LARRY McCABE's 101 Bad to the Bone PDF

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3 Pattern 1 uses chord fragments Chord patterns in this book: 1,5,6, 11, 13, 24, 29, 30, 36, 38, 41, 50, 62, 63, 65, 67, 71, 77, 78, 80, 84, 91, 93, 95, 96, 97. Example 3 is played to a C7 chord. C7 is a dominant chord; this type of chord is made from the l-3-5-b7 tones of the scale. For C7, these tones are C 1, E 3, G 5, Bb b7. A dominant seventh chord C7. D7, etc. can be extended by adding a ninth tone, a thirteenth tone, or both the ninth and thirteenth. Exception. the ninth is usually flatted when the dominant seventh chord functions as V7 in the minor keys.

1 Pattern 18 is a single-string pattern C7 11 T A B Monophonic patterns in this book: Numbers 17, 18, 20, 22, 23, 25, 27, 28, 37, 39, 46, 47, 48, 53, 58, 59, 60, 61, 70, 73, 74, 94, 99, 100. 53 3 DOUBLESTOP PATTERNS A doublestop pattern contains one or more two-note intervals Ex. 2. Most doublestop patterns are played on neighboring strings Ex. 2, but there are exceptions. See if you can locate a few doublestop patterns played on non-adjacent strings in the "patterns" section of this hook. Ex. 2 Pattern 8 is a doublestop pattern played on adjacent strings C7 flJ k -T--A 5 5 5 5 3 3 5 5 Doublestop patterns in this book: Numbers 2, 3, 7, 8, 9, 10, 15, 31, 33, 35, 42, 43, 44, 49, 52, 54, 55, 57, 64, 66, 69, 72, 82, 83, 86, 88 Doublestop patterns are an example of polyphonic playing.

Hint: Some minor patterns especially those with a natural 13th tone can be changed to dominant by raising the third tone a half-step. For example, if we raise the Eb b3 tone in the Cm7 chord to E 3, the pattern might work for the C7 chord. Patterns 55 and 97 can both be converted from minor to dominant quality. 43 If you have successfully completed the projects on the previous pages, you know the procedure. Here are a couple of eight-bar blues charts for you to work with. Ex. 5 8-bar blues in D D7 A7 G7 A7 D7 G7 G7 D7 A7 C7 to D7 is up 2 frets or down 10 frets.

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101 Bad to the Bone by LARRY McCABE


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