By Dennis Hopeless

Reunited finally, the All-New X-Men hit the line on a undertaking to jot down their very own futures and be the heroes they think mutantkind wishes most.

But it's particularly demanding to forge forward while the immovable BLOB is status within the way!

And he's now not the single one together with his points of interest set at the younger X-Men...

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7 7 10 10 12 Œ Ó Let ring 14 10 11 7 7 10 11 14 14 10 11 14 14 17 18 14 14 17 18 19 19 47 June 2016 41 PLAY } JAZZ-BLUES ON THE CD TRACK CD-ROM Tim Lerch Masterclass Part 1 With Milton Mermikides as your guide, add tasty sophistication to a 12-bar blues with this fantastic masterclass series from jazz-blues guitarist Tim Lerch. Figure 2 (quick change) | Eb7 | Bb7 | Bb7 | (#IVº7) Eb7 | Eº7 | Bb7 | Bb7 | – – – – – Turnaround – – – – – F7 | Eb7 | Bb7 Eb7 | Bb7 F7 | We are still very much in the blues rather than jazz genre, so here is how this more elaborate form adopts jazz harmonic concepts.

CHORD SHAPES ESSENTIAL JAZZ BLUES CHORDS The following 17 chord shapes are used almost exclusively in this performance by Tim, and are a fantastic resource for anyone in (or venturing into) the jazzblues genre. note that these are presented with the roots in black (and the other intervals labelled). so long as you know the notes on the fifth and sixth strings you can play any of these great chord shapes in any key. some of these chords are inverted, and do not contain a root, and for these i’ve indicated in blue where the implied root can be found to help you locate the correct position – but they are not intended to be played (and in some cases are impossible).

4 BU E B G D A E ~~~ BU F7 ~~~ & E B G D A E 8 8 œ ~~~ œ bœ nœ œ œ œ . 1 ~~~ œ œ & ‰ bœ . E B G D A E 11 j ~~~ bœ nœ . 9 8 10 F7 bœ J 8 œ œ œ bœ œ œ C7 œ 10 œ œ J 5 5 3 5 6 5 6 ˙ . ~~~~ G 13 7 ~~~~ 17 June 2016 61 lesson } blues ON THE CD TRACKs 35-38 ExamplE 2 a mixolydian blues cd track 37 Here we have another dominant blues, this time in a. a Mixolydian (a-B-C#-d-E-F#-G) is used throughout with added ‘colour’ tones thrown in. ©»¡ºº ### 4 & 4 j œ nw ∑ œ 7 ### œ Ó œ œ J 3 5 BU (8) 7 BU ( 8) 7 ˙ nœ ‰ œ œ n œJ ‰ .

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