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Complete List of Aebersold Play-A-Longs ......... ......... 12 ... JAMEY AEBERSOLD [email protected] .... Eb. 1. C. ) G. #4. F#. 4. F b7. Bb. BLUES SCALE. THE BLUES SCALE.

CONTENTS Tunesincludedin VOLUME42 are Sono Title 1. Bb Blues - Kenny'llMakelt 2. B Blues - Wiggle Waggle 3. C Blues- Now HearThis! 4. Db Blues - RepetitionBlues 5. D Blues- The Bird 6. Eb Blues - Dr. Jay 7. E Blues - Big Apple

Track# 1 2 3 4 5 6 7

Sonq Title 8. F Blues- A LittleOf This 9. F# Blues - DowntownCarrni 10.G Blues- The Cam el 11.Ab Blues - ShuffleDuty 12. ABlues - Triple-itis --- TuningNotes(Bb & A Concert)

T h e B l u es l m p o r t a n tB e a ts ........ "N o w ' sT h e T i me " (C h a rl i eP a rk erTr anscr iption) T h e Bl u es S ca l e T h e Bl u es F o rm T h e i i A/ 7P ro g re ssi o n........... S i n g i n g- T h e R e a lY o u The JazzApproachTo Practicing.......... T h i r d sa n d S e ve n th s.......... T r a n s p o si n g.......... PlaybackDevicesWith Pitch Control C o n c l u si o n............. The TwelveBlues Scales Ab o u t T hi s B o o k a n d R e co rd i ng CompleteList of AebersoldPlay-A-Longs.........

Track # 8 9 10 11 12 13

......2 .............2 .................. 3 ............4 .............4 ......... 5 .................. 6 ........6 ............7 .........9 ........... 9 .....10 ..-..--...... 10 ................. 11 .........12

.....13 @ CONCERTKEYSONGS& CHORD/SCALEPROGRESSIONS 25 @ B b I N ST R U ME NSTON GS& C H ORD/SCALEPROGRESSIONS.................. 37 @ E b I N S T R U ME NSTON GS& C H ORD/SCALEPROGRESSIONS...................

o

BASS CLEFINSTRUMENT SONGS& CHORD/SCALE PROGRESSIONS ...49 = piano& Drums STEREO SEPARATIO;Ë HANNEL TUNING NOTES: Concert Bb& A (A=aa0)

PERSONNEL ON PLAY.A.LONG RECORDING JAMESWLLIAMS- Piano;BOBCRANSHAW ROKER- Drums - Bass;MICKEY

UAU

Published by [email protected] P.O.Box124/ New Af bany, lN 47151-1244 wwwjazzbooks.com ts BN 978-1 -56224-200 -8

Any codas ($) that appearwill be played only once on the recordingat the end of the last recordedchorus. Graphics& Engraving PETE& SUSANGEARHART

[email protected] 1988 by Jamey Aebersold [email protected] Rights Reserved. Printed in U.S.A. InternationalCopyright secured. All copyrightsused by permission.No portion of this book may be reproducedin any way without permissionfrom the publisher.

Duplicating copyrightedmusicis destructiveto our industryand is againstFederalLaw.When you makephotocopiesor createdigitalcopiesof our products,or if you trade,distribute,share,or sell illegalcopiesof our productsyou make it likeusto introducenew materials. harderfor publishers Everytime you duplicatea pieceof copyrighted material,you deny rightfulrevenueand discourage the composers them from beingcreative. Pleasedo not photocopy or distribute copies(digitol or otherwise) of our music booksor recordings.

THEBLUËS The Blues soundhas traditionally beenthe elementthat hasattracredour attentionwhen listening jazz to music. That sound,the Blues scale,hasseepedinto everystyleof jazz including free form. lt be even more popular in rock. The Blues scalebeganwith thEBluesform and is now comfortablein settings -ay such as Modal tunes,Standards,BossaNovasand Ballads. TheBluesis a musicalfotmthatiazzmrrsicianshavealwaysembracedbecauseit givesthemtheopportuniry toexpresscmotion andeverydayfeelingand intellectualconceptsthatareoftenlearnedby studying another player'sstyle. Many beginningimprovisorsusethe Blues as a springboardto orherjazz forms. The Blues is 12 bars/measures in lengthandcan be playedar any rempoor feel, 314,4/4or odd meters. Ir occasionallyis snetchedto 14, 16or 24 barVmeasures andhasbeenshrunkto lessthan the usual12 bars. But theccmmongroundis alwaysthe same. . . the BLUES scALE, which is the essenceof the Blues. The traditional Blues hasthreechords/scales.The bluesprogressionson rhis play-a-longare a little more sophisticatedbecausethey offer severalchallengesthatarenot presentin themoretraditionalversion. They also are the onesmost often encounteredin jazztoday. JazzmusicianshavealwaysenjoyedplayingtheBlues. The challengeof beingableto play bluesfluently in all keys is one this play-a-longset hopesto make a reality. Charlie Parker practicedin all twelve keys. Becomingproficient in all keys is a necessary srepin the evolutionof the total musician. Somekeyssoundbright,somedull. Someareeasyto improvise in and othersrequiremoreconcentration andpatience.Thereareno hardkeys,just unfamiliaronei. SinceI play alto sax' I've foundthekey of Ab concert,F on thealto,to beoneof themostenjoyablekeysfor me to solo in. Many tenorplaytrs like Db concert,Eb on tenor,becauseit gives them a *idl ,ung. from low Bb to highF -2t|2octaves. I suggestthe beginnerstart with a key that hascomfortablefingeringsso as to make it easier to rnakethe connectionfrom mind to fïngers. Rememberto mix your practicetime with playing "by ear,,(not looking at the book) and by readingthe actualchord/scaleprogressions.[r'salways helpful ro memorize the chord/ scaleprogression- the soonerthe better! Trainyourearto hear therootsofeachchordaswell aswhenonechordmoves toanother-calledharmonic motion. Don't let the musicmovealongharmonicallywithoutbeingawareof where it is and where it,s $oing. The Bluesis jazz'commondenominator.Oftenit is treatedioo lightly andby that I meanplayers solousingonly thebluesscaleor a pentatonicscale.With a little attentionyou canbecomeproficient using a varietyof scalesoundswhile playingthe Blues.

IMPORTANTBEATS A charcteristicof jazz, and good musicin general,is the placementof chord-tones on the first and third beats.By playingroots,thirds,fifths andseventhson beatsoneandthreeyou uotoÀiti.ully allow thephrase s to flow with the semblanceof orderandcohesionwe'vebecomeaccustomedto. Bebopmusicis particularly mindful of this technique. A studyof transcribedsoloswill show this to be the rule. I highly iecommend David Baker's"Ho\ryTo Play Bebop - Volume l" book.

theform musiciancan solowithouta rhythmsectionandat the sametime plainly outline An experienced rule in the paragraphabove. See of the songand the harmonies.This is usually achievedby utilizing the examples#4 and#6. exampleof this technique' A Referto Charlie Parker'sfamous solo on "Now's The Time" for a ciassic portionof that solois presentedbelow with permissionof the publisherand is extractedfrom the book à

Now'sTheTime o1945ÀTLÀ\'Tlc MUslc coRP' CR,ftsed ad Asi!Èd 1973ÀÎ'ANTICMUSIC CDRP' ol 9?8ATLA}\-TICMUSlC CORP'

By CharlieParker F Elues

NOTICEHOVI/OFTENBËATS1 & 3 CONTAINCHORDTONES NUMBERSREPRESENTACTUÂLCHORDTONËS

l- r e r

b7 C7

b7

I

VERVE88t10

USEDBYPEBMISSION

BLUES SCALE

THEBLUESSCALE The BluesScalesoundwhich is mostpopularis built as follows:

SCALEDEGREES: 1 EXAMPLEIN C: C

b3 Eb

4 F

#4 F#

)

G

b7 Bb

1 C

Thereareactuallytwelve possiblestartingnotesor keys. See12BluesScaleson page10. The bluesscales canof coursebe playedanytimeduring the 12 bar blueschorus. The notesof the scaleoften clashwith the given harmonybut that is what makesit gagld iike the Blues! If it didn't clashin the beautiful way it does, we wouldn'tcall it the Blues. TheBluesscalecanbeplayedat anytime duringtheB lues.It is usedto conveya " funky" , " down-home", "earthy", or "bluesy" sound/feel.Don'trun it in thegroundby over-use.RhythmandBluesplayersuse thisscaleextensively.Mostjazz playersusetheBluesscaleascoloringor topping.Too muchof thesound canmakeyour solo soundboring and lifeless. To improviseandkeep the attentionof the listenerrequires us to havea variety of scale/chordsounds at our disposal.Think of the Blues scaleasbeing one of mâny availablescalesounds,not theonly one.

T H E B L U E SF OR M The Blues can have many different chord progressions.Playersof rock, gospel,soul, country and other simplerformsof bluesmusicdon'tusethe samechordsas say,'WayneShorterin his blues,althoughthey could if they wanted to. Usually, when you start beefing up the chords (harmony) one feels the song becomingmoreandmorejazzinfluenced.Whenyou stanchangingthechordsto a gospeltuneit just won't soundthe sameand the peoplewho listen to that type of music will probably not be sastisfiedbecausethe music is no longer what it used to be. Sincejazz is an evolutionary art form the various chord/scale modificationsand alterationsare welcomedand have becomea pan of the energythat haskept it alive. The basic 12 bar blues usesthesechords/scales. . . a dominant7th built on the root or tonic of the key, a dominant7th built on thefourth tone,anda dominant7th built on thefifth of the key you arein" For example, bluesin thekey of F usesF7, Bb7 andC7; all dominant7th qualities.A dominant7th scaleis the sameas a major scalebut the 7th is loweredone-halfstep. A very basicbluesprogressionwould look like this: (KEY OF F)

r . ll | " r | *r ltrIBb?|Bb?|F7I"'|"rIc7 "t 4

|rr|rrfl

mayhave usedontheplay-a-long will illusrrate howthepresent bluesprogression examples Thenexrseveral evolved.

, . l i; ; 1 " , l * lr , l "o'ln uzlrz l"'1"'l"orl"'1"'ll

3'll"'|"*1 "'|"'Iç-Iç IyI.'ll " |" |*'Iuo'|

4'll"'l"o 'l "l "l"o I ï lî ' lç' 1" ' ll "o'' 1" l ' 1"

s ll"'lnu'lr' lr ill"; lglîfuî:,j,î.-lç v,l?'l*'1"'

6ll.'1"* | "'lHîll; l;;l;"'.*-:11 l"'l; î;| îï l"o' r.i l | c- F7 u " ,l " o c -l o - a u -j c | ll -

"o r " r lIi l

lnuzI

v7 lr7

|

l c z I o - n t l c - c7

lr r lv7 | r u r n a round L-----------J

progression whichis usedin [email protected] sectionof this play-a-long Number6 aboverepresents ùe chord/scale book. progtession which is similarto the one foundin the @ section. The p] sectioncontainsa chord/scale six andis followedby a sequence of diatonic(scalein measure However,it usesa diminishedchord/scale ThefirstandlastfourbarsofpJandÇ]areidentical. wise)movingharmonieswhichleadtothelastfourbars. It's the centerfour barswhicharealteredin the @ section. NOTE: You will heara trianglesoundon theI lth bar(lastchorus)of the[EJsection.This is your signal progression is aboutto begin, thatthe E sectionchord/scale A blueschordprogression thatCharlieParkerusedon "BluesForAlice" and"Chi Chi" usesdescending root called"Bird Blues." movementcoupledwith a cycleof fourths(upward).This is sometimes

ll" Ito ATlo- c 7lc - r z lnu oI " o - a- | eu-| .- | c' I e- nzI c- .'ll Seevolume 2 "Nothin' But Blues"for a Bird Bluespracticetrack.

"Mr.P.C."byJohnColtraneisafavoriteanduses Bluesinminorkeyshasbeenpopularwithjazzmusicians. minorbluesprogression,("Mr. P.C."is includedin Volume27 - "JohnColtrane"play-a-long thisstandard set.):

*-lr- l.- l"- 1",l.'*'l"-l Do"'.' ll ll"- l"- l.- l"-c'*'l "Watermelon Itcan befoundonVolume11- "Herbie HerbieHancock's Man" is oftencalleda16-barblues. Hancock"play-a-longset.

THEII/V7PROGRESSION A II chord/scaleis usuallyminor (dorianminor). Whena minor chordappearsin a songor bluestheplayer usuallythinks,"is thisthebeginningof aA,N7 orlINT /l ?" If it is a pan of oneof theseharmonicsequences the player then knows what to expectin the next few beatsor measures.The II chord is a signpostthat

andseveralf,N7 /I sequences in the musicianshavelearnedto look for. ThereareseveralIW7 sequences bluesin this book. The examplebelow showsyou wherethey occurin [email protected] and E sections.

F Blues

Sometimesthe II chord/scaleis half-diminished.

tl* l*'1"'li-

P7

v7

+

Bb? I

l*, 1,,11o D? v7

GI

tr

c7 v7

A-

u

D7 v7

G.

n

cz ll rz v?l f r

The One(I) chordin aIlNT llprogressionis usuallymajorbut in theBluesit is Dominant7th (majorscale butwith a lowered7th scaledegree).TheII andtheV7 usethesamekey signature;they havedifferentroots (tonics)but the notesof eachscaleareidentical,just beginningon differentnotes. The tr chord/scalegets its namebecauseit's the secondnoteof thekey theBluesis in. The V7 is the fifth noteof the key the blues is in. Example: the tr chord(two chord)in an F Bluesis G minor. G beingthe secondor II of the key of F. The V7 in anF Bluesis C7 (C dominant7th) becauseC is thefifth noteof thekey of F. G minor (dorian minor) andC7 havecommonnotesandfingeringsin theirrespectivescales.Both scaleshaveoneflat - Bb. Jazzplayers have traditionally learnedpatternsand licks that allow them to maneuverthrough IW7 it leadsto theendof thechoruswhich progressions in thesmoothestmanner.TheIW7 is imporrantbecause point The IW7 andIlNT lI actasroadsigns leads strongest any tune, the beginning. to the of of coursethen for theharmony.Theyallow thelisrcnerto knowwheretheharmonyis headed.It helpsusenjoythemusic andkeepourplace.ForfurtherstudyofIW7 andIlNTI,consult Volumes3 and16oftheplay-a-longseries.

THEREALYOU SINGING.

Iù/eshouldbeginby askingyou to sing (with your voice) severalchorusesof bluesalongwith the record. I suggesttapingyourselfso you can listento yourself, andthen,with your instrumentin hand,try playing IcontendthatwhatyousingisoftenclosertotheREALYOUthanwhatcomes thephrasesthatyoujustsang! out of your instrument.On our instruments,we areinhibitedand limited by our lack of knowledgeof the instrument.If thisis so,andI truly believeit to be,themusicianwho knowshis instrumentwell will have a muchbetterchanceof conveyingthemusicthatis containedwithin his mind to you,the listener.When youarcuryingto playon yourinstnrmentwhatyouhavejust sung,besureto playwith thesameinflections, articulation,dynamics,etc. If you areusedto listeningtojazz music,your vocal solowill probablybefairly recognizable, eventhoughyourvoicemaycrackandsputterat times. Practicesingingwhenyou aredriving by yourselfor walking to schoolor to theoffice. Practicesingingwithin your mind while lying in bedor waiting for a bus. Put your mind to useandit will instantlystanpayingyou dividendsin that you will be ablc to recognizephrasesothersplay andthis will enableyou to put thoseideasin motion on your chosen instrument. I haveheardmany ftne jazz musicianssaythey havedonemuch practicingaway from their instrument.Theymentallypractice,andwhentheyfinallyputtheirinstrumentin theirhandsit is asthough they have alreadyplayedthe musicalideas. I would like to point out that many musiciansrefer to a particularlybeautifulmusicalphraseor soloassinging,eventhoughthemusicianis playinganinstrument. For example,"Coltranewasreally singing."

THEJAZZ APPROACH TO PRACTICING Whenbeginningto practicetheBlues,I feelit is necessary to getthefeelof theroots,thenthefirst two notes, first threenotes,first five notes,thenthetriad (root,3rd, 5th),andfinally theentirescale.Hereis whatthat would soundlike in thekev of F Blues.

EXAMPLE #1

ROOTS

F?

F?

FIRST2 NOTES F7

FIRST3 NOTES

FIRST5 NOTES

TRIADS

SCALE

You canalso playthe 7th chordandgth chordsand scalesin thirds. Whentwo chordsappearin onemeasureyou haveto altertherhythmof thepatternor condensethenumber of notesin your paûern. No matterwhat song you are working on, use the abovemethodfor getting with theharmonicmovementof thetune. I haveheardtwo of the top jazznumpetplayersin the acquainted counrrysayrhisis thefirst thing theydo whenlookingovera newpieceof musicthat theyaregoingto solo to the variousscaleand chord soundsin over. Ii makesgood sensebecauseit getsyour ear accustomed to thefingerings. your mind fingers and to becomeaccustomed It allows also advanceof theactualsoloing. ANY newsong.You canvary therhythms I stronglyadviseusingthismethodof practicewhenapproaching procedure. practice to this asyou becomeaccustomed

THIRDSANDSEVENTHS andtheseareoftentotallyneglectedby young Themostimponantharmonicpointsin thebluesprogression, improvisors,arerhecircledsectionsbelow. Smoothresolutionof the3rd or 7th of the dominant7th scales is extremelyimportantand is whatallowsthe listenerto know whereygg are in the blues.

EXAMPLE#2

TURNAROUND

v7

vI7

The 3rd (major 3rd) andthe lowered3rd (minor third) of thekey you are in arevery importantnores.Some peopleiike to begin learningthe bluesby gettingthe "feel" and "sound" of thosetwo tones. The 4th note of the tonic key is an importantnotebut mainly on thelast four measures.Here is an exampleusingthese threetones. (The numbersrepresentthe tonesof the F7 SCALE throughout.)

EXAMPLE#3

F BLUES F?

b?

AO

P7

C-

D?+9 c -

F7

Bb?

Bb?

A

Hereis a typicalblueschorusutilizingthethreenotesmentionedabove.Arrows indicatethesenotes.Also, noticehow often beatsone and threecontainchordtones(1, 3, 5 or 7).

EXAMPLE#4

F BLUES c-

F?

F7

It would be good to practiceimprovisingon the 3rd or 7th of eachchord in order to get the soundandfeel of theharmonyin your mind. Usingjust the3rd and7th will soundlike this: (Noticethehalf stepmelodic motionfrom thefirst chordto the second.This happensin othermeasures, too.)

F BLUES

EXAMPLE#5

I urgeyou non-pianoplayersto practiceexample#5 with your left hand,oneoctavelower thanwritten,and uy playingexercisesin #1 with theright handsoyou canhearthebasicharmony(3rd & 7th) in theleft hand while runningpatternsor soloingin theright hand. Most goodwind playershavea knowledgeof the keyboardandcanplay bluesin severalkeys. It is much easierto solveharmonicproblemswhileLOOKING at thepianokeysthanit is to seethemon a siu(finger tableor trumpetvalves. theharmony.Notes It is a goodideato leadinto the3rdor 7th notesof scalesby half steps.This strengthens indicate lines half-stepleading good Dotted are listed below. choicesat thebeginningof measurcs thatare tones.

EXAMPLE#6

F BLUES F7

\.nuz

TRANSPOSING I encourageyou to transpose(movenotesto anotherkey) anyof themelodiesin this book to otherkeys. It would be excellenteartraining. For example,take"Kenny'llMakeIt" andplay thesamenotesandrhythms but moveeachof themup one-halfstepto thenextkey. With practiceyou'Il be ableto transposemelodies quickly. It reallyamountsto hearingthen playingin a newkey. Theminddoesn't andchordprogressions know whatkey it is in until you playa noteandthink,this is Bb or G or whatever. Goodimprovisorscan soloin all keys fluently. In anoverallsenseall keysarethesamebutin anotherreal senseeachkey hasits own characteristics of sound,feel, timbre,mood,expression,touch,andchallenge.

WITHPITCHCONTROL PLAYBACKDEVICES Thosewho own a devicewith pitch controlwill want to useit to practiceparticularbluesin new keys. into differentkeysjust for the challenge;it makesplaying havealwaysmovedchordprogressions Jazzers take"Kenny'll Make It" (Bluesin Bb ConcertKey) and play in the originalkey easier.For instance, that melodyup l12 stepwith the playbackdeviceup 112step.This type of practiceis a challengebut is somethingthat hasbeendonefor years.Therearecomputerprogramsavailablewhich allow you to slow is thepitch!Thisamazingtechnology withoutchanging to l12,ll4, andevenslowerspeeds downpassages with music. practice work and changingtheway we areableto

CONCLUSION 1. Play what you hear in your head.Recordyour voice and transcribeit on your instrument. walking,etc.Think aboutthe inten'als)'ou aresinging. 2. Singwith your voicewhile driving,showering, you pieces chords? Analyzewhatyouarethinking. of scalesor singingbits and Are andsingthe phrasesthey 3. Listento ja.z playersplaytheblues.Spenda lot of time with theirrecordings, play.Try to play them yourself. in orderto bring 4. Remember, leadingtonesarethe3rdand7thusually.Thesetonesshouldbeemphasized out the harmonicmovementfrom chordto chord. whenplayingon a blues.Don'tjust playon 5. Useeverythingyouhavelearnedaboutmelodicconstruction thebluesscale.Thatsoundcanwearprettythinin thehandsof a novicebutcansoundfine wheninterspersed rvithphrasesfrom theoriginalharmony. 6. Transcribea soloor a portionof a favoritesoloandplayit on your instrumentrvith the sameinflections downby imitationandyou canbenefitgreatlyby astherecordedversion.Thejazztraditionhasbeenpassed transcriptions.

The TWELVEBLUESSCALES TREBLECLEF

l0

BASSCLEF

After youbecomefamiliarwith thebluesscaleasI haveit listcdyoumaywantto addones to thescalcwhich give the scalesoundrnorevariety. Addedtonesarecirclcd.

Erempte:F Blues scale. . . r,@ oo,@ Bb, & c,@ *,@

".

This scalesoundsstrangewhenplayedstraightupor down. Jazzplayersusuallyptaybits andpieccsof the scalcor makcup licks utilizing ccrtainnotcsof thcscalc.You will wantto transposcthis scalcto all twclvc kcys for practice.

ABOUTTHISBOOK& CD foreachtrackwillequalplplus TheTOTAL numberofchorusesplayed not an extra chorus. at melody [lis El.rn" For example: No. 1 Bb Blues (Kenny llill Make Il is playeda total of I choruses. NOTES: l) You will heara triangle sound gth. l lth bar (last chorus)of the @l section.This is your signalthat thelÇlSection chord/scaleprogressionis aboutto begin. 2) On the D Concert recordedtracksthe soundof the triangle on the 5th choruswas inadvertentlyomitted. 3) The Dom. 7+9 in the 8th bar of theS sectioncalls for a raised5th in the chord/scale.I havewritten a natural5th becauseI feel it will help the novice improvisorto heartheharmonybetterat that point in the progression.

Il

1. Bb BLUE S

Bb BLUESSCALE

6

Kenny'llMakelt

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2. B BLUES El rrrer-oDY

B ELUESSCALE

WiggleWaggle

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3. C BLUES El nrer-oDY

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D BLUESSCALE

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Eb BLUESSCALE

Dr.Jay

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7. E BLUES

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BigApple

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h*--kF#-

L F BLUES El ner-oDY

æ F BLUES SCALE

A Littleof This?

J=ræ

Bb?

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b-ba s.

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ba- +

Bb?

C7

ha- +

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bo *

Bo? -J

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æ

F' BLUESSCALE

El naeloov

9. F#BLUES Carmi Downtown B7

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Ab-

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eray5 Choruses

Ebz+9

pl nav5 Choruses

10. G BLUE S

G BLUESSCALE

TheCamel

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E?+9

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11. A b B LUES ShuffleDutY Ab?

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