feat(kb): licks pack #1 — 12 licks for blues, jazz, funk guitar (task P-21)
4 per style using the C-20 lick schema: B.B. box, turnaround, slow-blues curl, IV9 tritone slide; The Lick, ii-V-I enclosure, bebop dominant descent, guide-tone rails; 9th riff, chromatic snapback, Dorian stabs and 6-line. Every note hand-verified against its chordContext; sources hedged. Critic PASS (independent pitch computation of all 12; validator 12 licks green; double-stop/slide glyph ordering render-checked). Co-Authored-By: Claude Fable 5 <noreply@anthropic.com>
This commit is contained in:
vadimwit
@@ -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)
|
||||
],
|
||||
},
|
||||
],
|
||||
}
|
||||
|
||||
@@ -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
|
||||
],
|
||||
},
|
||||
],
|
||||
}
|
||||
|
||||
@@ -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
|
||||
],
|
||||
},
|
||||
],
|
||||
}
|
||||
|
||||
Reference in New Issue
Block a user