Guitar Techniques - - Soloing Over 7ths -

Al­tered Scale Ex 3 This 12-bar in 3/4 time moves be­tween A7#9 and a more elab­o­rate ver­sion - A7#5#9. Start­ing at the 10th fret, play the first eight bars ap­ply­ing a one-fin­ger-per-fret strat­egy, with your first fin­ger on the 10th fret and your fourth at the 13th (and 14th). The sec­ond half fea­tures oc­taves strummed with the pick­ing hand thumb, so it’s es­sen­tial to mute un­wanted strings with your fret­ting hand fin­gers. I pre­fer us­ing first and fourth fin­ger to fret oc­taves on these sets of strings. To fin­ish, we touch upon a clas­sic jazz sound, play­ing the 3rd (C#) then jump­ing up a ma­jor 7th to the #9 (C), then the b9 (Bb), to fin­ish on the root (A). Sym­met­ric Di­min­ished Ex 1 This ex­am­ple shows how the Sym­met­ric Di­min­ished scale can be used on a V chord (A13b9) that re­solves to a I chord (Dmaj7) in a ma­jor key – D ma­jor. This se­quen­tial pat­tern is a clas­sic jazz pat­tern, heard more in other in­stru­ments groups like sax and piano and it’s a fairly chal­leng­ing one. There are some ma­jor stretches and changes of po­si­tion, so make sure you take your time to set­tle on a good fin­ger­ing and stick with it as you build up the speed. Af­ter the ini­tial de­scend­ing se­quence, we go back up the scale, to fin­ish on the A note, which is the 5th of the Dmaj7 chord.

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.