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By LARRY McCABE

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15 Variation #3 in the key of C F7 C7 _L The last two bars can also be played 17 I 1V7 I 17 / V7 / 1 Ex. 16 8-bar blues variation #4 J7 j7 iH IV 1V7 V7 V7 I Ex. 17 Variation #4 in the key of C 39 - C7 Appendix 5 Open Charts for Application of Patterns The following charts will help you learn to apply patterns from this book to standard blues progressions in several keys. As you become more proficient playing the patterns in various keys and song forms, your imagination will develop, and you will eventually become a versatile and creative rhythm-section player.

2. Next, work with other four-beat patterns. Arrange at least six choruses, using six different patterns. 3. After you are comfortable transposing four-beat C7 patterns to this chart, work with eight-beat patterns. Again, arrange at least six choruses, using a different pattern for each chorus. 4. Remember, an eight-beat pattern will require modification when it is applied to a four-beat chord. If this is difficult for you, see a qualified instructor. 41 Example 3 12-bar blues in C minor Cm7 Fm7 Gm7 Cm7 Cm7 Fm7 Fm7 Cm7 Cm7 Cm7 Cm7 Cm7 Arranging Tips The minor chord patterns in this book are in 12/8 time.

6 Pattern 19 is a combination pattern C7 Combination patterns in this book: Numbers 4, 12, 14, 16,19,21, 26, 32, 34, 40,45,51,56,68,75, 76, 79, 81, 85, 87, 89, 90, 92, 98, 101. I- T A B 53 53 3 Additional Comments on Rhythm Patterns Harmonically speaking, all accompaniment patterns are primarily influenced by the tones of the prevailing chord this same principle is true for bass lines, solos, and vocal harmonies. Non-chord tones, known as passing tones, are sometimes used as "stepping stones" to move from one chord tone to another.

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101 Bad to the Bone by LARRY McCABE


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