same for both the F7 and the Bb but starts on different beats. The F7 at the end is not played the very last time through the song. Song must end on Bb.

49. Play the whole tune now!

50. A Minor Blues Song by John Coltrane One of the easier tunes.
Huge swing.

53. Totally based on the C Dorian Mode. Goes up the scale then comes down
Totally based on the C Dorian Mode. Goes up the scale then comes down. Make the 3rd measure really accented. Watch counting on 2nd & 3rd measure, first is all 1/8th notes.
(12) & 3 (&4) & (12) (34) (& ) (34)

54. This is just up a 4th. Still same scale, same idea and same counting
This is just up a 4th. Still same scale, same idea and same counting. 3rd measure is the same as 3rd in 1st section. Last measure 1/8th notes come in on beat 3.
Last measure adds in the b5 note (outside the C Dorian Mode but in the blues scale).

55. Watch timing on 1st 2 measures. Last 2 measures same as before.
1 ( ) & (&2) &

56. Solo
For this 2 main scales to use the C Dorian Mode and the C blues scale.
Make use of chord tones for the solo!

57. Modern Minor Jazz Blues
Birk’s Works
My favorite recording of this was Kenny Burrels.

60. Do totally in 6th position. Timing is easy
Do totally in 6th position. Timing is easy. Will write chords on the board.
& 4 & & & 3 & 4 & & 3 & 4 & all 1/8ths.

61. Similar but note that 3rd measure is on Bb not C.

62. ( ) & 4 (& ) (&2) & 4 (& 1 )(&2)
Do as a quick
hammer pull

63. Just to get back to the top. Don’t play last time.

65. Solo Here lots of stuff works but start with the blues scales.
Must watch out and change when the Abm7 and Db9 appear. Use Ab blues or arpeggiate the chords.

73. Under The Bridge

74. Under The Bridge 2

76. The 5 chords (starting with major chords)
Below are the 5 forms that everything is build off of. You must know all 5 of these 1st position chords to move on. Make sure that you have these down so you don’t even think about them. The rest of what is coming up is derived from these 5 forms! We start with major but dominant and minor are just modifications (small modifications) to this!

77. Notice how we can barre this and move it up one fret
Notice how we can barre this and move it up one fret. One word of warning is that when you do this you won’t always play all of the notes in the chord. Try these below as a start.

78. For the “C” form only ½ barre it – barre from the 1st to the 3rd string and don’t play the 6th string. For the G form only play the inside 4 strings – don’t play the 1st or 6th string. For the D form, it is best to move the 1st string pitch down 2 octaves to the 6th string and don’t play the 1st string.

81. 6th string root barre chords. The ‘E’ form moveable chord or CAGED.
This starts by first having the ‘E’ first position chords down perfectly.
To change a major ‘E’ chord to a minor ‘Em’ chord lift the 1st finger off of the 3rd string.
To change a major ‘E’ chord to a dominant 7th chord lift the 3rd finger off and play the 4th string open.
There is theory behind this. A major chord uses the 1st, 3rd and 5th of a major scale. To make it a minor chord you lower or flat the 3rd degree. To make it a 7th chord you add the 7th and flat it.

82. Example
C Major scale 1 = C, 2 = D, 3 = E, 4 = F, 5 = G, 6 = A, 7 = B and 8 = C (Same as 1).
For C Major 1 = C, 3 = E and 5 = G or the notes C, E and G.
For C Minor lower or flat the 3rd degree (E) so it will become Eb.
For C7 add a flat 7 (7 = B) so it is Bb. Notes are C, E, G, and Bb.

83. For Key of E
E Major scale 1 = E, 2 = F#, 3 = G#, 4 = A, 5 = B, 6 = C#, 7 = D#.
For E Major 1 = E, 3 = G# and 5 = B or the notes E, G# and B.
For E Minor lower or flat the 3rd degree (G#) so it will become G. Flatting a sharp cancels the sharp and the note becomes an natural
For E7 add a flat 7 (7 = D#) so it is D. Notes are E, G#, B and D.

84. The first step is to finger the chords without using the index finger.
For the E major chord. The fingering will be the 2nd finger on the 1st fret of the 3rd string.
3rd finger on the 2nd fret of the 5th string.
4th finger on the 2nd fret of the 4th string.
See the next page.

85. Starting E Major
Chord.
Play it with the fingering below. To 1 2 2 3 3 4
The other ‘E’ forms work from this. Just remove the 2nd finger for
minor and the 4th finger for the dominant 7th chord.

86. E major Form 1 fret up becomes
‘F’ major.
When doing a full barre chord
use more of the side of the
index finger. It is more of a
leverage issue than a pressure
issue. 2 3 4
The root to this chord is on the 6th string or the 1st string. The names of
the notes on these strings are the roots of the chord. At the first fret it is
An F, 2nd fret a F# (Gb), 3rd fret is G, 4th fret is G# (Ab), 5th fret is A,
6th fret is Bb (A#), 7th fret is B, 8th fret is C, 9th fret is C# (Db), 10th fret is
D, 11th fret is Eb (D#), 12th fret is E.
The letter name stays the same no matter which form is used.

87. See how the E with 2nd, 3rd and 4th fingers is just moved up 1 fret then barre the 1st fret and you have a F chord. This is the E form of CAGED.

88. Try a simple chord change
Do two measures of F to 2 measures of G. F is at the 1st fret and G is at the 3rd fret.
||: F | | G | | F | | G | : ||
Then do the same thing with G to A (A is at the 5th fret.
||: G | | A | | G | | A | : ||
Then A to B (B is at the 7th fret).
||: A | | B | | A | | B | : ||
When the above is mastered try each one of them with one measure each.