Ex­am­ple 6 Mix­ing It All To­gether

Guitar Techniques - - Play Better Chords! -

This fi­nal ex­am­ple mixes all our con­cepts to­gether, in the con­text of E mi­nor. No­tice how we are not stick­ing with the di­a­tonic chords you would usu­ally find in E mi­nor, as in the first line alone we add chords you could see stem­ming from E Do­rian (A13), E Locrian (C9), B al­tered scale, or Su­per­locrian (C melodic mi­nor) - for the B7(#9) - and E al­tered scale for the Bb9(#11). No­tice how the top line – on the up­per string(s) moves around. Hav­ing a rea­son­ably melodic top line can re­ally help tie a pro­gres­sion to­gether in a smooth way, es­pe­cially if it con­tains lots of ex­tended and al­tered chords. From bar 9, we sud­denly skip to E ma­jor tonal­ity with the Emaj7 chord, al­though we quickly move on to Mixoly­dian-based ter­ri­tory with the E11 and A/E. Bar 12 heads us back to E nat­u­ral mi­nor (Ae­o­lian mode), be­fore ven­tur­ing on to the last row of chords. Apart from the tri­tone sub­sti­tu­tion (bar 13, Bb7#11 and bar 15, F13), the two ob­vi­ous el­e­ments that tie the chords to­gether for the fi­nal five bars are the top line and bass line move­ment. You’ll see that there’s a static high E for the first five chords (from bar 13) and how it evolves nat­u­rally to end on the jazzy and clas­sic sound­ing 9th in­ter­val (F#) on the Em6/9. And sim­i­larly, see how the bass line could be played on its own with no chords at all, and yet it would still make good mu­si­cal sense. I hope you’ve found this delve into the world of chords as re­ward­ing as I have writ­ing it for you!

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.