40 More Hits of Our Times, Book 2 by Leeds Music Corporation

By Leeds Music Corporation

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Sample text

Here is the open-posi tion form that you should know well by now. And here are some different positions for it. IIV 67 ~ <> I~ IV I 67 ~ itt u IIX 67 ·#1 ~ # This next exercise is based on the B7 chord and its diffe ren t positions. Once again, try to play all the changes as smoothly as possible. In order to crea te a more "blu esy" feeling, many players voice all th eir chords as seventh chords . We've just learned how to play diffetent inversions of the £7, A7, and B7 chords. As you know, these chords are the primary chords in the key of E.

H I 1\ 1 r r r r r r r r r r r r r r r r II ~. h I r I r r II )) r • G t'lJ 1\ " I D r I r , t'l " , i r t'l l r r r C I t'l 1 r r r r r r i r r r i t'l I 1 r r , I II r , r rr D " t'll\ , I i r i r r f Eighth Notes, Dotted Notes, and Syncopation . 45 BLUES IN ~ E * I • - I r J. "~ I . r - r E WITH SYNCOPATIONS ~hl . - - r I r I - I r r J J • " I. - r J I - r - r r r r J. bll l. :::j jj * A r • ~ 1\ I . r r J I I r r I I r I E I • " I. - r - r I r r - r - r r r f:j jj ~ * A B7 I " bJ r r r r r • ~ 1\ I I r IIi I ~ " I I - I - r I I - r - I r H jj ~ • * B7 I J r r r r Ih I I 1/1" I r - r r r BLUE NOTES As we discussed earlier, the blues began as a vocal music, but it wasn't long before early jazz bands and jazz instrumentalists began to adopt the form as a vehicle for band arrangements and improvisation .

T\ I. I I - r r r i r r I r r I .. t\ I. - r r - J t\ I - r r - r ~ r t\ I - r r . ~ r I t\ I. r ~ I r - r r t\ I. - r r E7 IJ I - r A7 I ~ ~ r B LUE N OTES t\ 1. - r r B7 " ~ - ]l ~J ~ ~ hJ ~ - r r r J , t\ I. f ~ I - , r tJ T . ft ..... D r , 'L • I I ....... , . r- - ft ft V V .... _60- .... I, _"t r- - i .. ....... --:. Ai - h~ I, I I.. • i I r ... "" .... r - - r .... "" ... ~ ....... - V ft r- - ft II II "" v v Here is a blues solo in the key of A, including that key's blue notes Cq and Gq, A WITH BLUES IN A7 1\ 1'0 tJ T ....

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