by Jim Campilongo
The best Rockabilly players know how to spin jazzy lines over simple blues progressions. Let’s see how this works.
Start by recording
Next, start working out
• The arpeggios in bar 4 suggest a superimposed IIm-V (Am7-D7) cadence.
• The first three beats in bar 6 outline a C#dim7 arpeggio.
• The arpeggios in bars 7 and 8 outline a Imaj7-IIm7-IIIm7-bIIIm7-IIm7 move (Gmaj7-Am7-Bm7-Bbm7-Am7).
• In bar 10, an Ebm9 arpeggio sets up tension against D7.
• The lines in bars 11 and 12 sketch a IIIm7-VI7-IIm7-V7 (Bm7-E7-Am7-D7 ) progression over the tonic G harmony.
Go easy. This solo shows how, even when the band is chugging out a “low IQ” progression, you can imply more sophisticated changes with your single-note lines. However, this example is a bit heavy handed. Superimposed harmonic colors sound most effective when you use them sparingly. When you wedge such jazzy ideas between double-stops and pentatonic phrases, your “nasty” will sound nastier and your “sweet” will sound sweeter. Read on for the