\version "2.14.0"
#(set-global-staff-size 16)
\paper {
%print-all-headers = ##t
system-system-spacing #'basic-distance = #10  
#(set-default-paper-size "letter")
  top-margin = 2\cm
  bottom-margin = 2\cm
%  ragged-last-bottom = ##t
}
\header {
  title = "The One-Bar Dorian Vamp"
composer = "Hal leonard (rock keyboard)"
arranger = "Juan Pablo Bello (edición I)"
}
\markup {
\wordwrap { Here's a classic "pseudo-jazz" vamp that artists like Van Morrison and the Doors were quite fond of.  First, look at the key signature: it's G major. Next, notice that the bass is playing fifths outlining Am and Bm. The tonal center is really Am.  That makes this a minor vamp built on the second degree of a major scale; in other words, an A Dorian vamp (think of it as A minor with a major 6th degree, F \sharp ).
 Get comfortable with the bass line first, it's the foundation of the groove. Then add the "anticipated" chords, and play them with a light touch.  The right hand fills out the harmony with three-note voicings of minor sevenths, then the idea is extended by moving the whole thing down to D minor (Dm7 to Em7). } }
melody = \relative c {
  \clef bass
  \key g \major
  \time 4/4
\set Timing.beamExceptions = #'()
\ottava #-1
%\tempo 4 = 105
\repeat unfold 4 { a,4 e' b fis' }
c\set Score.repeatCommands = #'(end-repeat)

%\bar "|.|"
}
acordes = \chords {
c\repeat unfold 4 { a2:min7 b:min7 }
}
\score {
<<
\new ChordNames \with {
  \override BarLine #'bar-extent = #'(-2 . 2)
  \consists "Bar_engraver"
}       \set chordChanges = ##t
      \acordes
\melody >>
\header { title = ##f  piece = "Track 12" }
\layout {}
\midi {}
}
%pno
rh = \relative c' {
%\tempo 2 = 92
\time 4/4
\key g \major
\repeat volta 2 { \repeat unfold 4 { <g c e>4 r8 <a d fis>~ q4 r } \repeat unfold 3 { <f a c>4 r8 <g b d>8~ q4 r }}
\alternative {{ <f a c>4 r8 <g b d>~ q4 r } { <g a c e>1 }}
\bar "|.|"
}
lh = \relative c' {
\time 4/4
\key g \major
 \clef bass
\ottava #-1
\repeat volta 2 { \repeat unfold 4 { a,4 e' b fis' } \repeat unfold 3 { d4 a' e b }}
\alternative {{ d4 a' e b' } { a1 }} 
\bar "|."
}
acordes = \chords {
\repeat unfold 4 { a2:min7 b:min7 } \repeat unfold 3 {d2:min7 e:min7 } a:min7
}
\score {
<<
\new ChordNames \with {
  \override BarLine #'bar-extent = #'(-2 . 2)
  \consists "Bar_engraver"
}       \set chordChanges = ##t
      \acordes
  \new PianoStaff <<
    \set PianoStaff.instrumentName = #"Piano  "
    \new Staff = "rh" \rh
    \new Staff = "lh" \lh
  >>
>>
\header { title = ##f }
  \layout { }
\midi { }
}
\markup { \bold { \large { Another Dorian Idea }}} \markup { \vspace #3 }
\markup { \wordwrap { Here's another vaguely Dorian idea. This time, the bass plays octave roots in quarter notes while the right hand vamps from Am to D to Am7 and then back down. The result is a melodic "hook" over an A pedal. The whole idea is transposed, with some modification, to F, and then the last two bars make a turnaround ending on a V7 chord (E7).
 }} \markup { \vspace #3 }

%pno
rh = \relative c' {
%\tempo 2 = 92
\time 4/4
\key g \major
\repeat volta 2 { <g c e>4 r8 <a d fis>~ q4 r <g c e>4 r8 <a d fis>~ q4 r <g c e>4 r8 <a d fis>~ q4 r <g c e>4 r8 <a d fis>~ q4 r
<f a c>4 r8 <g b d>8~ q4 r <f a c>4 r8 <g b d>8~ q4 r <f a c>4 r8 <g b d>8~ q4 r }
\alternative {{ <f a c>4 r8 <g b d>~ q4 r } { <g a c e>1 }}
\bar "|.|"
}
lh = \relative c' {
\time 4/4
\key g \major
 \clef bass
\ottava #-1
\repeat volta 2 { a,4 e' b fis' a,4 e' b fis' a,4 e' b fis' a,4 e' b fis'
d4 a' e b d4 a' e b d4 a' e b }
\alternative {{ d a' e b' } { a1 }} 
\bar "|.|"
}
acordes = \chords {
\repeat unfold 4 { a2:min7 b:min7 } \repeat unfold 3 {d2:min7 e:min7 } a:min7
}
\score {

<<
\new ChordNames \with {
  \override BarLine #'bar-extent = #'(-2 . 2)
  \consists "Bar_engraver"
}       \set chordChanges = ##t
      \acordes
  \new PianoStaff <<
    \set PianoStaff.instrumentName = #"Piano  "
    \new Staff = "rh" \rh
    \new Staff = "lh" \lh
  >>
>>
\header {  Piece = "Track 13" }
  \layout { }
\midi { }
}
\pageBreak
 \markup { \bold { \large { Soloing }}} \markup { \wordwrap { Soloing in the classic rock genre can sound harder than it really is. Good rhythmic phrasing is essential: Practice use of rests (to create space), accents (to create contour), and different note values (to add variety). The solo ideas in this chapter are predominantly blues-based but will work in a variety of contexts. }} \markup { \vspace #3 }
\markup { \left-align \bold { \large { Minor Pentatonic }}} \markup { \wordwrap { The minor pentatonic (1 \flat 3 4 5 \flat 7) is an essential scale for soloing over major or minor progressions. It even works for the "pseudo-jazz" Dorian idea we learned earlier. }} 
\markup { \vspace #3 }

mel =  \relative a' {
%    \set Staff.instrumentName = #"melodía"
      \set midiInstrument = #"flute"
%\key g \major
\numericTimeSignature
%\time 4/4
\clef treble
a1 c d e g a
 \bar "|."
}

\score {
<<  \new Staff \with{
\remove Bar_engraver
    \remove Time_signature_engraver }
\mel >>
\header { Piece = "A Minor pentatonic" }
  \layout { }
\midi { }
}
\markup { \wordwrap { Here's a line based on A minor pentatonic. Try it out by itself, then try it with bass notes in the left hand or with chords. (See the Scales section at the end of this book for minor pentatonic scales in other keys.) }}
mel =  \relative a'' {
    \set Staff.instrumentName = #"A"
      \set midiInstrument = #"flute"
\key g \major
\numericTimeSignature
\time 4/4
\clef treble
\repeat unfold 2 { r8 c a g e d c a~ a2 r }
 \bar "|."
}
\score {
\mel
\header { Piece = "TRACK 14 "}
  \layout { }
\midi { }
}
%ejemplo b
rh = \relative c' {
\time 4/4
\key g \major
\repeat unfold 2 { r8 c a g e d c a~ a2 r }
\bar "|.|"
}
lh = \relative c' {
\time 4/4
\key g \major
 \clef bass
\ottava #1
\repeat unfold 4 { <g c e>4 r8 <a d fis>~ q4 r }
\bar "|."
}
acordes = \chords {
\repeat unfold 4 { a2:min7 b:min7 } }
\score {
<<
\new ChordNames \with {
  \override BarLine #'bar-extent = #'(-2 . 2)
  \consists "Bar_engraver"
}       \set chordChanges = ##t
      \acordes
  \new PianoStaff <<
    \set PianoStaff.instrumentName = #"Piano  "
    \new Staff = "rh" \rh
    \new Staff = "lh" \lh
  >>
>>
\header { piece = "B" }
  \layout { }
\midi { }
}
rh = \relative c'' {
\time 4/4
\key g \major
\repeat unfold 2 { r8 c a g e d c a~ a2 r }
\bar "|.|"
}
lh = \relative c {
\time 4/4
\key g \major
 \clef bass
\ottava #-1
\repeat unfold 4 { a4 e' b fis' }
\bar "|."
}
acordes = \chords {
\repeat unfold 4 { a2:min7 b:min7 } }
\score {
<<
\new ChordNames \with {
  \override BarLine #'bar-extent = #'(-2 . 2)
  \consists "Bar_engraver"
}       \set chordChanges = ##t
      \acordes
  \new PianoStaff <<
    \set PianoStaff.instrumentName = #"Piano  "
    \new Staff = "rh" \rh
    \new Staff = "lh" \lh
  >>
>>
\header { piece = "C" }
  \layout { }
\midi { }
}
\markup { \bold { \large { Dyads/Chords }}} \markup { \wordwrap { Now try the same line, but start expanding on it. This version riffs off an Am chord, using thirds (dyads). Notice also the space left at the end of the phrase. }}
rh = \relative c'' {
\time 4/4
\key g \major
\repeat unfold 2 { r8 c a g e d c a~ a4 r8 a <c e> a <d fis> <c e> a1  R }
\bar "|.|"
}
lh = \relative c {
\time 4/4
\key g \major
 \clef bass
\ottava #-1
\repeat unfold 8 { a4 e' b fis' }
\bar "|."
}
acordes = \chords {
\repeat unfold 8 { a2:min7 b:min7 } }
\score {
<<
\new ChordNames \with {
  \override BarLine #'bar-extent = #'(-2 . 2)
  \consists "Bar_engraver"
}       \set chordChanges = ##t
      \acordes
  \new PianoStaff <<
    \set PianoStaff.instrumentName = #"Piano  "
    \new Staff = "rh" \rh
    \new Staff = "lh" \lh
  >>
>>
\header { piece = "C" }
  \layout { }
\midi { }
}