PORTER? I JUST MET HER!
GP reader Michael Huber sent in
this jazzy number. “This chord lick
works over bars 9-16 of Cole
Porter’s “Night and Day,” as well as
countless other standards. In
“Night and Day,” the original chord
progression is F#m7b5-Fm7-Em7-
Ebdim-Dm7-G7-Cmaj7-Cmaj7. Essentially, that’s a reharmonized II-V progression, in which Fm7 is substituted for B7 alt and Ebdim subs for
A7 alt. Leaving out the fifth on the D string makes it possible to replace the Ebdim with an Ebm7(13), keeping the root-b7-b3 structure
throughout. Using the same top note on all the chords (except Cmaj7) sounds similar to what a horn section in a big band might play. Of the
modern day players, Mike Stern often uses chords in a similar way in his solos.”
“Here is a lick that works off of a swept pentatonic/blues scale idea,”
says GP reader Scott Collins. “Ascending, it’s very scalar, but with a
couple of points of interest. The little turnaround allows you to play
the basic idea starting on either an up or a downstroke. Also, I started
on the tritone (if played over E minor) or the b3 (if played over G major)
instead of the root. I
start the lick with my
first finger and then shift positions for
the D on the 12th fret of the D string and
the Don the high E. For variety, I took the
same concept and applied it in a more
positional approach. Be careful with this
stretch. If it hurts stop immediately!”
TAKE THE A TRAIN WRECK
This is a nifty little chromatical tossed salad of notes that makes a good intro or ending
in the key of A. I play it with hybrid picking but it’ll work just fine with a thumb and
index finger (or even by flatpicking all the notes). Snap the first pull-off triplet and land
on the D# at the 4th fret of the B string. Keep your fingers arched so that note can clang
against the open E. The slide that follows (from D to C#) can be tricky, so stay loose.
Catch the C on the third string and then the open B, and so on down the line, once again
letting everybody ring together as long as possible. Fun, huh?
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