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By LARRY McCABE

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Example text

Arranging Tips 1. Choose a four-beat Cm7 pattern page 16 to transpose to Gm7. 2. To transpose from Cm7 to Gm7, choose either of the following options: Up 7 frets or down 5 frets. 3. Choose a 4-beat C7 pattern to transpose to D7b9. For best results, choose a C7 pattern that does not contain the ninth tone, D. If you use a C7 pattern that has a 9th tone, flat the ninth for the minor blues. 4. Transpose from C7 to D7 measures 9 and 12 by going up 2 frets or down 10 frets. 5. After you complete this basic project, experiment with several other four-beat patterns.

Examples 10-17 below show several common variations on the basic minor-key chord progression. Each variation is first written in Roman Numerals; it is then written in the key of C minor. For best results, transpose each of the four variations to the following minor keys: Gm, Dm, Am, Em, Bm, F#, and C#m. Theory note: In the major keys, any dominant chord 17, IV7, V7 can be extended to the ninth tone. To relate this concept to play a rhythm pattern that includes blues accompaniment: a C7 chord could, when played in a blues progression in C a ninth tone D is the ninth tone of C.

B To transpose from C7 to D7, move the pattern up 2 frets, or down 10 frets. 2. Next, apply another four-beat pattern to the chart. Although patterns can sometimes be mixed, it is best to use only one pattern per song at first. 3. After you are comfortable applying a variety of four-beat patterns to the 12-bar blues in G, try to apply an 8-beat C7 pattern to the progression. An eight-beat pattern will require modification when a chord is played for only four beats see "Pattern Modifications on page 7.

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101 Bad to the Bone by LARRY McCABE


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