diff --git a/src/data/kb/blues/guitar.js b/src/data/kb/blues/guitar.js index 789505c..67dc84e 100644 --- a/src/data/kb/blues/guitar.js +++ b/src/data/kb/blues/guitar.js @@ -230,4 +230,84 @@ export default { }, ], }, + + // Structured licks (SCHEMA.md "Licks", task P-21). Written in a home key each + // (noted per lick) but key-agnostic in spirit — chordContext names the station. + // Every pitch hand-verified: s6=E s5=A s4=D s3=G s2=B s1=e (+fret, mod 12). + licks: [ + { + // In C (box at fret 8): G C D→E C A G = 5 R 9→3 R 13 5, C major pentatonic + // over the I7 — the sweet B.B. side of the coin. + id: 'blues-bb-box-sweet', + name: 'B.B. box sweet-spot phrase', + level: 'foundation', + chordContext: 'over the I7', + techniques: ['bend', 'vibrato'], + source: 'in the style of B.B. King\'s box-position fills; Guitar World "B.B. box" lessons (R-2-4-5-6 grid)', + tab: [ + { string: 2, fret: 8 }, // G — the 5th + { string: 1, fret: 8 }, // C — root + { string: 1, fret: 10, technique: 'bend' }, // D bent a whole step to E, the 3rd — the signature move + { string: 1, fret: 8 }, // C + { string: 2, fret: 10 }, // A — the 13 + { string: 2, fret: 8, technique: 'vibrato' }, // G — settle on the 5th + ], + }, + { + // In E, open position: ♭7–6–♭6–5 (D C♯ C B) descending on the B string + // under a high-e root pedal, resolving to the V7's root (B). + id: 'blues-open-turnaround', + name: 'Descending turnaround under a root pedal', + level: 'foundation', + chordContext: 'bars 11–12: I7 walking down to the V7', + techniques: ['double-stop', 'vibrato'], + source: 'the Robert Johnson-lineage turnaround (e.g. "Kind Hearted Woman"); Fundamental Changes "Blues Turnarounds for Guitar"', + tab: [ + { string: 2, fret: 3 }, // D — ♭7 + { string: 1, fret: 0, technique: 'double-stop' }, // E pedal on top + { string: 2, fret: 2 }, // C♯ — 6 + { string: 1, fret: 0, technique: 'double-stop' }, + { string: 2, fret: 1 }, // C — ♭6 + { string: 1, fret: 0, technique: 'double-stop' }, + { string: 2, fret: 0 }, // B — 5 + { string: 1, fret: 0, technique: 'double-stop' }, + { string: 5, fret: 2, technique: 'vibrato' }, // B — root of the V7: the landing + ], + }, + { + // In A, box 1: C→C♯ (♭3 hammered to the major 3) into the E+A double-stop, + // ♭7 bend, settle on the 5th — the 12/8 slow-blues answer phrase. + id: 'blues-slow-curl', + name: 'Slow-blues curl into the root double-stop', + level: 'intermediate', + chordContext: 'over the I7, 12/8 slow blues', + techniques: ['hammer-on', 'double-stop', 'bend', 'vibrato'], + source: 'stock box-1 slow-blues vocabulary (the ♭3→3 curl); TrueFire Texas-blues chord-tone lessons', + tab: [ + { string: 3, fret: 5 }, // C — ♭3 + { string: 3, fret: 6, technique: 'hammer-on' }, // C♯ — the major 3rd; the blues curl made explicit + { string: 2, fret: 5 }, // E — 5th + { string: 1, fret: 5, technique: 'double-stop' }, // A on top — root+5th dyad + { string: 2, fret: 8, technique: 'bend' }, // G (♭7) bent a whole step toward the root + { string: 2, fret: 5, technique: 'vibrato' }, // E — resolve on the 5th + ], + }, + { + // In A (IV = D9): the IV7's 3+♭7 tritone pair (F♯+C) slid in from one fret + // below (F+B), then the 5th on top — the Texas comping move as a lick. + id: 'blues-iv9-slide', + name: 'Tritone slide into the IV9', + level: 'intermediate', + chordContext: 'bar 5: landing on the IV7', + techniques: ['chromatic-approach', 'double-stop', 'slide', 'vibrato'], + source: 'the Texas/Freddie King 9th-grip slide-in ("Hide Away" comping vocabulary); Fundamental Changes SRV/Freddie King 9ths', + tab: [ + { string: 4, fret: 3, technique: 'chromatic-approach' }, // F — one fret below the 3rd + { string: 3, fret: 4, technique: 'double-stop' }, // B — one fret below the ♭7 + { string: 4, fret: 4, technique: 'slide' }, // F♯ — the IV7's 3rd + { string: 3, fret: 5, technique: 'double-stop' }, // C — the IV7's ♭7: the tritone pair lands + { string: 1, fret: 5, technique: 'vibrato' }, // A — the IV7's 5th (the key's root) + ], + }, + ], } diff --git a/src/data/kb/funk/guitar.js b/src/data/kb/funk/guitar.js index 8ca4ef4..3be72d0 100644 --- a/src/data/kb/funk/guitar.js +++ b/src/data/kb/funk/guitar.js @@ -185,4 +185,86 @@ export default { }, ], }, + + // Structured licks (SCHEMA.md "Licks", task P-21). Written in the style's home + // positions (E for the dominant vamps, D dorian for the minor vamps) but + // key-agnostic in spirit — chordContext names the station. + // Every pitch hand-verified: s6=E s5=A s4=D s3=G s2=B s1=e (+fret, mod 12). + licks: [ + { + // In E: root, ghost, ♭3 hammered to the 3, 5, ♭7, octave root — the + // dominant arpeggio with the blues grit built in, played staccato. + id: 'funk-nine-riff', + name: 'Single-note dominant riff', + level: 'foundation', + chordContext: 'over the I9 one-chord vamp', + techniques: ['ghost-note', 'hammer-on'], + source: 'in the style of the James Brown-band single-note riffs ("Sex Machine" lineage); Fundamental Changes funk guitar lessons', + tab: [ + { string: 6, fret: 0 }, // E — root, on the One + { string: 6, fret: 0, technique: 'ghost-note' }, // scratch — the 16th grid never stops + { string: 6, fret: 3 }, // G — ♭3 grit + { string: 6, fret: 4, technique: 'hammer-on' }, // G♯ — the 3: the funk curl + { string: 5, fret: 2 }, // B — 5 + { string: 5, fret: 5 }, // D — ♭7 + { string: 5, fret: 7 }, // E — octave root; shift up to grab it + ], + }, + { + // In E (♭VII = D): chromatic climb D–D♯–E back to the One, answered by the + // 3+♭7 tritone stab straight out of the E9 grip (G♯+D). + id: 'funk-chromatic-snapback', + name: 'Chromatic snap-back to the One', + level: 'intermediate', + chordContext: '♭VII9 → I9, landing on the One', + techniques: ['chromatic-approach', 'double-stop'], + source: 'the E9→D9 vamp move ("Papa\'s Got a Brand New Bag" lineage); Fundamental Changes JB-style accent lessons', + tab: [ + { string: 5, fret: 5 }, // D — the ♭VII's root + { string: 5, fret: 6, technique: 'chromatic-approach' }, // D♯ — passing + { string: 5, fret: 7 }, // E — the One + { string: 4, fret: 6 }, // G♯ — the 3, from the 9-grip + { string: 3, fret: 7, technique: 'double-stop' }, // D — the ♭7: tritone stab together + ], + }, + { + // In D dorian: the ♭3+♭7 dyad (F+C) slid in from one fret below, answered + // by the root+11 dyad (D+G) — the m11 wash as two-note stabs — and a ghost. + id: 'funk-dorian-stabs', + name: 'Dorian double-stop stabs', + level: 'foundation', + chordContext: 'over the i7/i9 Dorian vamp', + techniques: ['double-stop', 'slide', 'ghost-note'], + source: 'in the style of the Meters\' dyad stabs ("Cissy Strut" lineage) and the Jimmy Nolen scratch vocabulary', + tab: [ + { string: 2, fret: 5 }, // E — one fret below F + { string: 3, fret: 4, technique: 'double-stop' }, // B — one fret below C (approach dyad) + { string: 3, fret: 5, technique: 'slide' }, // C — the ♭7 + { string: 2, fret: 6, technique: 'double-stop' }, // F — the ♭3: the m7 pair lands + { string: 3, fret: 7 }, // D — root + { string: 2, fret: 8, technique: 'double-stop' }, // G — the 11 on top: the m11 colour + { string: 3, fret: 7, technique: 'ghost-note' }, // scratch — keep the grid breathing + ], + }, + { + // In D dorian: 1 ♭3 4 5 →6 5 ♭7 1 — a single-note vamp line that leans on + // the natural 6 (B over D), the note that makes Dorian sound like funk. + id: 'funk-dorian-six-line', + name: 'Dorian line leaning on the 6', + level: 'intermediate', + chordContext: 'over the i7–IV7 Dorian vamp', + techniques: ['slide', 'vibrato'], + source: 'the Dorian vamp language of "Chameleon" (Herbie Hancock) — see Ethan Hein\'s Chameleon analysis; a line in that style, not a transcription', + tab: [ + { string: 5, fret: 5 }, // D — 1 + { string: 5, fret: 8 }, // F — ♭3 + { string: 4, fret: 5 }, // G — 4 + { string: 4, fret: 7 }, // A — 5 + { string: 4, fret: 9, technique: 'slide' }, // B — the natural 6, slid into + { string: 4, fret: 7 }, // A — 5 + { string: 3, fret: 5 }, // C — ♭7 + { string: 3, fret: 7, technique: 'vibrato' }, // D — octave home + ], + }, + ], } diff --git a/src/data/kb/jazz/guitar.js b/src/data/kb/jazz/guitar.js index 686dc36..a7556e5 100644 --- a/src/data/kb/jazz/guitar.js +++ b/src/data/kb/jazz/guitar.js @@ -261,4 +261,90 @@ export default { }, ], }, + + // Structured licks (SCHEMA.md "Licks", task P-21). Written over a ii–V–I in C + // (Dm7–G7–Cmaj7) but key-agnostic in spirit — chordContext names the station. + // Every pitch hand-verified: s6=E s5=A s4=D s3=G s2=B s1=e (+fret, mod 12). + licks: [ + { + // In D dorian: D E F G E C D — degrees 1 2 ♭3 4 2 ♭7 1 of the ii7. + id: 'jazz-the-lick', + name: 'The Lick', + level: 'foundation', + chordContext: 'over the ii7', + techniques: ['vibrato'], + source: 'the most famous ii-chord cliché in jazz — Wikipedia "The Lick"; Alex Heitlinger\'s 2011 supercut', + tab: [ + { string: 5, fret: 5 }, // D — 1 + { string: 4, fret: 2 }, // E — 2 + { string: 4, fret: 3 }, // F — ♭3 + { string: 4, fret: 5 }, // G — 4 + { string: 4, fret: 2 }, // E — 2 + { string: 5, fret: 3 }, // C — ♭7 + { string: 5, fret: 5, technique: 'vibrato' }, // D — home + ], + }, + { + // In C: Dm7 arpeggio (D F A C), G7 guide tones (B F), then the bebop + // enclosure F–D♯–E — above diatonically, below chromatically — onto the + // Imaj7's 3rd on the downbeat. + id: 'jazz-enclosure-251', + name: 'ii–V–I enclosure into the 3rd', + level: 'intermediate', + chordContext: 'ii7 → V7 → Imaj7', + techniques: ['chromatic-approach', 'vibrato'], + source: 'in the style of bebop enclosure exercises — David Baker, How to Play Bebop Vol. 1; jazzguitar.be enclosure lessons', + tab: [ + { string: 5, fret: 5 }, // D — ii7 root + { string: 4, fret: 3 }, // F — ♭3 + { string: 3, fret: 2 }, // A — 5 + { string: 3, fret: 5 }, // C — ♭7 + { string: 3, fret: 4 }, // B — the V7's 3rd, right at the change + { string: 2, fret: 6 }, // F — the V7's ♭7 (upper neighbour of the target) + { string: 2, fret: 4, technique: 'chromatic-approach' }, // D♯ — chromatic from below + { string: 2, fret: 5, technique: 'vibrato' }, // E — the Imaj7's 3rd: enclosed and landed + ], + }, + { + // Descending G bebop dominant from the root: G F♯ F E D C B A G — + // Mixolydian plus the chromatic passing 7 so chord tones fall on strong + // beats in straight eighths. + id: 'jazz-bebop-dom-descent', + name: 'Bebop dominant descent', + level: 'intermediate', + chordContext: 'dom7 — e.g. the V7', + techniques: ['chromatic-approach', 'vibrato'], + source: 'the bebop dominant scale — David Baker, How to Play Bebop Vol. 1', + tab: [ + { string: 1, fret: 3 }, // G — root + { string: 1, fret: 2, technique: 'chromatic-approach' }, // F♯ — the added passing tone + { string: 1, fret: 1 }, // F — ♭7 + { string: 1, fret: 0 }, // E — 13 + { string: 2, fret: 3 }, // D — 5 + { string: 2, fret: 1 }, // C — passing 11 + { string: 3, fret: 4 }, // B — 3 + { string: 3, fret: 2 }, // A — 9 + { string: 4, fret: 5, technique: 'vibrato' }, // G — root, an octave down + ], + }, + { + // In C, as dyads: Dm7's ♭3+♭7 (F+C) → the ♭7 falls a half step to the + // V7's 3rd (B, F holds) → the held F falls a half step to the Imaj7's + // 3rd (E, B holds as the 7). The 7→3 rails, played literally. + id: 'jazz-guide-tone-rail', + name: 'Guide-tone rail (7 falls to 3)', + level: 'intermediate', + chordContext: 'ii7 → V7 → Imaj7 guide tones', + techniques: ['double-stop', 'slide'], + source: 'guide-tone comping lines — jazzguitar.be guide-tone lessons; Jens Larsen voice-leading studies', + tab: [ + { string: 2, fret: 6 }, // F — the ii7's ♭3 + { string: 3, fret: 5, technique: 'double-stop' }, // C — the ii7's ♭7 (dyad) + { string: 3, fret: 4, technique: 'slide' }, // B — C falls a half step: the V7's 3rd + { string: 2, fret: 6, technique: 'double-stop' }, // F — held, renamed the V7's ♭7 + { string: 2, fret: 5, technique: 'slide' }, // E — F falls a half step: the Imaj7's 3rd + { string: 3, fret: 4, technique: 'double-stop' }, // B — held, now the Imaj7's 7 + ], + }, + ], }