B^ F-7 B71

E^A7

5

G-7 C79

1324

123

412

4131

431

431

Cherokee

3412 1 2 1

41 41 1

4

4312

3331

3332

123

Notice that Stochelo sometimes plays some extra strokes with his right hand for rhythmic effect on the longer chordss

412

231

213

1323

876

768

8108

11

678

677

6576

6

76

5

7

4

6

3

5

3

5 5456

3444

3

333 876 768 911

10 756 756

C-7 G7 C-7 F713

B^ F-7 B717

E^A7

21

423

413

114

141

3312

1324

123

412

1314

431

431

3412

1 2 1

41

41 1

4

3332

878

646

533

131

131

2122

1323

876

768

8108

11

8108

11

678

677

6576

6576

6

76

5

7 4

6 3

5 4

444

2

G-7 C725

C-7 F7 B^29

C#-7 F#7 B^33

3332

123

412

231

213

3332 2

333

3332

1214

3121

1234

1234 43

21

3111

4121

3121 3 1

2 T

132

2

3

333 87

6 768 911

10

91110

756

6

666

7

777

8

888

8

888 78

710

7878

8765

8765

8765

8765

999

11

898

11

8989 9

9 6

7

7

887

887 9

3

B-7 E7 A^37

A-7D7 G^

41

G-7 C7 C-7 F745

2

12

4121

3121

2431

3412

4111

4121

3121 3 1

2 T

132

2

2

13 3 3

3312

9 57

6769

6767

5

665

5

665

5

465

5557

4547

4545 5

5 2

3

3

443

443 5

5 13 3 3

13

1 2122

4

B^ F-7 B749

E^ A753

G-7 C757

1324

123

412

4131

431

431

3412

1 2 1 3 2 1 2 1 4 2 1 3 1 1 2

Thinking D7 (to Gm) featuring a dim arpeggiostarting on the beat 3 of bar 57

1 2 1 3 1 2 1 3 1 3 21

2 1 2 1 1 12 3

Still on Gm so essetially playing G- over C7

31

31

32

3 1 1 2 1 1 31

3 3 3

3 3 3

1323

876

768

8108

11

678

677

6576

6576

6

76 3 2

1 2 1 6

4 3

5 3 25

4 5 46 4 5

4 75 8

75 8 6 8 6 5 6 8 9 10 6 8 6

87

8 55

65

5 87

5

C-7 F7 B6F7

61

B^ F-7 B765

E^A7

69

2 1

2 1

Stochelo doesn't resolve to Bb6 but keeps playing F7 to keep the tension before his solo starts on Bb in bar 65

3 11 3 2 1 1

3 1 2 3 1 3 1 2 1 3 1 32

13 3 2 1 1 3 2

1 1 3 2 1 1 3 1 1 3 2

1

2 1 2

Stochelo plays E7 here (tritone sub for Bb7)

3 2 1 3 1 32

1

1/2

1 3 2 2 2 1 2 1 2 4 1 4

Stochelo always treats these two bars as two bars of D7 (altered). Thatis because he prefers to go to G-7 in bar 73 whereas most jazz musiciansgo back to Bb (so the rhythm guitar + bass play G-7 instead of Bb). Youcould still do this if the rhythm section would play Bb in the next barbecause Bb and G-7 are closely related.

2 1 3 1 1 2 1 3 1 2 1 3 1 3 21

2

86 10 8

11 88

10 9 8 7

9 78

9 79 7 8

7 108 11

108 11 13 12 11 10

13 12

11 1012 11 10 8 10 8 7

8 7 6

7

6

78

7

6 9

7 109

7

68

7 7 4 3 5 3 4 6 3 6 4 3 5 3 25 4

6 4 54 7

5 87

5 8

6

G-7C773

C-7 G7C-7 F7

77

B^ F-7B7

81

Stochelo G-7 for five whole bars and thus ignores the chord changes. This works because G-7 over C7 is a Csus cound and G-7 overC-7 is C-9(11) sound. These are good tricks to remember and use yourself.

1 2 1 1 14

1 2 31 2

3 1 3 2 1 4 1 2 1 2 1 1 3 3 11 3 3 1 2 1 3 1

3

3

2 1 2 1 4 1 2 3

Dim arpeggio

1 3 1 3 1 32 1

13 1 1 3 2 1 1

3

Playing the tritone ofF7 (B7)

12 3 1 3 1

2

A typical Stochelo trick outlining two dominant chords on the tonic (in thiscase C7 and F7). He does a lot on the A-part of rhythm changes at well.

1 2 31 4 2 1 4 1 2 3 1 3

2 1 3 1 2

Excellent lick for Bb7 to Eb. Notice thathe is a little late with Ebmaj.7 (3rd beat ofbar 84)

1 31 3 1 1 4

1 2

3

3

6 8 6 5 5 8

56

75 6 7

57 6 5

8 5 15 6 5 3 5 6

55 7 8

78 6

8 6

76

7 58 5

6 7

5

86 9

7 109

7 811 8

810 9 8 7

9 78

9 79 7

8

5 6 75 8

6 58 5 6 7

5 87 6

8 6 76 9

7 9 7 69 6

7

7

E^

A7

85

G-7

C7

89

C-7 F7 B^

93

3 2 1 2 1 1 4

Standard maj. 7th lick

1 2 1 2 1 22

1 2 1

(4)3

Again playing D7 (altered).

(3)2

(2)1 1

(4)3

(3)2

(2)1 1 2 1 3 2 1

3 2 1 2 1

3 3 3

3 3 3

Staying on D7. Stochelo often plays dominants over minor chords.A good example would be "Sweet Georgia Brown" in which he wouldplay B7 (altered) over the E minor part in the end.

1 4 2 1 1 4 1 2 3 1 3 1 32

1 33

1 2 1 2 1 2 1 2 1 2 1 2 1 2

1 2 1 2 1 2 1 2 1

21 3

1 1 3 1 3 1 1

(4)3 (2)

1 1 3 1 2 1 2 1 4 1 2

3 3

3 3

8 7 6 7 6 58 5 6

5 87 8

86 10 8 13 12 11 10

13 12 11 1012 11

13 12 1013 12 10 12 10

912 10 8 7

10 7 8 97 10

8 1110

8 10 11 9 10 9 10 9 10 9 10 9 10 9 10 9 10

9 10 9 10 9 10 9 10 8 10 811 8

810 8 10 8 7

10 8 68 6 7

6

7 58 5

6

8

C#-7 F#7 B^97

B-7E7 A^

101

A-7D7 G^105

Great II-V-I lick to add to your bag-o-licks (and a typical Stochelo lick as well).

2 1 (2)1 1 3 1 3 1 2 1 2 1 2 1 1 4 1 2 1 1

And another one! Be sure to practice these II-V-I licks in as many keys as possible.

3 1 13

21 2 1 1 1 3 1 1 3 1 2 1 2 1 4 1 2 1 1

1

And yet another one! Notice that the three II-V-I all share pretty much the same lick on the maj. 7th chords. By varying a littleand changing the lick on the min 7th you get three very different sounding licks. Neat trick!

3 2 1 3 21 3 1 1

31 1 3 1 2 1 2 1 4 1 2 1 0 1 2 1 1 3 3 1 2 1

11

9 7 6 9 7 9 7 8 78

6 8 6 69 6

7 6 4

97

7 109 7 9 7 5 4

7 5 57 5 6

5

6 47 4

5 4 2

2

8 7 58 7 5

7 5 46 4 3

5 3 43

4 25 2

3 2 0 2 32

2 4 54

5 3

9

G-7 C7 C-7 F7109

B^ F-7 B7113

E^A7

117

This chord progression is very common in bebop tunes and knowing some licks over these chords will open up your vocabularyto more modern jazz styles.

1 3 1 3 1 1 3 13

3 2 12 1 2 1 3

1 1 3 2 1 13 1 2 3 1 3 1 2 1 3 1

3 3

3 3

Stochelo often uses this chromatic trick when he wantsto move to another position on the guitar neck.

3 21 1 3 1 1 1 3 1 1 1 3 1 4 1 2 3 1

1 2 1 3 1 3

21

3 3 3

3 3 3

1 3 2 1 2 1 1 1 1 2

Standard dim arpeggio from the low E-string

3 1 3 1 3 13

21 2 1 1

(4)3

(3)2

A little early on G minor(anticipating the chord)

(2)1 1 2

12 1 3 1

3 3 3

3 3 3

35 3 5 3 2 5

3 5 65

3 10 8 10 811 8

810 9 8 7

9 78

9 79 7 8

7 108

1110

8 8 10 8 7 7 9 7 6 6 8 69 6

78 6 6

7

6 9

7 109

7

68

7 5 7 5 4 5 9 10 11

9 1210 13

11 1413

11 13 11 1013 12 11 10

12 11 12 11 14 12

10

G-7 C7121

C-7 F7 B^125

C#-7 F#7 B^129

1 2

1 2 1 1

3 1 1 3 1 1 2 1 4 2 1 2 4 1 4 2 1 3 1 3

3

3

B dim arpeggioto prepare C-7

2 12 1 3 1 1 3 1 3 1 1

3 2 1 1 1

(3)4 1 (3)4 1 3 1 2 1 2 1

3 3

3 3

Stochelo still on Bb by accident(he forgot the rhythm section wouldgo to the bridge righter after the first A-part)

4 1 2

2

Quick recovery by playing some chords.If you ever get lost stabbing some chordsis not a bad idea!

4121

1

2431

12

1 3 1 2 1 2

1213 12 13 12 10

12 10 10

12 10 9 10 912 10

7 8 10

710 8 7 10

7 10

97 10 8

11 88

10 8 10 8 7

10 9 8 7 6 8 6 8 6 8 6 7 6 7 5

8 56 6

89811

7

7

887 7

8 7

9 7 87

9

11

B-7 E7 A^133

A-7D7

G^137

G-7 C7 C-7 F7141

B^ F-7 B7145

3

Great II-V-I lick once again.

1 13

23

1 1 3 1 13 1

1 3 1 2 1 2

2

2

2 2 1 2

3

And another one to practice in multiple keys

1 1

3

32

2

3

1 21 1 3 1 2 1 3 1 2 1 3 1 3 1 3 2 1 2 1

4

3

3

3 3

1

Staying on G minor

32 3

1 2 1 1 2 3 1 1 2 1 1 31 2 1

2 1 3 1 1 3 2 1 13 1

2 3 1

3

3

3 1 2

1324

123

412

4131

431

431

3412

97

7 109

10 77

9 7 6

8 6 57 5 6

5

6 6 6 6 4 3 4 4

75

5 87 10 8 10 8 7 8 7 8 7

9

7 7 8 79 7

7 89 7

9 8 7

10

68

78

6 8 6 57

8 55

65

5 87

86 10 8

11 88

10 9 8 7

9 78

9 7

9 7 8 1323

876

768

8108

11

8108

11

678

677

7687

12

E^A7

149

G-7

C7153

C-7F7 D

G7157

3412 1 2 1

41

41 1

4

4312

3331

3332

123

412

231

213

3332 2

333

3332

1214

3121

1432

These extra four bars are standard fare in jam sessions to signal theending. They pretty much work on any jazz standard.

4312

6576

6

76

5

7 4

6

3

5

3

5 5456

3444

3

333 87

6 768 91110 756 756

6

666

7

777

8

888 78

710

7878

10

10109

10

10109

10

10109

10

10109

10

10109

10

10109

109

1011

109

1011

109

1011

109

1011

1091011

109

1011

13

C-7 F7B6

161

41

41

14 1 4 1 1 2 2

Classic end lick you should know in all keys!

3 2 1 3 2 1 3 1 2 11

2

8

105

7

6

8

7

9

8

10 8 10 8 7

88

9

8 69 8 6

8 6 76

6 6

14