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Walking bass solo book

  1. 1. U ;ii
  2. 2. Mel Bay Presents walking Bass SoloB by John E. Lawrence CD CONTENTS n-t-5thoverMajorTthChords[:461 lllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllll R*t - 5th over Minor 7th Chords [:35] [Zl g--l n""t - 5th over Dominant ?th Chord [:35] I Root - 5th - Lrading Tone over Major 7th Chords [:43] Fl n""t - 5th - Leading Tone over Minor 7th Chords [:361 Sl I @ MajorWalkNo.2[:41] Ed E Major Walk No. 3 [:42] Root - 5th and Octave over Major 7th Chords [:44] Root - 5th and Octave over Minor 7th Chords [:42] E Root - 5th and Octave over Dominant Chords [:42] E Fl noot - 5th - trading Tone over Dominant 7th Chords [:35] noot - 5th - kading Tone over a ii-V-I Progression [:401 l 8l No. I [:4O] Scalesfor a [-V-I Progression @ l9 I S c a l e s f o r a l l - V - I P r o g r e s s i o n N o .[ 2z l 4 ] : @ 1 2 - B a r B l u e s B a s s L i n e N o . 3[ l : 4 7 ] F0l Scalesforall-V-IProgressionNo.3[:45] E PufiingltAllTogether[:19] FTI uajor walk No. I [:43] @ New Bossa [2:24] I Ol m E Slow Blues Bass Line [:49] 12 - Bar Blues Bass Line No. I [1:0O] 12 - Bar Blues Bass Line No. 2 [ :00] John E. Lawrence plays Heritage Electric Guitars, Thkamine Acoustic Guitars, and GHS Guitar Strings. BY iNC., PACIFIC,MO 63069. @ 2OO.I MEL BAY PUBLICATIONS, A L L R I G H T SR E S E R V E DI.N T E R N A T I O N A LO P Y R I G H T E C U R E DB . M . I .M A D EA N D P R I N T E D N U . S . A . C S . I No part of this publicationmay be reproduced in whole or in part, or stored in a retrieval system, or t.ansmitted in any form photocopy, mechanical, recording, otherwise, or withoutwrittenpermission the publisher. or by any means,electronic, ol Visit us on the Web at www.melbay.com - E-mail us at email@melbay.com
  3. 3. Contents AbouttheAuthor ConstructingWalking BassSolos Root-sth.. Root-Sth-LeadingTone W h a t i s a l l - V - I C h o r d P r o g r e s s i.o n ? .. Scalesforall-V-IProgression.... ConstructingBassLinesOverAll-V-IProgression.... TheMajorWalk Root - 5th and Octave ......3 ... 4 .....5 ....8 ....... 11 ......13 .... 15 ......18 . . 19 SlowBluesline. ...-.22 l Z - B a r l u e s P r o g r e s s i o n N.o . . B 1 . .....23 I 2 - B a r l u e s P r o g r e s s i o n N o .- . . . B 2 .. -..25 l2-Bar Blues Progression No. 3 . . . . . . . . . 27 PuttingltAllTogether.. NewBossa ....30 .....32 This book is designed to: 1) 2) 3) 4) Teachyou how to play chordsand basslines simultaneously Give insight into how basslines are constructed Develop the techniquefor playing chordsand basslines through specificexercises Teachspecificbasssolosin the form of walking blues,jazz swing , and bossanova
  4. 4. JohnE. Lawrence JohnE. Lawrence,a life long residentof Ypsilanti is one guitarists. Johnis of Michigan's most talentedandrespected now gaining national recognition with the recent contract with Mel Bay Publications, Inc., one of the country's largest publishersof instructionalmaterials.Mel Bay hasproduced for John a video tape entitled "Jazz Improvisation, Walking BassLines, and Chord Melodies," which is available in musicstores wasincluded throughouttheU.S.The videotape in Mel Bay's most recent "Hot List," which selectsthe company's top picks within its catalogue.Slated to be releasedin the summer of 2000 are three companion instruc(CD's).ThebooksandCD's tionalbookswithcompactdiscs can be used alone or in conjunction with the videotape. include contractsto John's most recent accomplishments endorseHeritage Guitars, TakamineGuitars and GHS Guitar Strings and a solo in Mel Bay's "Collectors Edition Anthologyof JazzGuitar Solos" which is now publishedand in music stores This collectionfeatures solosby everywhere. the world's finest jazz guitaist. John has also written two articles in Mel Bay's new Internet magazine,one entitled " Practice is the key to musical success"and anotherentitled "Blues Improvisation" for March and April 2000 issues. They canbe found at www.melbay.comunderguitarlessons. Mr. Lawrence credits his musical talents first and foremost to God, then to the late Dr. Morris Lawrence (no relation).Dr. Lawrencewas an instructor and chair of the Music Departmentat WashtenawCommunity College (WCC). Under the tutelageof Dr. Lawrence,John was challengedand inspiredto continuouslyimprove his skills as a guitarist.Following in the footstepsof his mentor,John becamean instructorat WCC where he hastaughtfor over 20 years. In the realm of performance, Mr. Lawrence served as musical director and lead guitarist for vocalist Carl Carlton,who was the openingact for suchfamed artistsas SmokeyRobinson,ChakaKhan, Lionel Richie and the Commodores,Rick James,Teena Marie and Frankie Beverly and Maze. Among Mr. Lawrence's many accomplishments a performanceat CarnegieHall. In addition to touring is throughoutthe United States andperformingatlazzFestivals suchas:BostonGlobe,New Orleans,andMontreaux Detroit, he has performed in Haiti, Surinam, Germany, and the Montreaux Jazz Festival in Switzerland. John has made television appearances three nationally syndicatedprograms: Kelly & Company, PM on Magazine and Good Morning America. He has also performed with Atlantic Records recording artists, Straight Ahead,a Detroit-based femalejazz group. One of Mr. Lawrence'smost memorableoccasions was with legendaryjazzguitarist,Mr. Kenny Burrell. Mr. Burrell asked John to sit in with him at the famed Baker's Keyboard Lounge in Detroit, Michigan. After the performance, Kenny commended John on his playing ability. His soundrecordingsinclude, "Merry Christmas from John E. Lawrence," "The SupremeDream" and a third recordingentitled"Old Smooth".A (CD) that is compiledof hits from the 60s70sand 80s.His latestprojectentitled "Summer Nights" compiled of original material that fits the adult contemporary smooth jazzformat, was released in the summerof 2000.Theseaccomplishments have laid the foundationfor an explosivecareerin today's music industry.JohnE. Lawrenceis sureto becomea householdname.For more information,pleasecontacthis web-site at http://wwwjohnelawrence.com e-mail him at jel @johnelawrence.com or
  5. 5. Learning the Technique PlayingBASSLINES and CHORDS Simultaneously of 1) The bassline is played primarily on the 5th and 6th strings. You will usethe 3rd and 4th stringsoccasionally, to emulatethe bassguitar the bassline shouldsoundas but low as possible. /) The bassnotes are played on the downbeat and the chords on the up beat. , 3) The chord is played after every other bassnote. This gives the chords a separaterhythm from the bass line. It also gives the illusion of a bassand rhythm guitar playing simultaneously. 4) It is not alwaysnecessary play a full chord employing all six strings;sometimesa two or three-stringchord to will do. 5) The bassline is played with the thumb insteadof with a guitar pick. Using the thumb makesthe tone darker and smoother.The strumming of the chords is done with the fingers. Constructing Walking BassSolos Root to the 5th BassLine Therootand5threferstothe firstandfifth noteof themajorscale basedon thechordyouareplaying.Forexample, if you play a D major 7th chord, you can constructa bassline using the first and the fifth note of a D major scale. Example: Major scale with the root of the chord on the 6th string r.ot+ffi roor+ffi ffi ,,offim ffi ,,nfu Major scale with the root of the chord on the 5th string rTrflt root-.{'Oi mfn root-bO | | | | | | | n-rfit rFn-F-] rIffi t-ffil-t ,*tfIT-I ,*.EffiE In order to simulate a bassguitar sound, play the bassline on the 6th and 5th strings. Given the above scale pattern,we must take the fifth scaletone (as shown in the 4th string) down an octave and play it on the sixth string: Root on the 5th string root ,rn / 5th down an octave 4
  6. 6. Root - 5th over Major 7th 3fr'm ffi 3fr.F5[n t"l-Hil Trrrn 3frfllJTl ffi cM7 3frrfrm H-+tll l-fiffl cfiurz 4fr.8m L.lJJ.ll Htfr 5frI[m il rtrl HffI
  7. 7. Root - 5th over Minor 7th Chords Cm7 3f.TilJI ffi 3fr.qFm uj-tt.l Hll+l Cm7 3fr.qm H++l rrrrn 6
  8. 8. Root - 5th over a DominantTthChord ffi 3fr.Hil IIIIN st l-lttH Trrrn cilz ffiil lt.FlltH TTTTN D7 iITm st l-tttH rrTrn
  9. 9. Root - 5th - LeadingTone A leadingtone is the note aboveor below the chord you are going to play. For example leading a toneto D would be D-flat or E-flat. Note: Plav the leadine tone on beat4 of the measure.Try these exercises: Root - 5th - LeadingToneover Major 7th Chords cM7 3frTlTfl ffi ur.ffi H}TH 3fr.roa t l I t t trml cf,tttz 3fr.TlITl ffi '*m rT.Tfl
  10. 10. Root - 5th - Leading Tone over Minor 7th Chords 3fr.trm u-l-itl HtH 3frm ffi CmTlDb Cm7 3fr.tffiI Ltutl r*.ffi Htfi FI+H 9 Dm7 5frIflJI ffi
  11. 11. Root - 5th - LeadingToneover DominantTth Chords ffffi sr,.[m tlm | | | l a t fTtltl 3fr.|'r5n cil7 D7 ffi ffi +rtEffi ru.Fffi 10
  12. 12. Whatis a II-V-I ChordProgression? The II-V-I chord progressionis widely usedin jazz. If you masterthe constructionof basslines over a II-VIprogression you will be ableto spontaneously createbass linesover jazzstandards examiningthechordchanges. by So, what is a II-V-I progression? Let's look at a C major scale.The C major scaleis made up of eight notes that are spacedeither a whole-step orahalf-stepapart.FromCtoDisawholestep,fromDtoEisawholestep,fromEtoFisahalfstep,fromFto G is a whole step, from G to A is a whole step, from A to B is a whole step and from B to C is a half. Example C Major Scale: half step ':l'""i" ':lfJ"$s :lJJ" The distancefrom one note to another is called an interval. The distancefrom the first note of the major scale to the secondnote is an interval of a major second,from the 1st to the 3rd is a major 3rd interval, from the 1st to the 4th is a perfect 4th, from the lst to the 5th is a perfect 5th, from the lst to the 6th is a major 6th, from the lst to the 7th is a major 7th, and from the lst to the 8th is the interval of a perfect octave. Example The Scale Intervals: major major 3rd perfecl 4th *j,nff,T,i" T,fl"frTTi 1l
  13. 13. When the lst noteof the C major scaleis playedalongwith the 3rd, 5th, and7th, it forms aCmajTchord.Since this chord usesthe lst note of the C major scale as its root, it is referred to as the I chord. Therefore the I chord in the key of C is C major 7. CmajT Maior 7th -- Perfect stn-].F Maior 3rd -+ Root I Basedon the whole-step/tralf-step relationships within the C major or "model" scales, can now proceedto we the seconddegreeof the scale(D) stacking its respective3rd, 5th, and 7th intervals to build the next chord - D minor 7. As this chord is constructedwith the secondnote of the C major scale serving as its root, it is referred to as the II chord. If we continue to stack th intervals in the sameway on each note of the C major scale,we will get a different chord for eachscaledegree.With eachchord having a correspondingnumber for every chord name.This holds true in all keys. The I chord is major, the II is minor, the III chord is minor, the IV chord is major, the V chord is dominant, the VI is minor, and the VII chord is a 7b5 or a half diminished. This can also be written as VII.. Example: The 7th chords basedon each degreeof the C major scale. A II-V-I chord progression the key of C consistsof: DminT-G7-Cmaj7 in Here is a list of II-V-I chord progressions all twelve major keys: in il C F Bb Eb Ab Db V AminT GminT CminT FminT BhminT EbminT G7 C7 I CmajT FmajT w BbmajT Bb7 EbmajT Eb7 AbmajT Ab7 DbmajT I Gb B E A D G I AbminT DbminT GbminT BminT EminT AminT V Db7 Gb7 87 E7 A7 D7 I GbmajT BmajT EmajT AmajT DmajT GmajT Note: The seventhof the chords in the II-V-I progressions understood mean IJ7-V7-I. are to ln this book, I have written all of the II-V-I exercisesin the key of G, but it would be very beneficial to learn the IIV-I exercises all twelve kevs. in t2
  14. 14. Scales a II-V-I Progression for There aretwo ways to resolvedominant7th chords.The dominant7th that resolvesto the I chord, suchas the kind you will find in a II-V7-I progression. The other is the dominant7th that doesnot resolveto the I chord directly, as in a blues progression. When playing over a dominant 7th chord in a ii-V-I progression, the minor scale. use Example: Am7 I D7 Gmaj7 I V I For the Am7, play notes from the A minor scale.For the D7, play notes from the D minor scale.And for the Gmaj7, play notesfrom the MAJOR WALK. The Major Walk The MAJOR WALK consists the lst noteof a major scaleto the 3rd thenmoveschromatically the 5th note. of to The EXTENDED MAJOR WALK continuesto the 6th note of the major scaleand moveschromatically to the 8th note. Example: aa 3fr. r a a aa ao Major walk extended Major walk t3
  15. 15. Playinga scalefor eachchordin the II-V-I Progression A minor scale Over the Am7 chordplay an A minor scale. 5fr. I al ara t a D minor scale Over the D7 chordplay a D minor scale. G Major walk Over the GmajTchordplay a G major walk. Note: Playthefrst threenotesof the scaleoverthe first threebeats themeasure, thefourth beatplay theleadingtone. of on t4
  16. 16. Constructing BassLines over a II-V-I Progression Root - 5th - LeadingToneover a II-V-I Progression D7 ffi u*.ffin ffi r*ffi GM7 ffi 3frf1Jlil I tttrt
  17. 17. Scalesfor the II-V-I Progression No. I Am7 5fr.mfl GM7/D ffi r*ffi ffi Tnn fl+ffi r*m srH# f r t ffi u*Fffi Scalesfor the II-V-I Progression No. 2 D7 5fr.fFfl ffi r*ffi ffi Am7 sfrffflll ffi GM7 ffi raffi ffi r*m Fffi rrm rffi rtffi 3fr.ffim I t a o t l f++++.1 t..ru
  18. 18. for Scales the II-V-I Progression 3 No. D7 Am7 5frm GM7 ffi r.ffi ffi 5fr.m ffi 3rifiII{ Itaatl ffi Jr]]ltlIi Am7 5fi.m t-H+H Trrrn D7 ttaatl ffi ,*m r*ffi Fffi uoffifl rTTT' 5frfiIm GM7 ffin D7 FFTTN ffi r*m -- rmfi ffi GM7/D GM7 ffi 3friIffi t llaa I t7 GM7 trTffi ,om
  19. 19. The Major Walk I,2,3 Major Walk No.l Major Walk No.2 Major Walk No.3 18
  20. 20. Root-5thand Octave for line it Theroot,5th andoctavevariationis a veryusefultechnique creatinga bass because workswith major,minor, in etc. chords.It is appropriate all stylesof musicfromJazzto Country,to Rock,Latin, to Classical, anddominant Root-5th and Octaveover Major 7th Chords AM7 5fr.mil H?t1.1 GM7 3fr.{I]In H+TH ffr|F TTTTN hL!t- i - t r - l _--_-----__-5 5fr.m Htfll ||ffl1 3m.m H1IN r|-r|H 3fr.m l{+++] Frfffi hrjj; o 7t t l l I9
  21. 21. Root-5thand Octaveover Minor 7th Chords Am7 Gm7 '.frTh FTTM Iilill tiil il ffi Am7 Am7 5f..f]TJl brr.?.lJttt FHI+I ttnT] ffi i l t 7 - . r ll 20
  22. 22. Root-5thand Octaveover DominantTth Chords 3ft.m Htf+l rrffi1 A7 5n'fTm 3n.m ffi ffi i t t - f Jl A7 5frm G7 3frflTlll ffi ffi I 3fr.m 5fr.5fflTl ffi C l t - ffi t l 2l
  23. 23. BluesBass Lines ln a Blues Progression, play the MAJOR WALK over the Dominant 7th chords. Slow Blues BassLine G7 F*7 ,flffi r*.ffi TlTrn 22 G7 ffi 3fr.m
  24. 24. l}-Bar BluesProgression 1 No. l}-Bar BluesBassLine No.1 Transcription by Joe Palmer and Rudolph Washington G7 GTtC GTtC G7 HXffi 3F.m ffi 3frFTffi G7 ffi r*.m c9 ffi 3fr.Hm GTtC ffi 3fr.ffifi Writtenby JohnE. Lawrence Copynght @1998 G7 trHfl Sfr.Fm ffi r*.m c9 ffi 3fr.4m ffi 3frfflffi G7 GTtC ffi 3fr.8m TTM r*.ffi D7 ffi 5fr.m GTtC TFM G7 ffi ru.m rr.ffi 23 ffi 5fr.Fm GT|C ffi 3fr.Fffi
  25. 25. G7 ffi ,*.m GTtC G7 ffi 3fr.m ffin 3ft[flfl G7 ffi r*m GTtC TtiI 3fr$H - r f c9 ffim ,*.m ffi 3fr.Fm HTH r*.m ffi 3fr.Fm c9 ffi 3fr.Fm G7 D7 ffi r*.m ffi sfr.Fffffl 24 G7 ffi r'.m
  26. 26. l2-Bar BluesProgression 2 No. l2-Bar BluesBassLine No. 2 Transcription by JoePalmerand RudolphWashington GTtC G7 atatal rTraTl c11 ilTlTl snFltH'i GTIF tllll ffi 3frFflfl ffi '*ffi n-rrn F7 ln.m ffi s*ffiH c9 ffi 3frm c9/F RTN rum Written by JohnE. Lawrence Copyright @1998 c6 ffi 5frHfrfl cz1$sy 3fr.rrarn [ffi TTTTN c9 ffi 3frm E7 ffi t*m '*ffi Trrrn oz1f;sy D7 ffi 5fr.m 25
  27. 27. G/D D9 ffi u*m ffi r*m 5fr.m t-+-Hfl c7fi5) |+M 3rl{Iflfl G7 HH G13 3fr.fff,m l-+-l+t-.] c9 ffi 3frm tlrttl c9 ffi 3*m c11tF ffi r*m = h- ill G7 ffi ,*m F7 A7 5frm rfr.fTTm Ft-ful Trrrn ffi GM7 I t t a a l ffi l0frmm ezfisy ffi ozfisy ffil uum 7fi.Fm 26 G13 3fr.m ffi t l
  28. 28. l2-Bar Blues Progression 3 No. Transcription by Joe Palmer and Ruldolph Washington GM7 HM t*.ffi Written by JohnE. Lawrence Copyright @1998 rfimz FtmT GM7/C '*ffi rrrFn D7 rirn srH# ffiH s*.ffi '"ffi l]-H'fl cr7 *ffi ffi Em7 *ffi ttrln 5frm BT rTTTI Dfim11 Dm11 uuffi H+tfl ffi t*.ffi 7fr.flTiTl i?i+u Ff,M7 G M 7 FFfl+t ffi E7(f,e) _- tTIm 'oflf?ll Trrrn *^EilXt* ffi c7 cz05) ffi ror.$ffi 413 r*.ffi H+TH ffi tr..[ffi D7(f,e) 'offi ITTTN cf,e rlnn *m ffi erH# 27 trffi 5frffflfl ffi n*.ffi
  29. 29. c9 rrrm '*H# c9 c11 T[m rr'.ffi GM7 lm sffi r*m '*Hffi Am7 Bbmt Bm7 rnffi ffi hffi ffi oi'.ffi ffi lhrnu Am7 D11 saffi ffi GM7 ffi tofr.ffiil sfr..mfl rrrI|l HIH ffi GM7/C l0fr.T5rrn B7 arffi Em7 ?fr.m t-t-ttH frrrn trffi Hlffl cft r"ffi Df,m7 Dm7 erffi rT.TN t-ftfll uom |TaTn G7 G7(hs) ff+H ffi ronffi *flffi Bm7 TFTAN IIm *ffi ETqe) t*.ffi Htffi HTffi r0frtrm 28 E7 ?fr.fffin ffi ta.Fffi ffi
  30. 30. D7 ez1fisy rf,naz cM7 5F.lfffft t-l-tf+t Ff++tt H+tfl Htfu gfr.rfiTn lofr.T5Trn H#+l rrrrn t*ffi H+t+I A13 u"ffi rTTTfl oz1f,sy u*.ffi hHfl cf,e ttrM '"H# ,*m ffi r*ffi H-ITH ffi r*.[ffi Eqm rnH# I hriltj c11 FW r*m mm ffi 3fr.m 'u$H stffi ffftfl Trrm ebmt ?frflfffl |-|Hn TFTTN I hrnfj- r E7f,e t+-t-l-H -^ t-l-tl-l.t "ofifffl Lllttt LLLLIJ erHfl# ffi ror.FttfH 29 ?frrym urffi Ufifl rFrr-l D7(f,e) bfr.m sr.m Hrfr Hf# 6frflTiit ffi
  31. 31. Putting It All Together Transcription by Joe Palmer and Rudolph Washington Writtenby JohnE. Lawrence Copyright @1998 I ebusleb EbMT | | taaa ffi blr.lal I | | nbrvrz TFTFN 4fr.{ItrX Iattl n-rrn u"ffi t EIMT l Fl-l?l1 TFTN I EbMT 6frmm ffann mrrn [Tm r t hrf t l cbnt LLLITU H+H D11 ilTm srH# ffi 4fr.Fm n*.m or.l-JltH l Eb7b5) '"ffi Trrrn obg AbmT m LLLrl] gnfffu t ITTIII AbMTIEb l l Eb11 6fr.lf5FH TTTN [rrTn i 6fi.mn BbmT - / l abt B7 u"ffi 'uffi zn.ffi cbnt '*HtrH FFI-FH A7 rrrrn rrrffl B7 TTTTN 2fr.m L|ltttl 30 Fm7 rnffi ffi Trrrn Br11 'fr.lTifl ffi ebt u"ffi TTTTN
  32. 32. ebuz BbmT m 6fr.tf5Ffl u"ffi FI-T5|t rrm ori.l-ltHl Trrrn TTTN efut Bbmleb gm *fm rI-IrN otHSl Trrrn - f hr t_Tr xbut "n-m n-ffn TTTSF TTTTN |T-ffl [fr"mn Gbmz 6FrflJTl sfr.m Ht+tl ffi Gm7 rorffi ffi unffH rrFl-n ab^7 gtrlfu Hltfl rrTTn Fm7 sfr.dm H+fi1 rrrrn B7 '"ffi rrrrn abt ar"ffifi FFt-tfl rrrrn I E'MT u*ffi I t t t a a ttrIn or,.l-JttH FTFTN 31
  33. 33. New Bossa l.eadingTone in orderto createan excitingBossaNova rhythm. The lastexercise utilizesthe Root, 5th, Octave,and Note: If a chord has a raisedor lowered 5th,you must raiseor lower the 5th in your bassline as well. Transcription by Joe Palmer and Rudolph Washington Am7 TIITI New Bossa Am7 Bm7(f5) tm r*.m r*m Written by John E. Lawrence Copyright @1998 ffi t*.m E7 ttrIil ZAHH lt V Am7 [m r*.m uu.m Am7 ffi r*m emzfisy Am7 qm ffi rfr.m Bm7(P5) Am7 flltTt Am7/E It+++t zn l-tlfH ffi r*.m t*.m t i l t l E7 ffi ?fr.Fm E7 ffi 'fr.Fm H V Am7 ffi rfr.m Am7/E H+?fl flTm u*.m zrHl# R V emz$sy Am7 H+H tfrm f l 32 E7 ffi ?fr.Fm E11 ?rr.FfH
  34. 34. ffim ru.m FMTIC Abnt ffi *mfl ffi rr'.m amz$sy ffi rom FM7 1fr.trm H++].l fl'||fl Am7 m *.m AmTlE TTTTN 7frHH Am7 *.m TtI-n Abm nfr.m r*.m amzSsy FMTIC ma sfr.Fl?tH TTTTN Gm7 rfr.run H?IN rrrrF ffi 7frfi+H 33 ffi 3fr.m# E7 tlm zrH# c7 ffi 3fr.m E7 sffi ?fr.ffm
  35. 35. T[Tl r*.m FMTIC Trm sfr.FlliH Trrrn FM7 1fr.fIIE FITTN Trrrn FMTIC [m sr.l-t?ffl rrmn emzbs) STH tom TNTI 3fi.HH F7 ttrA AfrHH c7rcb [m ffi 3fr.[m r*.m FMTIC ,offi TTTTN FM7 rfi.m H?flt mrrn emzSsl FMTIC ilm STH tfrm m.l-t?tH TTT|N 34 E7 trIH 1fr.Fm F7 FTNTI arffi# ETqs) flIH 7fr.Fm 2fr.m t+tHl
  36. 36. Bbmt Bm7 TrFTn mm zr.HH *m '*ffi BbmT Bm7 E7(ile) u r f f i7frmi f f ?frFlfl f f i ffi Am7 TIIII r*m Bbnt ttrTn offi r - rilrt ? - - ! - Bm7 m zn.ffi BbmTBmz Ez(fie) TnTl Tnn W uumznffi zeH# EZdg) rFFfn u*m abm E7 HTtN ffrrn T[n TM r*.m 7fr no.m l r l emz1!sy E7(ile) IIm mn zrtrffi znffi# Am7 TNTI *.m tt' AbmT Gm7 Em r*m c11 Gm7 FTITI [Tm sfr$m i rftrI i i'i-= - - r FM7 rfr.{fm Bbmz Bm7 E7q rrTm TFTFn ffi u*m zt$ffi 7fr.mH Am7 flTm Ftrrrn n"fffi *m .t' t J c11cz6sl *m'"m l i r n - t i r | - r n r l i ir f n ltrr-rr r 35 - -
  37. 37. FM7 rfr.m t-ftiH rFrffl FMTIC tlm 3ft'.HH Bm7(f5) trffi 7fr.flm E7'4 ffi 7fr.ffifl Am7 MF m r*.m Ift - ? rI L1 Bm7 mn tom T[n u*.m ETqe) Bm7 r"m Am7 ezfisy ffi 7frFm f i r r-Ji - .J; t f l E7(be) FM7 Am9 'tffi 1fr.{IIIil ffinH Trrrn t11111 CT 36
  38. 38. 37
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