Guitar Lick Factory: Building Great Blues, Rock & Jazz Lines by Jesse Gress
By Jesse Gress
There's not anything just like the feeling you get in the event you upload a brand new guitar lick on your musical vocabulary. An encyclopedia of hip strains, Guitar Lick manufacturing facility is helping starting and intermediate guitarists construct their lick repertoires.
In addition, it opens the door to jazz for blues and rock avid gamers of all degrees, supplies jazzers the foremost to actual blues and rock, and indicates the real connections between all 3 genres.
It includes hundreds of thousands of ready-to-play licks provided as brief melodic modules. utilizing Jesse Gress's creative grid method, gamers will the way to extract dozens of melodic, harmonic and rhythmic diversifications from every one module.
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Additional info for Guitar Lick Factory: Building Great Blues, Rock & Jazz Lines
Sample text
They call the chord built on the first note of the scale of a given key “I” and describe chords built on other notes of the scale with Roman numerals indicating the number of scale steps from that note to the tonic, I. So, in the example below, C is I, D is II, and G is V. The tag after each Roman numeral indicates the kind of chord that is built on that scale tone: a “II7” or a “V7” indicates that the chord built on that note of the scale is a dominant seventh chord, the one that leads “naturally” to the tonic and gives a sense of closure; a “ii7” or “v7” indicates that the chord built on that note of the scale is a minor seventh chord.
But not every player has all that knowledge. Sometimes a performer knows the melody but not the harmonies or, Repertoire as Activity: The Basic Elements just as common, knows the harmonies but not the melody. Or knows the melody and harmony but not the well-known (to some other performers) variations on the melody or harmony, or the background or counter figures that might be used when playing that tune. Certain variations are critical, depending on the situation. If someone else in the band can play the tune when it’s called for, the player who doesn’t know it won’t suffer.
I learned that one from the Count Basie recording, which featured a beautiful solo by trumpeter Buck Clayton. I listened to it over and over, sang it to myself until I had the melody surely in place, then worked out what the harmonies were likely to be Learning Songs and Building an Individual Repertoire (back then I would have said, I’m sure, “had to be”) and tried them out until I had the tune down. Then I could teach it to Bobby Laine or whoever I could get to give it a try on the job. (I almost invariably learned the words as well, I’m not sure why.