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★Jamtrack – Ciro Manna – 20 Minor Key Fusion Licks 20融合吉他乐句

Jamtrack – Ciro Manna – 20 Minor Key Fusion Licks   | MP4 + MP3 jam traks + PDF tabs |

Lick 1

Ciro starts by playing a familiar Abmaj7 shape over the Fm7, which creates an Fm9 sound. He then links this to a G7#5 arpeggio, adding scale notes from the G Superlocrian (G Ab Bb Cb [B] Db Eb F)… this is a common scale for altered dominant chords. He emphasises the 9th (D) over the Cm7 chord, and then ends on a C blues lick.

Lick 2

This lick uses repetition, with the same phrase leading into both the Fm7 and G7 chords. Ciro then plays a G7b9 arpeggio (the Ab is the b9). He uses the C minor pentatonic (C Eb F G Bb) over the final Cm6 chord.

Lick 3

The octave line at the beginning is based on the F minor pentatonic (F Ab Bb C Eb), and then Ciro switches to a G7 arpeggio, still using octaves. At the end of the G7 measure, he plays a line from G Superlocrian (G Ab Bb Cb [B] Db Eb F). The line over the Cm7-Cm6 change is mostly minor pentatonic (C Eb F G Bb) but also features the major 7th (B) for extra flavour.

Lick 4

This lick combines arpeggio patterns with chromatic notes. Ciro superimposes Abmaj7 and Dm7b5 arpeggios over the Fm7 chord… both of these arpeggios can be found in the F Dorian mode (F G Ab Bb C D Eb). Then he uses G Superlocrian and C minor pentatonic, as before.

Lick 5

Over the Fm7 and G7 chords, Ciro plays two licks which have the same rhythm pattern and melodic contour. This is a great way of making your solos sound interesting… change the notes, but imitate the basic pattern. He then uses an Ebmaj7 arpeggio over the Cm7 chord (in the same way as he used Abmaj7 over Fm7) creating a Cm9 sound.

Lick 6

Over the Fm7 chord, Ciro plays the basic Fm7 triad (F Ab C Eb) but framing the notes with their chromatic neighbour notes above or below. He then switches to G Superlocrian and C minor pentatonic.

Lick 7

This lick is all about rhythm. Over the Fm7 chord, we have lots of offbeats and chromatic notes, and then we move to a denser, imitative approach for the G7. The notes are more sparse over the Cm chords, and the last few notes outline a Cm6 arpeggio.

LIck 8

The usual choice for a minor 7th chord is the Dorian mode, but in this lick Ciro uses F melodic minor (F G Ab Bb C D E) over the Fm7. The major 7th (E) adds an interesting tension. There are several ways of interpreting the line over G7… Ciro thinks of it as Bmaj7#5 followed by Gm7b5, but all the notes are from G Superlociran (G Ab Bb Cb [B] Db Eb F).

Lick 9

This lick has a completely scale-based approach, but using chromatic notes to add to the basic scales… F Dorian (F G Ab Bb C D Eb) over Fm7 and then G Superlocrian (G Ab Bb Cb [B] Db Eb) over G7. In measure 3, Ciro plays a cool sequenced pattern from C Aeolian (C D Eb F G Ab Bb)… the patterns are rhythmically very similar, but descending gradually down the fretboard.

Lick 10

This lick is quite difficult to play because of the interval jumps. The 5th interval is used a lot for the first two chords, creating an open sound.

Lick 11

As we’ve seen, although F Dorian is the obvious scale to play over Fm7, you can focus on different groups of notes within the scale. Ciro has outlined the Abmaj7 arpeggio on a few licks, and here he outlines a Cm7 arpeggio (C Eb G Bb). He then outlines an Fm7 arpeggio… but over the G7 chord! This creates a G7b9#5 sound.

Lick 12

Here’s another example of melodic and rhythmic symmetry (see also lick 5). Ciro uses F melodic minor (F G Ab Bb C D E) over the Fm7 and then G Superlocrian (G Ab Bb Cb [B] Db Eb F) over the G7. Interestingly, G Superlocrian has the same notes as Ab melodic minor, so there’s another example of symmetry. The same rhythmic/melodic shape reappears over the Cm7, but a beat later, and here’s another melodic minor scale, this time in C (C D Eb F G A B).

LIck 13

Ciro starts with an ascending line through F minor pentatonic (F Ab Bb C Eb) using a sequence of similar shapes. He then switches again to G Superlocrian and then C Dorian (C D Eb F G A Bb).

Lick 14

This lick uses the familiar scales (F Dorian, G Superlocrian, C Dorian) but incorporating chromatic notes to create a bebop-style sound. Pay attention to the groove and take care to play the 16th-note patterns as tightly as possible!

Lick 15

Once again, Ciro superimposes an Abmaj7 arpeggio over the Fm7 chord, but then superimposes C harmonic minor (C D Eb F G Ab B) over the G7 chord. With the G root note, this actually results in the G Phrygian dominant scale. The Cm7 line is based mostly on 4th intervals. Lines like this can be quite awkward to play.

Lick 16

This lick starts with another bebop-style line over the Fm7. The core scale is F Dorian (F G Ab Bb C D Eb) but there are lots of chromatic notes including the major 3rd (A). Then there’s a G7b9#5 arpeggio (G B D# F Ab). Ciro adds further spice over the Cm7 by using C melodic minor (C D Eb F G A B).

Lick 17

This time, Ciro uses the whole-tone scale (G A B C# D# F) over the G7 chord, along with some chromatic passing notes. He also uses chromatic notes over the Cm7 and Cm6 chords, creating a bebop-style sound. When you use chromatic notes like this, the important thing is to play the “strong” notes on the beat, with the chromatic notes between the beats.

Lick 18

As in lick 11, Ciro plays the Dorian mode over Fm7, but highlights the Cm7 arpeggio that lies within the scale. He then plays a cool ascending altered line over G7 (basically G7b9#5) before ending with some C blues licks.

Lick 19

This lick is pretty fast, so work with a metronome and start slowly. The G Superlocrian line in measure 2 is based on ascending 3rd intervals.

Lick 20

Again, here’s a pretty difficult lick, so start slowly until you feel comfortable with the unusual fingering. The bebop line over Fm7 is influenced by Charlie Parker, using chromatic notes to decorate a basic Fm7 arpeggio (F Ab C Eb).