One-Man Guitar Jam by Troy Nelson

Author:Troy Nelson
Language: eng
Format: epub
Publisher: Hal Leonard
Published: 2014-09-11T00:00:00+00:00

JAM #80: ONE-BAR

LEAD/RHYTHM ALTERNATIONS

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For this next Jam involving the soul-jazz riff, one bar of lead is continuously alternated with one bar of rhythm. Since the original riff is two measures long, only the first measure of the two-bar figure is played in this example. The lead phrases for the I (G7) and IV (C7) chords are derived from the G composite (G–A–B♭–B–C–D♭–D–E–F) and C composite (C–D–E♭–E–F–G♭–G–A–B♭) blues scales, respectively, whereas the V (D7) chord is handled by the D Mixolydian mode (D–E–F♯–G–A–B–C).

MEASURES 1–4: Following a half-step (F♯–G) lead-in, the opening phrase commences with arpeggiation of a G major triad (G–B–D), which is briefly interrupted by a second-string pull-off figure. In measure 2, the G7 riff returns for one measure before segueing to a G composite blues scale lick that imparts a dominant 13th sound via multiple appearances of the note E (the 13th). Notice that the phrase ends on G (fret 5, fourth string)—the same note that is used as the pickup to the G7 riff, which is reprised in measure 4.

MEASURES 5–8: The IV chord is handled by a C composite blues scale lick that actually begins on beat 4 of the preceding measure. The root–♭7th–root (C–B♭–C) sequence that launches the phrase hammers home the dominant quality of the C7 chord before moving up and down the scale, covering seven of the scale’s nine tones and segueing to a bar of the C7 riff (measure 6). The lick in measure 7 opens by mimicking the first part of the phrase from measure 3 and ends with a reverse G major arpeggio. Again, notice that the last note of the phrase in measure 7, G, is the same note that is used as the pickup to the G7 riff (which is repeated in measure 8).

MEASURES 9–12: The ♭7th–root (C–D) hammer-on that opens the lick in measure 9 is reminiscent of the opening hammer-pull passage from measure 5 and the arpeggiations of the D major triad hark back to the lick in measure 1, both of which lend continuity to the Jam. After one repetition of the C7 riff (measure 10), the lick from measure 5 is restated in the key of G to outline the I-chord harmony (measure 11). The passage then concludes in measure 12 with two repetitions of the minor-to-major (B♭-to-B) hammer-on and resolution to the root of the V chord, D.

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