iřl

Altout the Arrthor

ased in Southern Cal i fornia, Ross Bolton is cur-rently a regular member of Al Jarreau's band and

has recorded or performed with Rick Braun, DavidBenoit, The Beach Boys, Sheena Easton, JefferyOsborne, Nel l Carter, Donny Osmond, and manyothers.

A few of Ross' TV and movie credits include

"Everybody Loves Raymond," "Fhe Larry SandersShow," "Fridays," "T\,r/o Cuys, a Cirl & aPizza Place,"

"Casper," Switch," and "The Jeff Foxworthy Show'"

Ross has been on staff at Musicians Institute in

Hollywood for many years and has conducted seminarsand cl inics around the world. His popular video onfunk guitar and recent CD-Rom are sold internationally,receiving praise from many major trade publications.

Cuitar Player magazine has regularly featured Ross as

For more information please visit rossbolton.com

a guest columnist.

Acknourrlee|9rÍrents

$oecial thanks to Keith Wyatt, Masaki Toriwa, and everyone at Musicians lnstitute.

CD produced by Bernhard Groinig and RossLassmann.

Bolton. Production assistance by Katrin

Gontentspage

l n t roduc t ion . . . . . . . . . . . . .4

Be fo re You P lay . . . . . . . . . .5

CDtrack

a5

4

5

6

7

B

9

10

1t

12

'13

14

Cett ing Started . . . . . . .6

D iv ide and Conquer ( l so la t ing S ix teenths) . . . . . . . . .7

Forg ing the Funk . . . . . B

Scra tch Or F loat? . . . -10

The Sw ing Th ing . . . .12

Chords 'R ' Us . . . . . . .14

S l ippery S l i des . . . . . .16

The Harmonic Rest Stoo.

Sca les . . .20

Minor Madness . . . . .22

Cet Picky With l t 24

1

2-5

6-12

13-19

20-26

27-32

33-40

41-42

43-45

46-50

51-55

56-60

61-64

65-70

Throrv in ' Down . . . . .26

The Funky Shuf f le . . . . . . . . .2g

The End-of-the-Book, Just-for-Fun,Put t in ' - l t -A l l -Together , Par ty Jam! . . . . . . . . . .30

AR&B

lntroelrrction

t some point in the 1960s, James Brown and his band started an epidemic thatwould forever change the face of modern music. Their nuclear version of soul andinspired a movement that became known as ,,funk.,,

The tradit ion of funk guitar playing is al l about one thing: groove. Groove is the holy grai lof being "in the pocket," which boi ls down to f inding a great part and locking in with therhythm section. When it al l comes together, magic happens!

This book wil l get you started w,ith al l of the basic techniques and chord knowledge youneed to jump into the rr,,orld of funk and groove guitar. The play-along CD is a fun, essen-t ial element for applying the lessons. You' l l be ref ining your groove as you play along witheach example.

Remember, funk is partr music. lt's meant to be fun-so enjoy the journey!

Ross Bolton

Before Yorr Playrrr

fl ere are a few things you should consider before you start jamming:I t

1) Since the whole idea of funk guitar playing is to get t ight with the bass anddrums, try to practice with a metronome or a drum machine. l f you're using adrum machine, keep the pattern simple (hi-hat plays eighth notes, kick drum onbeats ' l and 3, snare on 2 and 4).

) t There is, of course, a CD provided for you to play along with the examples in thebook' In most Cases/ each examp|e wi|| be played severa| times at a ,,perÍormance,,

tempo, so you hear the part in context. That wi l l be immediately fol lowed by asloner, "practice" version, isolat ing the guitar with the drums. l f you're workingw'ithout the CD, a good beginning tempo for most of the examples is around76-81 bpt. Once you get comfortable, the real groove zone is generally betweenB4-102 bprn.

For no\r,, lose the effects. Distort ion, delay, reverb... al l thatstuff wi l l make itmore dimicult to hear whether you're playing in t ime. Once you get your tech-nique together, then start experimenting with a wah-wah pedal, phaser, etc.

4) Finally, check out (if you haven't already) the artists that created and defined theworld of funk. A "greatest hits" CD bv anv of these bands would be worth listen-ing to:

3)

- James Brown- Earth, Wind & Fire- Cameo- Tower of Power

Of course, there are many others...

- Sly & The Family Stone- Parl iamenVFunkadel ic- Ohio Players- Prince

etting Starteel

G ince most funk parts are based on a sixteenth-note subdivis ion, we' l l begin by just

D rar.a.n I ng muteo stxteenrns.

With your left hand resting lightly on the fretboard (just enough to mute the strings), begin

strumming with your r ight hand. The example below shows that you begin with a down-

stroke, alternating four strokes per beat.

c oun t : 1 e&a

As you play, keep your eye on your strumming hand, and apply these basic rules:

a) Your wr.ist and arm shouId be Ioose! A|so, try not to,,Íix,, your fingers or wrist

onto the guitar.

b) Don't drag your pick across the strings. lnstead, try to make it sound like you're

hitt ing al l of the str ings at the same t ime. This wi l l keep your sound t ight andfocused.

c) At this point, you' l l want to always keep your strumming hand moving in t ime

with the music, and keep the volume of all the attacks even like a machine. lt's

also a good idea to tap your foot as you're playing. And f inal ly...

d) Play strong! This is no time to be shy. lf you make a mistake, make a big, loud,

ugly mistake.

A word about counting: To keep better time while you play, try tapping your foot once for

each beat (1,2,3, and 4) and us ing "e-&-a" to f i l l out the count , l ike th is :

"one-ee-and-u h, two-ee-and-u h, th ree-ee-and-u h, fou r-ee-and-u h '"

n----n-- = downstroke

= upstroke

irriele anel Gonquerlsolating Sir<teentlrs)

ow that you,re waíl ing on the sixteenths, We,|| use the u|t imate funk chord-Eg-to begin playing the attacks. To get the r ight sound on this voicing, try muting the

sixth str ing with your |eít-hand thumb so that it doesn,t sound. (Note: Throughout thisbook, the root of the chord wil l be highl ighted.)

O = Í o o t 2 . Í 3 3 3

The concept of isolating each of the sixteenths is, without a doubt, the most important ele-ment in developing your funk technique. As you play through the fol lowing examples,keep the volume of the scratches even with volume of the chord. Also, continue to tapyour foot on beats 1 , 2, 3, and 4.

Downstrokes: The first and third sixteenth of each beat. The first sixteenth is called thedownbeat-it's also your tempo or meter. The third sixteenth is called the upbeat.

Upstrokes: The second and fourth sixteenth of each beat. Cetting the upstrokes "just right"can be tricky. Try to get them as strong as the downstrokes without throwing off the time-feel.

E9ft

E9v

VVV

2 . Í 3 3 3

E9

ořging the Funk

ow let's combine these sixteenth attacksWe' l l a lso move around the ninth chord

to create some basíc one-bar rhythm patterns.

shape to some other keys.

F9

-

-

2 1 3 3 3

-V

Here's a chord you can use instead of the ninth. Notice that it uses only the top fourstrings-this type of voicing is typical in funk because it makes the guitar easier to hearamong the other instruments.

E'7

--

l.l

,G9

4

Apply this new E7 shape to the fol lowing examples.avoid hitt ing the lower str ings with your strumming

Focus on the higher str ings, and tryhand !

to

E7x x

LITIL.]I t a t tTTTTN

Let's move the same chord shape up three frets to C7.

G7x x

2 3 1 4

-V -V

Scratch Or Float?

t t imes, you may want to sustain a chord whi le you're playing a rhythm pattern, in-stead of scratching. Although you may be tempted to stop your strumming hand in

these instances, it's better to keep that hand moving in the usual sixteenth-note motion,"f loating" over the str ings as the chord sustains.

Here's another four-note chord shape, this time in the key of C, with the root on top. Usethis shape to play the fol lowing example. Be sure to f loat your hand during the sustainednotes.

For this pattern, move the same chord shape down three frets to the key of A.

E9-

10

Now try another pattern with this FZ shape.

Up to this point, we've been scratching every sixteenth note; this helps keep our t imeeven and our technique more consistent. However, this constant scratching sound isn,t al-\'\'avs desirable. With the next three rhythm patterns, keep your right hand moving in anormal dolvn/up motion, but str ike the str ings only on the indicated rhythm-leaving si-lence betrveen the attacks.

A9x- .

1 l i: a a a

! \

Noi,r, that you Can play in time withouťthe muted scratch, you should be aware that anoccasional scratch sound between attacks can add a cool percussive effect to your funkplaying. You may want to go back and play the examples on this page again. From thispoint onward, experiment and let y'our ears tel l you how much of the scratch sound is ap-propriate.

F7-

VV

iThe Suuing Thing

nt i l now, a|| of our examp|es have had a,,stra ight, , fee|. Let,s begin p|aying some oÍthe rhythms with a swing feel .

The swing groove happens by s|íght|y de|aying the second and fourth sixteenth of eachbeat. The best way to understand this is to hear it first. Listen to the CD, and then try ityourself: Simply scratch muted sixteenths with a straight feel, then stop and try the swing

Eroove.

straight

swing

Play these famil iar rhythm patterns with a swing feel. (Use our old rel iable E9 chord.)

E9

E9

E9

l 2

In funk, the swing feel can be used to varying degrees. Yourll often see it notated likethis: (,Ťfi ="ff i). Check out the fol|owing three swing jams. Each is a two-bar rhythmpattern.

@,m=iť]lG9

@rm=ffirE9

F9xfT5TTl 7ftt 0 t e t oM-TFt t l i ln-n-n2 1 3 3 3

From this point on, some of the examples wi l l have a swing feel and some wil l be straight.

lEhorďs 'R' lls

efore moving into other funk techniques, let 's take a moment to embel l ish the chordswe've already played. By moving one note of a chord shape, we can enhance our

rhythm parts, making them more melodic. (Remember that any of these shapes can bemoved around the neck into different keys.)

The basic E9 shape is easi ly changed into an E13 chord. Use the fol lowing rhythm topractice alternating between these two shapes.

The other seventh chords we've used can also be modified by changing one note. Thesenext embellishments are known as "sus4" (suspended fourth) or just "sr.)s" chords. Play thefollowing rhythms, alternating between these chord shapes.

r 3 : r i r

l ) ) ) ) = ) ) ) ) )

E7x xE7sus4

2 3 1 4

r 3 r r J r

\ ) ) ) )= ) ) ) ) )A7

I t I QQ ) r r-TTTTIn-]"rnT-ITTI

1 2 1 1

A.7sus4x x ^|Tll-5ě 5 frrT-n-nt t t a t lrT-n-n

' 1 3 1 1

All the chords we've learned so far belong to a family known as "dominant" chords (moreabout that later). Here are some more chord shapes from that family, with embel l ishments.These two-bar patterns all feature a dominant chord (seventh or ninth) in the first measureand a "sus4" embel l ishment in the second measure.

G7X XiTÓTTl s f.

I l a L aTTN-Nn*-rn

1 3 2 4

G7sus4x xfpm sf'r l l l . lI t a t lt t t t t an-n*n

1 3 2 4

O,T_=ffirE7sus4híf,.r'uNTTNl | a l lrnT5l|--rrn' l 3 ' Í 4 1

E9X XtTttTTl e ftrrnTtLuJt-]l t a t l a--rT-n

3 2 1 4

1t .

2.3.

lippeÍY sliďes

he half-step (one-fret) sl ide is a common tr ick that wi l l add a l i tt le spice to yourrhythm parts. Be aware of the following:

As you slide a chord, make sure the strings continue to ring. You don't want the notesof the chord to "die" as you sl ide.The sl ide should be in t ime-just as i f you were strumming the chord.You may be tempted to stop your strumming hand as you slide, but keep "floating"those sixteenth notes.

Begin by just sl iding the basic E9 shape from one fret below-strum an Eb9 chord, andsl ide your left hand up one fret, sounding the E9 without actual ly str ik ing the str ings. Area l l the st r ings r ing ing?

Eb9

( ,z = Slide)

2 1 3 3 3 2 1 3 3 3

Now add the sixteenth scratch ("float" over the strings with your right hand during thes l ide) .

Eb9 E9 Eb9 E9

Add two more attacks...

Eb9 E9 Eb9 E9

...and now, take one away.

2 1 3 3 3

16

Eb9 E9 Eb9 E9

Here's a part with a slide and the thirteenth(Remember the thirteenth chord shape?)

added.

, - . 3 l ť i .\ ) ) ) )= ) ) ) ) )

pbg pg E13

Now try sl iding around with these two chord shapes.

, ,G75 fÍ

rl

tII

t!d,

cilg oq

Of course, this slide technique can be used with any of the chords in the book.

r 3 r r 3 r

\ ) ) ) , ) = ) ) ) J t

G7x xfffTFl 8frřT.TnTITFNME

2 3 1 4

Fiz G7x x x xfl-[TFl 7r' l-l*fTFl ar.|T.TN [T'TNn-rrn TarFnrTl-m tIfx

Gl3

E13

2 1 3 3 4

3 2 1 4

he Harnronic Rest Stop

f l t we bui ld our funk technique, it seems l ike a good idea to pause and look at whyFlwe've been choosing these particular chords shapes and how they relate to eachother on the fingerboard.

In the land of funk, most songs come from one of two harmonic famil ies: dominant andminor. So far, we've been using dominant chords. Let's begin there.

Dorninant GlrordsDominant chords are bui lt from a major tr iad (1 ,3,5) with a lowered 7th 1b71. Extendingthe chord wil l give you more possibi l i t ies (9, 11, 13). You can also "alter" the extensionsby rais ing or loweríng them where appropriate (b9, *9,l11,bl3).

Al l of the chords we've played are common funk shapes. They f it into a logical orderwhen viewed next to the guitar's fingerboard. These are known as chord "inversions."

í ..l

\Z

t 8

r g l z g s

llllinor ttrhordsMinor seventh chords are bui lt from a minor tr iad (1 ,b3, and 5) with a lowered 7th bn.Like the dominant family, you can also "extend" the minor chords (g,11,13); however,unl ike dominant, i t 's not appropriate to alter these extensions.

Compare the fol lowing díagram to the previous one, and you,|l notice the similar it ies ofthe minor chords to the dominant shapes. ( ln most Cases/ the onIy dífference is the third ofthe chord.) Feel free to go back and practíCe any of the previous examples in this bookwith their "paral lel" minor chord shapes.

. Í - 1

GmiTx x

uml /x x

GmiTx x

1 r 3 b 7 I 5

ater in the book we'll be playing some single-note funk parts, the notes of which aretaken from scales relating to common funk harmony. The three scales most common

to funk are minor pentatonic, blues, and Mixolydian. Although there are many ways toplay each of these scales, for demonstration purposes, we'll l imit our focus to two patternseach.

lf these scales are new to you, try experimenting with them over the progressions shown.Notice that, like the chord diagrams, the roots of the scale have been highlighted. Any ofthese scale patterns can be moved around the neck to different keys.

lUlinor Pentatonic

We start with this scale because it's the most common. lt has five notes rather than seven(typical of most scales) and is regularly used with dominant as wel l as minor chords.

C minor pentatonic

ffffTO,uT-NTItaaa t Ia]-TTral-l-n-n

555TTl ro tl--'1......t#I l ? lrTr{-ir?e t t ??f-tTrn

Try running up and down either of the above patterns (in the positions shown) over thisprogression in G minor. Jam, experiment, and have fun!

Gmi

20

BlrresLike the minor pentatonic, the blues scale is also commonly used over dominant as wel las minor chords. l t is basical ly a minor pentatonic sca|e with one note added ú5).

G b lues

fffffQ,nril-T]-tf.ÓT-l-]aTt-r5ln-n-n

ff itool t o t o i#l t a o t l{TT-TF+n-tril

G sbCG

FC G7

BbC

This seven-note scale is directly related to dominant harmony. Unlike the other scales, itsuse is general ly l imited to dominant chords.

C Mixolydian -----1

[Tf{Tl 'oott I aolT-n-n.5ÓTIÓn-rTFt

ITIiT] nutottttl l l l t l??aaa?itm

lUlixolydian

G7 FC

Please keep in mind thatthere are many other chord/scale options available to you! Thisis meant only as a general reference. Use this information as a place to start, and let yourdesire lead you deeper into the world of melody and harmony.

inor ]Ulaďness

ere are a few examples of how to apply minorNotice that in each of the fol lowing examples,or two to the basic chord shape.

Hnote

chord shapes to funk rhythm patterns.a mini-melody is created by adding a

Don't let al l the chordto move one finger for

diagrams int imidate you;each new chord.

Ami9X X

for the next two examples, you only need

@ nmzsus+fTlTTl 7 nmT-tn-riTtt t t l t arrn-n

AmiTX X

AmiTX XrfATtrI t a t l[T-NT

1 3 2 2

AmiTsus4X X

fEm 7ftI l l ? lL!rLL..ll t i t t an-|.]-n

1 3 2 4

't fr

AmiT

| 1 3 2 21 3 2 4

.^. -,!-É

Ý Ami7řsmt,ztmT-tŤ.Tnffi

Ami13X

AmiTx

Amil3x

22

Here's a commonchord (Dmi) .

minor chord progression,moving from the lmi chord (Ami) to the lVmi

.^. -'El

S, ( f f i=JJ i J )Ami

ř]?i-fl l.ftINTTt t t a l a

ffi

Dmix xI I I a a o l 0 f rri-Tl-nt l a t l ln-fi-r

3 1 1 1

GÍmi Amix x x xlTITTlnft ITITTIrqrTtr|l TNTI I t a a o | | t a a or-rrn n-ř.n

1 4 4 4 ' l 4 4 4

1 3 1 4

This one's way up high on the fretboard. Notice how much space is left at the end of thesecond measure. (Keep pumping that r ight hand!)

O St'"i t.i^xLJíml Amlx x x x[T.TTll3fT rT.TTlt4ÍTřrTrT] řrrřř1l-lJ'rfl H+H-ll.....l.....].....# |.'...]'....]+l I l . . o ] | | . . ÓTT-N-N I_TTTN

1 4 4 4 1 4 4 4

et Piclry nUith lt

any times, the best part for a groove is a simple single-note line. These parts aregenerally short, repeating ideas that use very few notes.

The f irsttwo examples below are muted parts. To getthis sound, l ightly restthe palm ofyour picking hand on the str ings near the bridge. The pressure should be just enough tostop the sustain of the notes. To help you stay "in the pocket," keep your pick moving insixteenths with the music.

*N.C.(Gmi)

O N.c.(A7)

*N.C. = No chord

The next three grooves use a skank sound. This is the ultra-cool technique of isolating asingle note whi le str ik ing more than one str ing. This creates a big, percussive sound thatreal ly cuts through when the band is jamming. lt can be diff icult to execute (especial ly theupstrokes), so be patient.

Left hand: The trick is to mute the adjacent strings while fretting the note you wantto hear.

Right hand: ln general, scratch the note you want to hear along with one or twoof the adjacent muted strings.

24

It's the muted strings in tandem with the single note that give you the chunky, ,,skank,,tone. This f irst exercise should get you moving in the r ight direct ion.

9,m='fr'fr)N.c. (Ee)

This part wi|| definítely get you spankin,the skank.

N.C. (Ami)

Here's a challenging part with more than enough upstrokes to confuse the groove. Try to"push" the Bb up just a l i tt le to give this jam a bluesy sound.

N.C. (Gmi)

ow let's take what we've learned and create some real-life rhythm grooves. This firstjam has two guitar parts (Cuitar 1 is in the r ight channel, and Cuitar 2 is in the left).

The total length of the progression is eíght bars: four on the E minor chords and four onthe A dominant chords. Notice that the picking part (Ctr. 2) changes only one note as thechords change.

r 3 r r 3 r

U ) ) , ) = ) ) ) ) )EmiT Emi13x x

Em17 Emi13x x

1 f t'7 f t

A7sus4 A7x x x x

A7sus4 A7x x x x

fT6TTl r rrrTTŤ-1ri-r|t]t t t l t aTrřrn

26

i{;'&

This two-bar groove also has two guitar parts.Guitar 2 doubles the bass l ine.

,,-D9

Cui tar1 basical ly stays on one chord, whi le

IT-ITII 7 hrT--rnrl-tit lt t a L t o

ctr. I n-n-n

D9sus4 D9 Db9 D9x x x x x x x xf,m 8 f' EEE 7 ft E[il ó f. nTl_il!-trt-] L.l-t.]_t-.t LILLLI LLLLL]Ltr?.t-I9 LL|LL.] LurLL] L!rLLt |+ l+ + ' ' . l - L g | | ? l l Ý | l ? l l (t t r r t r t r t t t t t t t t t l

3 2 1 4 3 2 1 4 3 2 1 4 3 2 1 4

This single-guitar part moveshalf-step movemen t (87 -C7)

up the neck quickly using chord inversions. Check out thein the second measure-this is nota sl ide.

C7firffio,uTNT|1t1ŤlrrrFn

C7sus4 C7X X X X

10 fŤ

C7 B7 C7x x x x x xfflTďlt: r. |]-rTTll2 ft[T[T0.l13 frr l t r r r l i l l l L t t l l _ ll t t a t a l t t a t e t t l ? t affi i...]....]....]T l...]....l....lT

I-rH-.]t t l l t l

2 3 1 4 2 3 1 4 2 3 1 4

B7 C7x x x xfl-TTď]12 fŤ-TTTďll3 ftTTTTN TT'TNt t l a t a l t t a t arrn-n [mt t r t t l

2 3 1 4 2 3 1 4

iÍlre Frrnkyr shuffle

The shuffle is a common groove in many styles of music, and it can be found in funkI as well. Up to this point, all of our grooves have had four sixteenth notes per beat.

The shuffle we'll be playing here, however, has three eighth notes per beat. In musicalterms, this is often referred to as a "1218 groove" (4 beats x 3 eighth notes per beat).

This feel can be played many ways. Here's one approach. Notice that the strummingpattern begins with an upstroke. Although this can feel strange at first, it works becausethe backbeats (beats 2 and 4) are downstrokes and will eventually give you a strongersense of t ime.

G9

2 1 3 3 3

G9V

For this example, continue the same strumming pattern, but sustain the f irst note and,,Í|oat,, your hand over the second eighth note.

Let's expand the previous pattern by adding one attack on beat 2.

Final ly, this two-bar pattern is based on a classic '7Os funk shuff le. (Don't stop strummingover the Ab9 chord.)

G9

Ab9 c9- !ť " V

G9

29

Here you're alternating between a skank part in the first measure and chords in the sec-ond measure.

0 rJTfi=ffir F7sus4X| . . . .Ť+^-I g I Q ] l ó r Ir-l-m| | e l lT-fT-tr-Tan

1 3 1 4 1

Now you're doing the job of two guitarists! You're sl idin', you're skankin', you're playin'chord extensions-y6s/1's a freakin' funk machine!

E9 F9X X

[f,Eorl-l-fmzr't 0 t a t t l a l a a aN-N_N TTTTNm n-[t-n2 1 3 3 3 2 1 3 3 3

F l3x[TíTTI7r.t a t f a lTTITNn-n-Ď--n-n2 1 3 3 4

F9 E9 F9x x xfTTTT-l't n lTIl-Tlo rfTITTl r rI a | . . . | Ó l Ó t t l o ! . . .rFrrn rrr-r-t nllnffn-n n-n-n Ffr r r rn-n-n n-n-n n-n-n2 1 3 3 3 2 1 3 3 3 2 1 3 3 3

ťhe Ene|.Of.tlre.BoOk'ilrrst-for-FlrE,P utti n' - lt-Al I -Tog eth e r,Partyr Jarn!

This fínal jam includes many of the techniques discussed in the book. There are f iveI sections; each one is eight bars long. We'll take at look at each section separately

and then put them all together at a little faster tempo.

sEcT|oN A: This fírst section is centered around the familiar E9 shape. The last chordjumps up the fretboard and may require some practice.

,t: '#;.\ ) ) ) ) = ) ) J ) )

39 ,Eb9 , E9ff i6fr Bm5* ff iottrTTn nTfn ffiffiffiffi2 1 3 3 3 2 1 3 3 3 2 1 3 2 3

SECTION B: Now we move to the lV chord (AZ). To create a melody on the top string, webase this section on three different inversions of the same chord.

/ -= "3l Ť;\ ) ) , ) )= ) ) ) ) )A7

ťhlFo sr't l t e t lT-rml t l t l.-n-n

1 2 1 1

G7xx[TÓl-l-l s rrrrnTlI t e t aruTitt r t J t l

1 3 2 4

A7xx6fr re[I 7eLtLl_ltlI l t t aTNTl l t t t l

1 3 2 4

30

sEcT|oN C: Thís is known as ,,the breakdown.,, The band hits pnguitar p|ays a sing|e-note part with on|y the drums behínd it. Thisthen once again with the chords "warking up,,to the next section.

the first beat, and therepeats three tímes and

sEcrloN D: At this point, we've modulated into the key of c minor. This section mightbe called "the bridge'" These chord shapes move around the neck, so take some time toget them under your fingers before playing with the cD. This is a four-bar pattern that re_peats once. The last chord leads you back into the next section.

9,mJffitGmi9XfTlTTl s trrrn-tl o a f arrr-'-Ť-]nŤŤ2 1 3 3 3

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SECTION E: The last section brings usteenth-note triplet give this part moreone f inal hit at the end.

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back to the key of E. The high voicing and six-intensity. Play this two-bar phrase four times with

FYI:The sixteenth-note triplet can be an effective device for adding some flash to yourplaying. However, i f overplayed, this l i tt le rhythmic tr ick can be annoying to your fel lowbandmates, so use it sparingly!

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Now it's time to put all the pieces together. This is meant to be challenging-so, if at firstvou don't succeed... have fun!

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