GYPSY JAZZ LICKS { JOHN WHEATCROFT

Here are two modern sounding arpeggio ideas that use superimposition to imply the move between E7alt to Am. Both of these arpeggios come from the E Altered scale, which can also be seen as F Melodic Minor (F-G-Ab-Bb-C-D-E). If you explore the arpeggios buried within, you should find a Bb Major triad (Bb-D-F), along with an Fm6 (F-Ab-C-D), along with a host of other options. However, it’s these two sounds that we’re applying here.

EXAMPLE 5: VOCABULARY #1

Here’s a classic sounding line that addresses the II7-V7-I (G7-C7-F6) progression in the key of F and as such could be used as a turnaround, as an intro or even an ending idea. Make sure you transpose such ideas to other keys and string sets, and make sure to check out the hidden pull-offs and slides, which add immensely to the bounce of the lines and make the articulation easier and smoother when playing at faster tempos.

We end with a modern intervallic idea against the chord Gm6 (G-Bb-D-E) moving to Dmaj7 (D-F#-A-C#). The opening half uses the tritone interval (three tones) to ascend across the strings before falling back down with an intervallic idea that uses just the 6th (E), 5th (D) and 2nd (A) of our G Minor transposed in octaves. The second bar uses hammer-ons to bridge the gap between open strings before sliding up to end on an A, the 5th of our underlying D Major harmony.