Jazz Guitar Organ-Trio Blues Munro METODO LIBRO CD SPARTITI TABLATURE

The 21st Century Pro Method: Jazz Guitar -- Organ-Trio Blues
By Doug Munro
Guitar Spiral-Bound Book & CD
Item: 00-0758B

The most complete method for any guitarist seeking a better understanding of the blues roots of jazz guitar. Based on the styles of the classic organ-trio guitarists of the '60s, such as Wes Montgomery, Grant Green, Kenny Burrell, and George Benson, this book explores all the concepts and techniques required to play in this foundational style. The book includes riffs and patterns, music theory, scales, modes, chord voicings, arpeggios, and soloing. Over 120 music examples and six complete solos in the styles of many jazz greats are used to place all concepts into a practical musical context. A CD with music examples is included!

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CONTENTS/CD TRACKING Page Number CD Track
CHAPTER ONE:
THE MINOR PENTATONIC AND BLUES SCALES ....6
The Minor Pentatonic Scale (Examples 1–2)................................................6
Minor Pentatonic Scale Riffs (Examples 3–5) ...............................................8 .........................1–3
C Minor Pentatonic Scale-Tone Chords (Examples 6–10) .........................10
C Minor Pentatonic Scale-Tone Chord Riffs (Examples 11–13).................12 ........................4–6
Arpeggios in the Minor Pentatonic Scale (Examples 14–16) ....................15
Arpeggio Riffs in the Minor Pentatonic Scale (Examples 17–19)..............16 ........................7–9
The Blues Scale (Examples 20–21) ................................................................18
Blues Scale Riffs (Examples 22–24)................................................................20 ....................10–12
C Blues Scale: Scale-Tone Chords (Examples 25–26).................................22
C Blues Scale: Scale-Tone Chord Riffs (Examples 27–29) ..........................24 ....................13–15
C Blues Scale: Scale-Tone Arpeggios (Examples 30–31) ...........................26
C Blues Scale: Scale-Tone Arpeggio Riffs (Examples 32–34).....................26 ....................16–18
Summary Solo #1 (Example 35) ....................................................................28 ..........................19
CHAPTER TWO:
THE MAJOR PENTATONIC SCALE....................................30
The Major Pentatonic Scale (Examples 36–37)...........................................30
Major Pentatonic Scale Riffs (Examples 38–40) ..........................................32 ....................20–22
Major Pentatonic Scale-Tone Chords (Examples 41–43)...........................35
Major Pentatonic Scale-Tone Chord Riffs (Examples 44–46).....................37 ....................23–25
Major Pentatonic Scale-Tone Chord Arpeggios (Examples 47–48) .........40
Major Pentatonic Scale-Tone Chord Arpeggios Riffs (Examples 49–51)..42 ....................26–28
Summary Solo #2 (Example 52) ....................................................................44 ..........................29
CHAPTER THREE:
COMBINING MAJOR AND MINOR
PENTATONIC SCALES..................................................................48
Major and Minor Pentatonic Scales Over a Major Blues Progression
(Example 53)..............................................................................................48 ..........................30
Major and Minor Pentatonic Scales Over a Minor Blues Progression
(Example 54)..............................................................................................49 ..........................31
Major and Minor Pentatonic Scales, and the Blues Scale,
Over Individual Chords ...........................................................................51
Major and Minor Pentatonic Scales, and the Blues Scale,
Over a Major Blues Progression (Example 55) .......................................51 ..........................32
Major and Minor Pentatonic Scales, and the Blues Scale,
Over a Minor Blues Progression (Example 56) .......................................52 ..........................33
Major and Minor Pentatonic Arpeggios Over a
Major Blues Progression (Example 57) ....................................................54 ..........................34
Major and Minor Pentatonic Arpeggios Over a
Minor Blues Progression (Example 58).....................................................55 ..........................35
CONTENTS/CD TRACKING Page Number CD Track
Major and Minor Pentatonic Arpeggios Over a
Major Blues Progression (Example 59) ....................................................57
Major and Minor Pentatonic Arpeggios Over a
Minor Blues Progression (Example 60).....................................................58 ..........................36
Summary Solo #3 (Example 61) ....................................................................60 ..........................37
CHAPTER FOUR:
THE DOMINANT 7 PENTATONIC SCALE ...................62
The Dominant 7 Pentatonic Scale (Examples 62–63) ................................62
Dominant 7 Pentatonic Scale Riffs (Examples 64–66)................................64 ....................38–40
Dominant 7 Pentatonic Scale-Tone Chords (Examples 67–68).................66
Dominant 7 Pentatonic Scale-Tone Chord Riffs (Examples 69–71) ..........68 ....................41–43
Dominant 7 Pentatonic Scale-Tone Chord Arpeggios
(Examples 72–73).......................................................................................71
Dominant 7 Pentatonic Scale-Tone Chord Arpeggio Riffs
(Examples 74–76).......................................................................................73 ....................44–46
Summary Solo #4 (Example 77) ....................................................................76 ..........................47
CHAPTER FIVE:
MINOR PENTATONIC SCALE
SUPERIMPOSITION .......................................................................78
Minor Pentatonic Scales Over Major 7 Chord Riffs (Examples 78–81) .....79 ....................48–51
Minor Pentatonic Scales Over Minor 7 Chord Riffs (Examples 82–89) .....81 ....................52–59
Playing Superimposed Pentatonics Over Chord Changes
(Example 90)..............................................................................................84 ..........................60
Summary Solo #5 (Example 91) ....................................................................86 ..........................61
CHAPTER SIX:
SEQUENTIAL GROUPS ...............................................................88
1–2–3–5 Sequential Group Fingerings (Example 92) ..................................89
1–2–3–5 Sequential Group Riffs (Examples 93–95)......................................90 ....................62–64
1–2–4–5 Sequential Group Fingerings (Example 96) ..................................93
1–2–4–5 Sequential Group Riffs (Examples 97–99)......................................94 ....................65–67
1–%3–4–5 Sequential Group Fingerings (Example 100) ...............................97
1–%3–4–5 Sequential Group Riffs (Examples 101–103).................................98 ....................68–70
1–%3–4–%6 Sequential Group Fingerings (Example 104) .............................101
1–%3–4–%6 Sequential Group Riffs (Examples 105–107)...............................102 ...................71–73
Summary Solo #6 (Example 108) .................................................................104 .........................74
CHAPTER SEVEN:
LIBRARY OF BLUES CHORD PROGRESSIONS .....106
12-Bar Major Blues Progressions (Examples 109–123)*...............................106............MP3: 1–15
12-Bar Minor Blues Progressions (Examples 124–130)*...............................114..........MP3: 16–22
*This book comes with an expanded CD featuring 22 bonus MP3 play-along tracks for Examples 109–130. To
access these bonus play-along tracks, place the CD in the CD-ROM drive of your computer. Double-click the
My Computer icon and open the drive containing the CD. Open the Play-Along Tracks folder.
CHAPTER ONE:
The Minor Pentatonic and Blues Scales
The first scale most guitar players learn is usually the minor pentatonic scale. What a revelation this scale
is—every note sounds great! This scale has symmetry, intervallic leaps, chord tones, and blue notes.
The minor pentatonic scale lies nicely on the fingerboard and is easy to visualize as box patterns on the
guitar’s neck. It’s a pity that as most jazz guitarists progress, they tend to dismiss the minor pentatonic scale as
a “baby” or “beginner’s” scale. This undervalues the scale and deprives the jazz player of one of the most powerful
improvisatory tools at his disposal. The aim of this book is to wake up your dormant pentatonic chops and
demonstrate how far you can take these little “beginner” scales.
The Minor Pentatonic Scale
The minor pentatonic scale is made up of five (penta) notes arranged in a specific order. If you relate the minor
pentatonic scale to the major scale, you have the root, ≤3rd, 4th, 5th, and ≤7th. The examples in this chapter
use the C minor pentatonic scale.
Don’t forget to play all the exercises in this book in all 12 keys, and don’t forget to use your metronome!
Example 1 is a C minor pentatonic scale.