Berklee-Meter-Studies-Guitar, gitara nuty

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FREE music lessons from
Berklee College of Music
Jim Kelly
“Meterman”
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Band
7
Play-along 19 (no guitar)
sections is to play phrases. Bob
Tamagni does a great job on drums
with this groove and plays 4-bar
phrases throughout the solo.
Meterman" was written in the style
of the New Orleans funk/r&b group
called the Meters. The group started in
the 70s and has been very influential;
a lot of different bands have picked up
on this particular groove. It has roots
in march music from New Orleans.
Some other guys very important to
this feel are Professor Longhair, Dr.
John, and James Booker. Jazz players
such as John Scofield and saxophonist
Bennic Wallace sometimes show these
influences in their writing.
The
intro
is a three-note C7 chord
with no 3rd.
I
like the sound vou get
by sliclinginto the b7th and the 5th
while sustaining the root. Manv of the
voicings are organ-like. As a matter of
fact, the Meters have an orran, so you
could add one on this nine
if
you've
got a friend who plays one.
Often when there are chord voicings in
this song,
I'll
strum between the chord
hits, keeping a constant rhythm while
muting on the rests with the left hand.
Basicallv
it
is the same approach as
in the
&o.
This is a good one to learn at a
jam
session because there is enough form
to start things off. Even if it appears
simple,
try
to develop the solo section.
The Meters' music is mostly
instrumental, and is much more
about groove than solos. The melody
in this tune is a combination of a
pentatonic line and some triad
rhvthm hits. After the melody, the
solos are all played over a C7 chord.
On the recording,
I
stick close to the
blues sound. Live, it will often drift
more "out," and it can get quite free
over the C bass pedal. One important
thing to do
in
these one-chord solo
"
c
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