Download PDF by LARRY McCABE: 101 Bad to the Bone

By LARRY McCABE

Show description

Read Online or Download 101 Bad to the Bone PDF

Best instruments books

Get A History of Pianoforte Pedalling PDF

David Rowland strains the heritage of piano pedaling from its beginnings within the eighteenth century to its first adulthood in the midst of the 19th century and past. Pedaling procedure used to be a big function of nineteenth-century piano functionality and, coupled with new advancements in piano constitution, encouraged many composers to put in writing leading edge works for the literature.

The Horse-head Fiddle and the Cosmopolitan Reimagination of by Peter K. Marsh PDF

Few different international locations have gone through as profound a transformation in their social, political, and cultural existence as Mongolia did within the 20th century. starting the century as a principally rural, nomadic, and tradition-oriented society, the country used to be remodeled by means of the tip of this century right into a mostly city, post-industrial, and cosmopolitan one.

Additional info for 101 Bad to the Bone

Sample text

11 Variation #1 in the key of C –Li Ex. 12 8-bar blues variation #2 J7 j7 IV 1V7 J7 J7 V7 7 C7 C7 G7 Ex. 13 Variation #2 in the key of C C7 F7 E-L HH’Ji LI-- L1 Ex. 14 8-bar blues variation #3 1V7 IV J7 V7 V J7 C7 G7 G7 C7 Ex. 15 Variation #3 in the key of C F7 C7 _L The last two bars can also be played 17 I 1V7 I 17 / V7 / 1 Ex. 16 8-bar blues variation #4 J7 j7 iH IV 1V7 V7 V7 I Ex. 17 Variation #4 in the key of C 39 - C7 Appendix 5 Open Charts for Application of Patterns The following charts will help you learn to apply patterns from this book to standard blues progressions in several keys.

D7, etc. can be extended by adding a ninth tone, a thirteenth tone, or both the ninth and thirteenth. Exception. the ninth is usually flatted when the dominant seventh chord functions as V7 in the minor keys. The ninth of C7 is D, and the thirteenth of C7 is A. Both D and A are used to extend the C7 chord C-E-G-Bb in pattern 1. The next two examples show a number of dominant and minor chord fragments on the guitar fingerboard. Example 4 C7, C9, and T A C13 chord fragments 1 3 5 5 8 8 10 10 11 11 11 3 3 3 7 7 9 9 12 12 9 9 5888810101214 3 3 5 5 5 6 5 6 5 8 8 6 B 8 101212 10 11 11 13 12 13 l5ii 13 5 7 7 9 9 14 15 15 8 4 -5 8 8 10 8 10 10 11 11 11 ii 8 8 8 11 11 11 11 13 131 8 8 8 8 8 12 12 12 15 II 9 12 B Example 5 Cm7 and Cm9 chord fragments 1 A 3 1 3 4 33 1 5 4 5 5 4 5 8 4 7 8 8 8 8 3 8 11 11 13 15 15 4 8 8 12 12 12 15 5 10 1013t3 13 13 BII The minor fragments in Ex.

Choose any four-beat C7 pattern that you can play well. Apply this pattern to the above chart as follows: a To transpose from C7 to G7, you have the option of moving the C7 pattern up 7 frets, or down 5 frets. Always choose the option which is the most practical. b To transpose from C7 to D7, move the pattern up 2 frets, or down 10 frets. 2. Next, apply another four-beat pattern to the chart. Although patterns can sometimes be mixed, it is best to use only one pattern per song at first. 3. After you are comfortable applying a variety of four-beat patterns to the 12-bar blues in G, try to apply an 8-beat C7 pattern to the progression.

Download PDF sample

Rated 4.94 of 5 – based on 40 votes

Related posts