ex­am­pleS

Guitar Techniques - - Soloing Over 7ths -

we have a se­ries of stacked 4th in­ter­vals (per­fect and aug­mented 4ths), all of which re­main di­a­tonic to the scale at all times, cre­at­ing a nice bit of colour. Us­ing sin­gle fin­gers for each note makes it eas­ier to achieve clar­ity. The run that spans the two bars be­fore the fi­nal bar, demon­strates a re­ally use­ful pat­tern, which clearly spells out the scale, re­peat­ing the in­ter­vals 1, 3, #4 and b7. Phry­gian Dom­i­nant Ex 1 We start by ex­ploit­ing the ten­sion and re­lease in the scale, namely the 4th - D on the 10th fret, plus the lower oc­tave (the ten­sion); and the 3rd - C# on the 9th fret, plus the lower oc­tave (the re­lease); as well as the mi­nor 2nd - Bb on the 11th fret, plus the lower oc­tave (the ten­sion); and the root - A on the 10th fret, plus the lower oc­tave (the re­lease). Be sure to mute un­wanted strings! Phry­gian Dom­i­nant Ex 2 We are in 3/4 time for this de­scend­ing pat­tern that re­peats in three oc­taves. Use your first fin­ger for the slides. No­tice how the fi­nal scale run up to the fi­nal A note con­sti­tutes an­other pen­ta­tonic scale, this one con­sist­ing of in­ter­vals 1, 3, 4, 5, and b7.

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