VARIATION5 Par­al­lel In­ter­vals

Guitar Techniques - - Play: Big Band, Jazz & Swing -

While scales and modes are un­doubt­edly ex­tremely use­ful for cre­at­ing sin­glenote lines, they can also be ef­fec­tively em­ployed to cre­ate a won­der­fully use­ful se­ries of as­cend­ing or de­scend­ing chord voic­ings. Here we see a com­bi­na­tion of G Mixoly­dian and C Mixoly­dian modes har­monised in 4th and 3rd in­ter­vals to cre­ate an as­cend­ing line that both sup­ports the har­mony and cre­ates a log­i­cal and co­he­sive theme that builds beau­ti­fully as the se­quence un­folds. We switch to some quar­tal har­mony in bar 55 - chords based en­tirely on 4th in­ter­vals - while the fi­nal four bars in this vari­a­tion in­tro­duce the con­cept of an osti­nato pedal-tone in the tre­ble (hold­ing onto a sin­gle high D while the voic­ings be­neath shift to out­line the har­mony).

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