101 Bad to the Bone by LARRY McCABE


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11 Variation #1 in the key of C minor Cm7 Cm7 Cm7 Cm7 Fm7 Cm7 Fm7 Cm7 Gm7 Fm7 Cm7 Cm7 if if Lx. 12 12-bar minor-key variation #2 im7 ivrn7 im7 In the minor blues, V7 or V7b9 is used more often than vm7 ivm7 irn7 ivm7 im7 ivm7 im7 V7 0r vm7 Cm7 G7 or Gm7 Fm7 im7 V Cm7 G7 if if - Ex. 13 Variation #2 in the key of C minor Cm7 Fm7 Cm7 Cm7 Fm7 Fm7 Cm7 I L Lx. 14 12-bar minor-key variation #3 im7 ivm7 im7 This progression has a im7-ivm7-im7-V7 turnaround in measures 11-12 ivm7 im7 Fm7 Cm7 Cm7 im7 im7 V ivm7 im7 ivm7 im7 V7 Optional chords for measure 10: V7sus / V7b9 / Ex.

This is an example of chord extension. Can you find the chord extensions ninths and thirteenths in Ex. 8? Ex. 7 Pattern 13 is a typical fixed-chord pattern features harmonic motion Ex. 8 Pattern C 2 -9_ A R 3 3 3 3 3 3 33 3 3 3 33 3 I 2 tO 3 88 3 88 1011 108 33 77 912 97 3 3 8 2 86 Most guitarists learn to play rhythm guitar by strumming fixed chord shapes Ex. 7. To be effective in the rhythm section, we must eventually learn to mix up our rhythm patterns. A good rhythm player is capable of setting the harmony in motion Ex.

However, in the rninsr keys the V7 chord almost always takes a flatted ninth tone, especially when that chord progresses to the tonic minor im. Thus, the G7 chord, when played in the key of C minor, can be extended to G7b9 G-B-D-F-Ab, but it is seldom extended to G9 U, B, D, F, A. General Rule Flat the 9th tone for V7 in a minor blues. Lx. 10 12-bar minor-key variation #1 im im7 im7 ivm7 im7 ivm7 im7 im7 ivm7 vm7 im7 im7 T IF I ifim I Ex. 11 Variation #1 in the key of C minor Cm7 Cm7 Cm7 Cm7 Fm7 Cm7 Fm7 Cm7 Gm7 Fm7 Cm7 Cm7 if if Lx.

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