DUKE ROBILLARD HAS A slick, swinging alternative to four-tothe-bar comping. He terms it pianostyle comping because it recalls the tightly voiced, riff-style approach of
Count Basie and other Kansas City pianists. This 12-bar example also has some cool guitarisms, particularly the Bb13Bb13b9 move in measure 4. “I should
b E b6 E°7 B b 6/9 B b13 B b13 b9 Eb9 öö öö n öö öö öö ö ä ööö ... b ööö ö ööö n n öeb n öö .. Jöö î b 4 # #öe ööö öö úúúú .... ö ö ö # ö ö ä n ö ä ö b î Î . ö b ö b ö ö ö J ö ö ö ö Jö #ö ö . ==================================== & 4 = B 6
1
6 8
7 8 6 7 7 8
T A B
6 4 5 5
6 4 5 5
6 5 6 5
6 5 6 5
6 6 5 5
3 3 5 6
3 3 5 6
3 3 4 6
6 3
5 5 4
6 6 5
6 6
b E°7 B b6/9 Dm7 D b m7 Cm7 ö ö .. b öö ö ö öö öö ö ö ö ö b ö ö ö ö b öö öö # n öö öö ä n ö î . ö b ö ö ö ä ä ä n ö ä b Î î Î bö ö ö. Jö ö ö ö ö Jö Jö Jöö= ==================================== & E 6
6
6 4 5 5
T A B
6 4 5 5
6 5 6 5
6 5 6 5
6 6 5 5
8 6 7 7
8 6 7 7
7 5 6 6
7 5 6 6
6 4 5 5
6 4 5 5
B b6/9 B b°7 B b 6/9 B b°7 Cm7 F13 U À ö À ö ö À À ö À À ö ö À À ww ö ö ö n bb ä öö ÀÀ # n öö öö ÀÀ n öö öö ÀÀ ÀÀ # n öö öö ÀÀ ÀÀ n b öö öö ÀÀ ÀÀ # ö öö n ö # ö ( ) g n w ö À ö ö À ö ö À À ö ö À À ö ö À À # öö ö g ( ) ww ==================================== & = ö g ð 10
g6 g 655 g
let ring - - - - - -
6 4 5 5
T A B
b
X X X X
6 5 6 5
b
B 6 1 2 3
IV
V
1
X X X X
X X X X
b
V
2 3
4
X X X X
6 4 5 5
X X X X
III
1
III
1 2
2
V
8
7 7 6
7 5
F13
XX
3 4 3
6 6 5
E 9
XX
4
X X X X
b
B 13 9
XX 1
X X X X
b b
B 13
XX 1
6 5 6 5
b
B 6/9
XX 2 3
4
6 6 5 5
b
XX
VI
X X X X
E°7 B °7
E 6/Cm7
XX
6 5 6 5
X VI
1 3
Dm7 X VI
1 2
1 2 3
4 3
XX 4
give credit where it’s due,” says Duke. “I got that from a Rhode Island guitarist named Fred Bates. He used to play with tenor man Scott Hamilton in the Hamilton/Bates Blue Flames.” Duke also likes to slide into the chords from a fret below, which is easier on six strings than 88 keys. The signature sound of this Bb blues chorus is the recurring IV6-#IVdim-I6/9 ramp into measures 3 and 7. The familiar minor-7 chord shape on the top four strings (used in measures 7 and 8 to chromatically descend from the IIIm7 to the IIm7) doubles as a IV6 in measures 2 and 6. It’s cool because it lets you keep a Bb ringing on top of the IV without using the ubiquitous 9th chord, which becomes a welcome sound when it appears in bar 5. For the scratches in bars 10-12, muffle the strings by relaxing your left-hand grip and continuing to strum. Duke tends to do this when he gets fired up. The final V-I cadence is a crafty chord-melody move. Check the fretboard grids for Duke-approved fingerings. g
L i c k S P I K Y
o f
t h e
M o n t h
B L U E S
KENNETH LASAINE, SEPTEMber’s lick champ, hails from Los Angeles. “In the May ’97 and Nov. ’95
C7 or C #°7 (IV7 or #IV°7) G7(I7) bö ö ö 4 bö ö bö ö ö ö #ö ö ö ä n w ö ö ( ) ================= &4 =
issues,” Kenneth recalls, “Scott HenB1/4
derson and Charlie Hunter mention that straight diminished or symmetrical-diminished (whole-half) patterns can make you sound like a student. To help you avoid that, here are two phrases that merge diminished pattern elements into 12-bar blues. Each goes over bar 10’s IV chord (coming from the V) and outlines a common substitution, the #IVdim7.”
6 T A B
8 5
6 5
8 7
5
7
8
6
7
6 8
5
B b7(IV7) B°7( #IV°7) F7(I7) Ã nö 44 ö b ö b ö n ö ö ö # ö ö ö ö b ö ä w ================= & ö bö = 4
2
1
B1/4
g T A B
10 12 13
11 12
10
13
14
13 15
14
20 16
13
13
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