[1] with drums

Half-time feel Y Todavia La GuieroI

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Repeat Intra before solo.opyright © by JOHEN Music. Worldwide rights controlled by JOHEN Music. Rights for the world excluding USA nd Canada administered by ENJA Records Horst Weber Gmbh/Edition Tutu. International Copyright Secured. Used by permission.

36

Solo F# Four-note 'scale' E)~

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Checkpoint: Y Todavia La Quieroe Bass line This is the foundation of the entire piece. Notice how it always

includes Rand 5 of each chord, but the unchanging top note F# is in turn R of

the F# chord, 2 of the E chord and 3 of the D chord.

If you wish, you may simplify the bass line during the intra and solo sections

by playing the middle note on the beat (as on the CD). This is the same rhythm

as the left-hand chords in Major Triad Workout (p. 32):Fig 1,40: Alternative bass line rhythm

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3 4 5 32R 5

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Foot-tap: / / / /

e Half·time feel Practise the left hand alone with a foot-tap and metronome set to

88 bpm (the 'one' and 'three' of every bar), until you can play it without looking.

elntro Perfect fourths are played in the right hand, repeating the same two pairs

of notes, B/E and C#/F#, which are compatible with all three chords. The intra

is always played between the head and solo. During the repeats, try varying the

rhythm of the right-hand chords rather than just repeating what is written.e Melody - section 'A' Notice how the first three phrases follow the notes of

each triad like a glove, moving down a tone each time the bass line does.

Fig 1.41: The melody follows the first five notes of each major scale

F# major scale

R 2 3 4 5

1

To help you memorise this tupe, think of each phrase starting on the third ofthe chord.

e Melody - section 'B' This begins in section 'P: with a pick-up on the '3 and' of

bar 8. The pick-up encircles the first note of bar 9 - A# (once again the third of

the chord).

The melody that follows ascends an F# scale over the first two bars, and

descends an E scale over the next two bars, resolving onto the third of the D

and E chords (the long notes in bars 13 and 15). These scales are not regular

major scales as they contain some flattened notes, in particular the seventh.

~I 14 We'll be looking at scales like this in more detail in Chapter 3.

37