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G MAJOR
Line 1 -Bar 1:
Beats 1 & 2 - G major scale
Beats 3 & 4 - ''
Bar 2:
Beats 1 & 2 - ''
Beats 3 & 4 - Enclosure of D note (5th)
Bar 3:
Beats 1 & 2 - D major arpeggio
Beats 3 & 4 - Gº7 arpeggio
Line 2 -Bar 1:
Beats 1 & 2 - Enclosure of B note (3rd) (5th and 4th descending then chromatic ascending from whole step below)
Beats 3 & 4 - G major arpeggio and half step diatonic approach note to B (3rd)
Bar 2:
Beats 1 & 2 - Bm7 arpeggio
Beats 3 & 4 - Enclosure and scale notes
Bar 3:
Beats 1 & 2 - Ascending chromatic notes
Beats 3 & 4 - D major pentatonic (pentatonic from the 5th)
Line 3 -Bar 1:
Beats 1 & 2 - E melodic minor or E harmonic minor
Beats 3 & 4 - Descending chromatic notes from D leading back to E
Bar 2:
Beats 1 & 2 - Descending 4ths leading to descending scale notes
Beats 3 & 4 - Gmaj7 arpeggio
Bar 3:
Beats 1 & 2 - F#7 arpeggio
Beats 3 & 4 - Enclosure of B note (3rd) (same as used in Line 2)
Line 4 -Bar 1:
Beats 1 & 2 - Bm7 arpeggio
Beats 3 & 4 - Em7 arpeggio
Bar 2:
Beats 1 & 2 - D major pentatonic 4ths pattern
Beats 3 & 4 - D major pentatonic 4ths pattern leading into G major pentatonic 4ths pattern
Bar 3:
Beats 1 & 2 - G major pentatonic 4ths pattern
Beats 3 & 4 - G major pentatonic 4ths pattern
.
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05-31-2023 10:15 AM
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Some interesting ideas show up in the first four lines:
Gº7 arpeggio landing on D note. Gº7 is the same as C#º7, so dim7 chord resolving up a half step. Then the D note leading straight into enclosure of the 3rd.
The enclosure of the 3rd is the same one I pointed out in the earlier examples. This seems to be a move the author likes for setting up the 3rd of the chord.
The enclosure in Line2: Bar 2. I didn't know how else to identify that Ab note. I suppose you could just call it a chromatic passing tone.
The relative minor scale and chromatic notes in Line 3: Bar 1. I'm not sure if that's the best way to identify that group of notes. It makes sense visually, but it seems to come out of nowhere.
The pentatonic sequence in Line 4. I refer to playing pentatonic patterns across adjacent strings as 4ths, even though the scale steps actually produce a mixture of 3rds and 4ths.
Thoughts?
.
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G MAJOR continued
Line 5 -Bar 1:
Beats 1 & 2 - G Lydian accenting the #4 (#11) Leading into an ascending sequence with the accented notes spelling out an Am triad arpeggio
Beats 3 & 4 - Continuing Am triad sequence
Bar 2:
Beats 1 & 2 - ''
Beats 3 & 4 - ''
Bar 3:Line 6 -
Beats 1 & 2 - ''
Beats 3 & 4 - ''
Bar 1:
Beats 1 & 2 - Final section of Am triad sequence
Beats 3 & 4 - Ascending chromatic notes
Bar 2:
Beats 1 & 2 - Descending scale sequence
Beats 3 & 4 - ''
Bar 3:
Beats 1 & 2 - ''
Beats 3 & 4 - ''
Line 7 -Bar 1:
Beats 1 & 2 - Descending chromatic notes
Beats 3 & 4 - G major pentatonic
Bar 2:
Beats 1 & 2 - Gmaj7 arpeggio
Beats 3 & 4 - ''
Bar 3:
Beats 1 & 2 - Descending chromatic notes
Beats 3 & 4 - G major pentatonic
Line 8 -Bar 1:
Beats 1 & 2 - Descending chromatic notes
Beats 3 & 4 - G major pentatonic
Bar 2:
Beats 1 & 2 - Descending chromatic notes
Beats 3 & 4 - G major pentatonic ending in chromatic approach note (Ab) to G
Bar 3:
Beats 1 & 2 - Ascending and descending sequence of perfect 5ths played twice
Beats 3 & 4 - ''
Line 9 -Bar 1:
Beats 1 & 2 - ''
Beats 3 & 4 - ''
Bar 2:
Beats 1 & 2 - ''
Beats 3 & 4 - ''
Bar 3:
Beats 1 & 2 - ''
Beats 3 & 4 - ''
Bar 4:
Beats 1 & 2 - Tonic note and rest.
Beats 3 & 4 - Gmaj13 chord
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Whew! I hope I got that all typed up correctly.
If anybody spots any mistakes or disagrees with how I've labeled anything, let me know.
Interesting highlights:
I'm not sure how to qualify the Am triad section except to call it a sequence. It's an interesting use of a pedal point type of idea.
The descending chromatic and major pentatonic lines are kind of a finger twister for me... especially that last bit that ends on Ab. I keep stumbling over that part.
I'm not fond of the final 5ths sequence at all. It seems like a finger and picking exercise tagged onto the end of the etude without any real musical purpose.
.
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Thanks for the analysis - I found this helpful.
I see this more simply as an enclosure around the E.
Originally Posted by FwLineberry
Any thoughts on the F#7 arpeggio at Line 3 Bar 3? Do you see this as implying a different underlying chord, or would you use F#7 as a substitution to solo over G major?
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Hello edpirie.
Glad to have you participate.
Originally Posted by edpirie
You could be right. It certainly could be seen that way. I might be reading too much into it. Having gone through several of the exercises, though, it seems out of character with the types of enclosures the author tends to rely upon.
I'm trying to understand things in terms of principles I can apply (and trying to imagine what the author was thinking). For instance, enclosure of the 3rd by descending from the 5th to the 4th then ascending chromatically from the 2nd to the target tone makes sense, and he uses that move several times throughout the exercises. We'll see if this one shows up anywhere else.
This is another move that the author uses, regularly. I just see it as a dominant 7 arpeggio a half step below the root. I'm coming from a fusion/modal perspective, though, so I'm looking at all of this as superimposing structures over a static harmony.Any thoughts on the F#7 arpeggio at Line 3 Bar 3? Do you see this as implying a different underlying chord, or would you use F#7 as a substitution to solo over G major?
In this case the F#7 ends up on a Bm7 arpeggio, so the obvious thing to see is the F#7 acting as a secondary dominant (V/iii or V of iiii) leading to the iii chord. The Em7 that follows would be the ii chord, but then I'd expect this to follow through with a V - I if the author was really intending different underlying chords. I could be completely wrong on this, of course, but somebody much more well-versed in traditional jazz harmony and bebop standards would need to offer their perspective.
I've been poking my nose into some George Benson style superimposition ideas via Peter Farrell, like treating the iii chord and the vi chord as just inversions/extensions of the I chord. Doing so brings in the use of Dominant 7 chords off the 3 and 7 (F#7 and B7 over Gmaj7)
This same idea shows up in the C major exercise as B7 moving to Em7 but then leads directly to Cº7 then Em7.
This brings up the diminished 7 arpeggio from the root. In, both, this exercise and in the C major exercise this is used to land on the 5th ( G°7 landing on D and C°7 landing on G). I'm not sure what to make of this move, yet.
*** Edited to fix typo Cº7 landing on G
.Last edited by FwLineberry; 06-03-2023 at 11:55 AM.
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Hi… Originally Posted by FwLineberry
Excellent analysis, congratulations. I confess to have been a bit lost in some notes, and my analysis is more light than yours.
In the first two lines I have the same view except that I wrote in the bar 4 Gmaj arpeggio “11” and you have defined crearly the enclosures (I will do in this way in a future).
In the bar 7 (1st of 3rd line) I was not able to identify the relative minor scale and the lead tone to E (but I have enjoyed playing this nice notes and asking at the same time what they are).
Bar 9: I have a F#maj arpeggio, I’ve seen this last E like a scale tone to the enclosure. But is a strong harmonic point so I have written F#7 now.
As for the descending (and ascending) fourths, I started to play it fingerboard down but then found a lot easier to play this two bars strings down in the same position.
Now I will continue checking my notes with your post.
This exercise is brilliant, I enjoy playing this music, I’m sure that will bring good things to my playing. I wonder if the time for every exercise in our schedule will need to be broader as we advance and material to practice was more quantity.
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I am learning many details with your analysis. I have analyzed the exercise more briefly, for example in the fifth line I have indicated "sequence", but it seems to me very interesting to see that minor arpeggio in the final notes of each sequence. Originally Posted by FwLineberry
I see the chromaticism and the G major arpeggio at the end of the seventh line as a sequence that is repeated three times and whose pull off is particularly helpful for me to better understand and structure this sequence in my memory.
As for the measures with perfect fifths at the end of the exercise, I think it is a demonstration of how to cover a large space on the fingerboard using fifths, I think it has a more technical intention than anything else, although I love how it turns out at the end.
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You're welcome. Originally Posted by edpirie
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Originally Posted by Travelrock
I had wondered, too if one week is enough time for everybody to go through each exercise. I'm approaching it as just going through each one and seeing what's there. We all have the rest of our lives to really digest each one.
I had several of these memorized some time last year, but then I got sidetracked and let them deteriorate. So, these first few have been easy to pick back up. When we get to the ones I've never learned, it might be more difficult.
.
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Thank you - yes secondary dominant makes perfect sense. I've only been at this guitar business for a few months - normally a bass player - so some of these concepts are still quite new to me. Main thing is it sounds right, but like you I want to have enough understanding to apply the principle elsewhere. Originally Posted by FwLineberry
I spent some time with Joseph Alexander's Fundamentals books and he is big on extended arpeggios (running from the 3rd, 5th, 7th) so this is how I see it: G major extended arpeggio from the 3rd, rather than Bm arpeggio. Of course they are the same thing, but it makes you think in terms of landing on the 2nd, 4th etc. which I find helpful.
Likewise! Originally Posted by FwLineberry
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Originally Posted by FwLineberry
I'm so lonely I've taken to quoting and replying to myself
This same lick does show up again in the F major exercise:
Melodic minor or just an elaborate enclosure of the 6th degree?
.
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I was skimming Bert Ligon's Linear Harmony and he says this about "Neighbor Tones": The common practice (from Mozart to Charlie Parker) is to use the diatonic (from the key) upper neighbor tone and the chromatic lower neighbor tone. That's what I see here: diatonic upper neighbor tone is the E (7th) and chromatic lower neighbor tone is the C#, leading to the D (6th). Originally Posted by FwLineberry
This same lick does show up again in the F major exercise:
Melodic minor or just an elaborate enclosure of the 6th degree?
.
It's also how Jens Larsen describes a typical enclosure: chromatic note below and diatonic note above, in either order before the target note.
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Originally Posted by edpirie
I would agree 100% if we are only talking about the C# E and D notes. The author uses that type of "neighbor tone" enclosure very often.
But this lick includes five other notes that don't fit that simple description. It doesn't really fit the simple description of melodic minor, either, when you include the second group of four notes.
Since there's no way to know what the Author was thinking, I think I'll just call this the "6th lick" and keep an eye out for it in the remaining exercises. The real tell-tale sign of intent would be to see if this lick shows up anywhere in the author's second book dealing with harmonic and melodic minor.
.
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C MAJOR
Line 1 -Bar 1:
Beats 1 & 2 - Scale
Beats 3 & 4 - ''
Bar 2:
Beats 1 & 2 - Em arpeggio
Beats 3 & 4 - Scale
Bar 3:
Beats 1 & 2 - Gm arpeggio
Beats 3 & 4 - Scale
Line 2 -Bar 1:
Beats 1 & 2 - Enclosure
Beats 3 & 4 - C arpeggio and diatonic approach note (F)
Bar 2:
Beats 1 & 2 - Am arpeggio and DAN (D)
Beats 3 & 4 - C arpeggio and DAN (A)
Bar 3:
Beats 1 & 2 - C arpeggio and DAN (F)
Beats 3 & 4 - Am7 arpeggio
Line 3 -Bar 1:
Beats 1 & 2 - Enclosure
Beats 3 & 4 - C arpeggio leading into Gb arpeggio
Bar 2:
Beats 1 & 2 - Gb arpeggio continued leading into C arpeggio
Beats 3 & 4 - C arpeggio continued leading into Gb arpeggio
Bar 3:
Beats 1 & 2 - Descending sequence of diminished 5ths
Beats 3 & 4 - ''
Line 4 -Bar 1:
Beat 1 - End of diminished 5ths sequence
Beat 2 - G7 arpeggio
Beat 3 - G7 arpeggio continued
Beat 4 - Enclosure
Bar 2:
Beats 1 & 2 - Cº7 arpeggio
Beats 3 & 4 - Enclosure
Bar 3:
Beats 1 & 2 - Em7 arpeggio
Beats 3 & 4 - ''
Line 5 -Bar 1:
Beats 1 & 2 - Chromatic
Beats 3 & 4 - C major pentatonic
Bar 2:
Beats 1 & 2 - Chromatic
Beats 3 & 4 - C major pentatonic
Bar 3:
Beats 1 & 2 - B7 arpeggio
Beat 3 - Scale
Beat 4 - Em7 arpeggio
Line 6 -Bar 1:
Beat 1 - Em7 arpeggio continued
Beat 2 - Cº7 arpeggio
Beat 3 - ''
Beat 4 - scale
Bar 2:
Beats 1 & 2 - Em7 arpeggio
Beats 3 & 4 - Cº7 arpeggio (pivot)
Bar 3:
Beats 1 & 2 - G arpeggio
Beats 3 & 4 - C arpeggio
.
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Points of interest:
Line 3 includes major triad arpeggios ascending in a diminished 5ths pattern - C - Gb - C - Gb
Line 4, bar 2 is the same diminished 7 arpeggio from the root leading into an enclosure that lands on the 3rd as found in the G major exercise at line 1, bar 3 and line 2, bar 1:
G major lick:
C major lick:
The diminished arpeggio from the root and landing on the 5th showed up once in the G major exercise and shows up three times, here, in the C major exercise. (line 4, line 6).
The enclosure of the 3rd (5th, 4th, chromatic up from the 2nd) shows up twice in the G major exercise and once, here, in the C major exercise. I'm going to refer to this as the "3rd lick". I have no doubt we'll see it show up again.
The Cº7 arpeggio at line 6, bar 2 is what the Barry Harris folks call a pivot - play the root then jump down an octave to play the rest of the arpeggio.
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C MAJOR continued
Line 7 -Bar 1:
Beats 1 & 2 - Fmaj7 arpeggio (pivot)
Beats 3 & 4 - Scale
Bar 2:
Beats 1 & 2 - Sequence outlining C major arpeggio with enclosures
Beats 3 & 4 - ''
Bar 3:
Beats 1 & 2 - ''
Beats 3 & 4 - ''
Line 8 -Bar 1:
Beats 1 & 2 - Em7 arpeggio
Beats 3 & 4 - Am7 arpeggio
Bar 2:
Beats 1 & 2 - D arpeggio
Beats 3 & 4 - Sequence of arpeggios - Em, D, C , Bm
Bar 3:
Beats 1 & 2 - ''
Beats 3 & 4 - ''
Line 9 -Bar 1:
Beats 1 & 2 - C major pentatonic
Beats 3 & 4 - Sequences in 4ths (C Lydian mode)
Bar 2:
Beats 1 & 2 - ''
Beats 3 & 4 - ''
Bar 3:
Beats 1 & 2 - ''
Beats 3 & 4 - ''
Line 10 -Bar 1:
Beats 1 & 2 - ''
Beats 3 & 4 - ''
Bar 2:
Beats 1 & 2 - C Lydian arpeggio
Beats 3 & 4 - ''
Bar 3:
Beats 1 & 2 - ''
Beats 3 & 4 - ''
.
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Something that's been staring me in the face, but I couldn't see until this morning:
Cº7 = D#º7 = F#º7 = Aº7
These four chords are, essentially, equivalent to:
B7 = D7 = F7 = G#7
The first thing that should have been obvious is that The B7 arpeggio (line 5, bar 3) and the Cº7 arpeggio that follows are functioning the same, harmonically. They are both acting as secondary dominants leading to the iii arpeggio (Em7).
What wasn't so obvious to me is that Cº7 = F#º7. This makes the Cº7 to Gmaj (line 6, bars 2 & 3) fall into place and also throws some light on playing the diminished 7 arpeggio from the root.
Taken on it's own, every time this particular diminished arpeggio has shown up it has landed on the 5th. From there we either make our way to the 3rd via the "3rd lick" or by merely walking down the scale to the 3rd. From the 3rd, we can either play the tonic arpeggio (G major exercise) or play the iii arpeggio (C major exercise).
The other option, as shown in the C major exercise, is to land on the 5th and transition directly to the V arpeggio.
It will be interesting to see if this arpeggio shows up in subsequent exercises and if it leads to other chords.
[Edited to add]
The dominant 7 arpeggio from the 7th is being used, so far, just as I detailed the diminished from the root - land on the 5th then either play the "3rd lick" or walk down the scale to the 3rd.
.Last edited by FwLineberry; 06-05-2023 at 01:47 PM.
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Hello!
In the following message I send my vision of the exercise in C major. I did not want to read the messages that you have sent about this exercise to objectively interpret my point of view, with my mistakes and accepting that there will be things that I have not been able to see or understand. But it's the studio, right?
Now that I have done my analysis I am going to check it with FwLineberry's (who does some good analyses).
Greetings to all!
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Bar 1. C Scale
Bar 2:
Beats 1 and 2: Cmaj7
Beats 3 and 4: C scale
Bar 3:
Beats 1 and 2: Cmaj7
Beats 3 and 4: C scale
Bar 4:
Beats 1 and 2: enclosure of 5th
Beats 3 and 4: Cmaj7
Bars 5 and 6: sequence
Bar 7:
Beats 1 and 2: C scale
Beats 3 and 4: C and fist note of:
Bar 8:
Gb- C - Gb
Bar 9: Disminished 5th (3th and 7th of Ebº7)
Bar 10:
Beat 1: cont. Disminished 5th
Beat 2: passing tones and start Emin7 arpeggio
Beat 3: cont. Arpeggio
Beat 4: enclosure
Bar 11:
Beats 1 and 2: Ebº7
Beats 3 and 4: enclosure
Bar 12: Emin7
Bars 13 and 14: sequence composed of two chromatic beats and two beats in C pentatonic
Bar 15:
Beats 1 and 2: B7
Beat 4: start Emin7
Bar 16:
Beat 1: cont. Emin7
Beats 2 and 3: Ebº7
Bar 17:
Beats 1 and 2: Emin7
Beats 3 and 4: Ebº7
Bar 18:
Beats 1 and 2: Emin7
Beats 3 and 4: Ebº7
Bar 19:
Beats 1 and 2: C
Beats 3 and 4: C scale
Bar 20 and 21:
Sequence
Bar 22:
Beats 1 and 2: Emin7
Beats 3 and 4: Amin7
Bar 23:
Beat 1 and 2: D
Beat 3: here begins a sequence, a hemiola that fits perfectly in 3 bars of 6/8, with the following arpeggios: Emin, D, C, Bmin, Amin, Bmin
Bar 25:
Beat 4: end of hemiola
Bar 26:
Beat 1: begins another sequence, a hemiola that fits in 12/8 time, made up of perfect 4th intervals
Bar 27:
Beats 3 and 4: end of hemiola, begins a sequence of the same type as that of measure 4 onwards, but in a different key
Bar 30:
Beat 1: begins a sequence whose harmony I have not been able to identify, although it has a diminished air, I have not been able to find a scale that fits this arpeggio, which is repeated during bar 31
Bar 32: end in B: 7th of C? 3rd of G? 5th of Emin? It seems to me that the exercise begins to modulate from bar 8, and goes to a neighboring tone, which could be Emin, and stays there, mixing harmonic concepts that I still don't know: harmony in fourths? But the F is almost always sharp from the 3rd line on.
Hidden rhythms: I find the rhythmic richness of the exercise very interesting. On beat 3 of measure 4, a rhythmic game begins that fits perfectly in: 6/8 - 1/4 - 6/8 - 1/4 (reminds me of the "peteneras" measure: 6/8 - 3/4).
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Good to see you post your analysis! I was beginning to think everybody had deserted this discussion.
Looks like the only place we don't agree is bar 10. I'm seeing a G7 arpeggio (F G B D) rather than Em7 (E G B D).
To my way of thinking, the ending harmony switches to C Lydian mode (C D E F# G A B).
---
Are you ready to move on to the F major exercise?
.
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I agree with you about the C7. Originally Posted by FwLineberry
I don’t have yet experience with modal music, so your explanation for the end of the exercise in Lydian mode seems logical, and the sound is according to your analysis.
Let’s go! Originally Posted by FwLineberry
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F MAJOR
Line 1 -Bar 1 (m1):
Beats 1 & 2 - F major pentatonic (1 2 3 5 pattern)
Beats 3 & 4 - B major pentatonic (1 2 3 5 pattern)
Bar 2 (m2):
Beats 1 & 2 - F major pentatonic (1 2 3 5 pattern)
Beats 3 - Enclosure of 4th (Bb)
& 4 - Start of Bb arpeggio
Bar 3 (m3):
Beats 1 - ''
& 2 - Chromatic notes (or scale with b3 passing tone) and enclosure of 7th (E)
Beats 3 & 4 - ''
Line 2 -Bar 1 (m4):
Beats 1 & 2 - C major pentatonic
Beats 3 & 4 - Scale (5 4 3 1 pattern)
Bar 2 (m5):
Beats 1 & 2 - Scale
Beats 3 & 4 - ''
Bar 3 (m6):
Beats 1 & 2 - Ascending diatonic 3rds with approach note from 1/2 step below each
Beats 3 & 4 - ''
Line 3 -Bar 1 (m7):
Beats 1 & 2 - ''
Beats 3 & 4 - ''
Bar 2 (m8):
Beats 1 & 2 - 3ds (up one down the next)
Beats 3 & 4 - ''
Bar 3 (m9):
Beats 1 & 2 - C major pentatonic
Beats 3 & 4 - F major pentatonic
Line 4 -Bar 1 (m10):
Beats 1 & 2 - Scale
Beats 3 & 4 - E7 arpeggio landing on 5th (C)
Bar 2 (m11):
Beats 1 - Scale down to 3rd (A)
& 2 - Am7 arpeggio
Beats 3 - ''
& 4 - Scale
Bar 3 (m12):
Beats 1 - ''
& 2 - Fmaj9 arpeggio
Beats 3 & 4 - ''
Line 5 -Bar 1 (m13):
Beats 1 & 2 - C major pentatonic
Beats 3 & 4 - Scale (5 4 3 1 pattern)
Bar 2 (m14):
Beats 1 & 2 - Fmaj7 arpeggio
Beats 3 & 4 - Dm arpeggio with b3 passing tone
Bar 3 (m15):
Beats 1 & 2 - Scale
Beats 3 & 4 - Enclosure of 5th (C)
.
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Points of interest:
This one starts of right away going outside with the pentatonic 1235 pattern off the b5 (#4) in the first measure.
A 5 4 3 1 scale pattern shows up in a couple of spots.
The dominant 7 arpeggio from the major 7th shows up again (line 4, bars 1 & 2, mm10-11), landing on the 5th and moving down the scale to an arpeggio from the 3rd, just like before.
.
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F MAJOR continued
Line 6 -Bar 1 (m16):
Beats 1 - Scale
& 2 - Am7 arpeggio
Beats 3 - ''
& 4 - Enclosure
Bar 2 (m17):
Beats 1 & 2 - 4ths
Beats 3 & 4 - Chromatic
Bar 3 (m18):
Beats 1 & 2 - C major pentatonic
Beats 3 & 4 - F major pentatonic
Bar 4 (m19):
Beats 1 & 2 - Chromatic
Beats 3 & 4 - Scale
Line 7 -Bar 1 (m20):
Beats 1 - Enclosure
& 2 - Fº7 arpeggio
Beats 3 - ''
& 4 - Approach note (5th) moving up a half step to first note of C#º triad arpeggio
Bar 2 (m21):
Beats 1 - ''
& 2 - Fº7 Arpeggio
Beats 3 - ''
& 4 - Enclosure
Bar 3 (m22):
Beats 1 & 2 - Pentatonic 4ths
Beats 3 & 4 - ''
Line 8 -Bar 1 (m23):
Beats 1 & 2 - ''
Beats 3 & 4 - ''
Bar 2 (m24):
Beats 1 & 2 - ''
Beats 3 & 4 - Chromatic
Bar 3 (m25):
Beats 1 - 4th
& 2 - 5ths moving up in 4ths
Beats 3 & 4 - ''
Line 9 -Bar 1 (m26):
Beats 1 & 2 - F arpeggio
Beats 3 & 4 - Am7 arpeggio
Bar 2 (m27):
Beats 1 & 2 - Scale (Lydian)
Beats 3 & 4 - 3rds
Bar 3 (m28):
Beats 1 & 2 - "6th lick"
Beats 3 & 4 - ''
Line 10 -Bar 1 (m 29):
Beats 1 & 2 - Chromatic down to R (F) then chromatic approaches to the 5th (C) and R (F)
Beats 3 & 4 - ''
Bar 2 (m30):
Beats 1 & 2 - Fmaj9 arpeggio and scale notes
Beats 3 & 4 - Moving up a half step to E arpeggio
Bar 3 (m31):
Beats 1 & 2 - major 7th (E)
Beats 3 & 4 - E7/F chord
.Last edited by FwLineberry; 06-13-2023 at 12:37 PM.
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