Beruflich Dokumente
Kultur Dokumente
I.Tuning
2. Twelve-Bar Blues in A 3. Twelve-Bar Roek 'n' Rol! Blues in C 4. Twelve-Bar Very Slow Swing in G S. Twelve-Bar Jazz Swing Feel in Bb 6. Knoekin' On The Midnight Mustang 7. Why A Woman Loves A Man 8. Blues Boy 9. Funky Blue Street IO. Manie Inspiration Il. The Hindenburg Medley 12. Been Caught Sleeping 13. PleasantlyLucid
Contents
Introd uction Twelve-Bar Blues in A
Pattern I:A 7, D7, and E.7arpegg;os Patterns 2, 3, 4, and 5: some var;at;ons Twelve-Bar Blues in A
5 7
7 7 8
9
9 9 9 IO
Il
Il II II 12
13
I3 14
15
15 16 17
18
18 18
81ues Boy
Pattern I: G major scale BIues Boy
20
20 21
22 22
23
24
24 24 25
The Hindenburg
Medley
26
26 27
28
28 28 28
Pleasantly
Lucid
3O
3O
Pleasantly Lucid
Introduction
Hi! l'm Ralph Agresta. With the growing popularity of my JamTrax series, we've received tons of positive feedback and numerous requests to make JamTrax packages for other instruments. For this Best of Blues, R&B, and Rock JamTrax for Bass, l've enlisted the talents of John Abbey, who provided suggested scales and licks for each of these jams and condensed transcriptions of the parts that he played on the originaI "guitar" versions. These twelve tracks were selected from the Blues JamTrax for Bass, R&B JamTrax for Bass, and Rock JamTrax for Bass packages. Everyone knows that the best way to learn or improve musical skills is to play with a live band, and now you can do just that in the privacy of your own room. Join either Chris Carroll, Phil Cimino, or Ernie Finamore (on drums), Phil Ricciardi (on keyboards), and me (on guitar and keyboards) for twelve blues, r&b, and rock jams. We'll play the drums, rhythm guitars, keyboards, and solos. You can play either the given bass parts (presented in both standard notation and tablature), or make up your own bass lines. Experienced players will enjoy using this CD to experiment with new ideas and techniques or for warming up before gigs. Beginners can practice playing without the pressure that often comes with performing in front of other people. Inside this book you'll find, along with suggested scale patterns and riff samples, simple bass charts with chord symbols that will guide you through the structure of each jamo Good luck, have fun, and, as always, I sincerely hope that you enjoy and learn from this CD.
pattern 3
4 A7
. 2
pattern 4 A7
2
pattern 5
A7 4
Twelve-Bar Blues in A
Medium tempo shuffle A7
2
D7
A7
[1.-7. E7
A7 1 3
][8. E7
D7
A7
scale (one-octave)
Remember that these are not the only positions that these scales can be played in. This list represents only one set of possibilities.
IO
of Larry William's
F
4
11.-7.
][8. C
B~
B C9
t':\
Il
12
n=,m
Intro D9
4 1. 24 3
C9
3
C9
E~9
D9
G6
C9
3
G6
C9
3
Am7
3 4
Bm7
B~m7
Am7
D+7
3
r 1.-4.
G6
C9
Eb9 D9
][5. G6
C9
A~9 G9 r.\
13
Some arpeggios:
Below you will find laid out the arpeggios for all the chords in this tune. dominant seventh chords
B7 4 2 C7
minor
seventh Cm7
ninth chords
b.1 F9
14
Medium swing
Intro
cf:l =ro)
F7 Bb7 Db7 C7 B7 Bb6
Cm7
Eb9
Eb9
Bb
Cm7
Dm7
Dbm7
Cm7
F9
11.-5.
Bb7
15
pattern 2 A
pattern 3 D
16
scales
The notes that comprise the major triad also appear in each chord's respective major pentatonic scale. A major pentatonic scale is a five-note scale composed of the first, second, third, fifth, and sixth degrees of a given major scale. pattern 4
pattern 5
pattern 6
17
~ E~
11.,2.
][3.
D.C. al Coda
'
~ Coda E
18
-.
G/B
Am
Em7
Dm7
c
----
G/B
---
Am -----
F -----
Em7
, -----
-----
--
--
Dm7
19
[1.,2. D7
3. D7
Am
F ....---...
G/B
Am
F
t":\
G t":\
C t":\
20
Blues Boy
This tune will remind you of Sam and Dave's "Soul Man," a tune that was made popular a second time by the Blues Brothers. The first section is the only tricky part and is based on a G major scale.
21
Blues Boy
Moderately Intro G
B~
C9
C9
C r-
D to Coda-$ G
B~
-$Coda G
[1.
][2.
22
>
23
lliJ E7
play 2 times
[]
.. ..
E9
> >
>
U9 E9
> >
>
>
>
>
>
Eb9 >
>
>
>
>
> ~
24
Mani'c Inspiration
On this particular track there is really not much room to play anything other than what is written on the chart. Keep in mind that we will be playing this one in ~ time with a "swing" feel. Playing with a swing feel means that consecutive eighth notes like these:
n
should be played like this: Towards the end of the tune you'll be playing over a drum solo. Make sure you keep the groove together! Notice that even though the key signature is A major, you'll be playing a lot of G~ and O notes. These come from the A minor pentatonic and A blues scales.
25
Manie Inspiration
~3~
n=J} Intro A
play 8 times
play 8 times
play 4 times
~ "iTI1i"
play 8 times
A9
freely
1':\ 1':\ 1':\
m =w:
ritardo
26
" B
27
~E
[ID E
. .
. .
E
...
play 4 times
[g A
D.S. r.-..
-&-_-&-
D
,
"
. .
. .
.... __ I
,
....... ...
play 7 times
......
....
.......
. .
... ...
... ......
... ...
-#-
v
v
v v v
v v v v v v
- .
V V
"
freely
r.-..
D
r.-..
B
r.-..
28
29
l1.to Coda~I[2.
E~ c,
F7 F#7
F7 F#7
G7
D.S. al Coda
or ..
~ Coda G7
30
Pleasantly Lucid
Last but not least, here's a baliad for ali of you Pink Floyd fans. Make sure the notes ring as long as possible. This wilI add to the spacious and lazy feel of the track. The part we suggest is not a difficult one. Watch out for the sixteenth-note pickups and check the tablature because sometimes we'lI play the same phrase but on a different part of the neck (in a different position).
Pleasantly
Slow straight-eighth feel
drums
Lucid
Ern Brn
Brn
Ern
Brn
G/F# Ern
Brn
A~
31
Brn
A
~
GI F# Ern
Brn
play 7 times
Brn
GlF#
Ern
Brn
t":'I
--
ritardo
t":'I