Gitarren Enzyklopädie Tabulaturen
OneTab extension for Google Chrome and Firefox - save up to 95% memory and reduce tab clutter. Whenever you find yourself with too many tabs, click the. Beschreibung. The big Rock Candy Mountain; You are my Sunshine; Down to the River to pray; I am a Man of constant Sorrow; Keep on the sunny Side; I'll fly. Erfahren Sie mehr über Veröffentlichungen von Tab Smith - On The Sunny Side Of The Street / Tab's Purple Heart auf Discogs. Lesen Sie Rezensionen und.Sunny Tabs Horizontal Tabs Video
Sunny (Bobby Hebb) with TAB, Standard \u0026 Chords on screen A ridiculous amount of coffee was consumed in the process of building our club site. Staff pick playlists. Zarker Zarker approved. Ich hatte dennoch einen Termin in der Tierklinik Duisburg gemacht, der allerdings erst in zwei Wochen sein sollte. Möchtest du kostenfreie telefonische Hilfe beim Ausfüllen? Sichere Bitcoin Wallet hast noch keine gelikten Deals. Sie wurde amSobald Sie den Bonus durchgespielt haben, und die virtuellen Sunny Tabs haben diesen Trend erkannt. - Anleitung zum Guitar Tab Archiv
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He made a remarkable comeback at the beginning of the eighties. After undergoing brain surgery he had complete amnesia and forgot how to play guitar.
It took him years to recover and get back to his old form, partly by listening to his old records. The first record he released after the post-amnesia period was The Return.
Download now and learn chord shapes! Sunny, a song written by Bobby Hebb in , is one of the most performed and recorded pop songs.
It was written as a tribute to John F. Practice taking this melodic pattern , heard in the second half of the Am7 bar at the start of the line, and repeat it when soloing in your practice routine.
From there, come up with your own melodic phrase to repeat in your solos. This is a tough line to walk, but if you can do it then any repeated line such as this becomes a powerful tool in your improvisational tool belt.
You can see two and three-note shapes being used in this line to create energy throughout the phrase. When working on double stops on your own, you can take them from arpeggios , minor pentatonic scales , or modes in your solos.
Instead, the line is highly chromatic , running six chromatic notes in a row during the repeated phrase, from F down to C.
When doing so, Martino starts the lick on the 2nd 16th note of the phrase, which also gives it a syncopated feel as you repeat the phrase over a series of measures, as you can hear in the lick below.
The first lick is a V — I minor key phrase that uses the C harmonic minor scale to outline the b9 and b13 intervals over the G7 chord in the progression.
If you want to take this concept further, try putting on a G7-Cm7 backing track and improvise over those changes using the C harmonic minor scale to build your lines and phrases.
If the second chord would be a major chord, change the last note to an E natural in order to resolve it to a Cmaj7 chord rather than a Cm7 chord.
This lick uses a simple rhythmic idea a three-note 8th-note pattern which is repeated to create a syncopated feel throughout the line.
Though it is simple on paper, getting this lick even and repeating is for longer periods can be tough. Practice taking this melodic pattern , heard in the second half of the Am7 bar at the start of the line, and repeat it when soloing in your practice routine.
From there, come up with your own melodic phrase to repeat in your solos. This is a tough line to walk, but if you can do it then any repeated line such as this becomes a powerful tool in your improvisational tool belt.
You can see two and three-note shapes being used in this line to create energy throughout the phrase. When working on double stops on your own, you can take them from arpeggios , minor pentatonic scales , or modes in your solos.
Instead, the line is highly chromatic , running six chromatic notes in a row during the repeated phrase, from F down to C.
When doing so, Martino starts the lick on the 2nd 16th note of the phrase, which also gives it a syncopated feel as you repeat the phrase over a series of measures, as you can hear in the lick below.
The first lick is a V — I minor key phrase that uses the C harmonic minor scale to outline the b9 and b13 intervals over the G7 chord in the progression.
If you want to take this concept further, try putting on a G7-Cm7 backing track and improvise over those changes using the C harmonic minor scale to build your lines and phrases.
If the second chord would be a major chord, change the last note to an E natural in order to resolve it to a Cmaj7 chord rather than a Cm7 chord.
This lick uses a simple rhythmic idea a three-note 8th-note pattern which is repeated to create a syncopated feel throughout the line.
Though it is simple on paper, getting this lick even and repeating is for longer periods can be tough. Go slow, use a metronome, and nail the rhythm for each note in your studies.
This is another arpeggio concept you can take from this lick and work it in other keys and over other chords. The opening four notes are a common arpeggio pattern used by Pat and other jazz legends.
This lick is a real classic that is inspired by the material Pat presented in his jazz guitar book Linear Expressions.
Great article! A pattern Pat uses a lot is 1, b3, 4, b5, 5, b7, 1, b3, 5, 6 As a practical matter, instead of melodic minor, it may be best to think of the the leading tone encapsulation figure against a minor seventh A-B-G -A against Am7 chords as a dominant passing chord pickup phrase E7-Am , especially since the G is not heard from again in the lick.






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