ex­am­pleS

Guitar Techniques - - Soloing Over 7ths -

Whole-tone Scale Ex 2 This 3/4 time ex­am­ple shows how you can use the whole-tone scale to ne­go­ti­ate a V- I(m) pro­gres­sion, us­ing it as dom­i­nant chord ten­sion, which re­solves on the Im9 (Dm9). It is a de­scend­ing se­quence of pull- offs, with a log­i­cal fin­ger­ing of fourth, sec­ond and first re­spec­tively. We end by land­ing on the fi­nal A note which, in the con­text of our Dm9 chord, is the 5th. Whole-tone Scale Ex 3 In our fi­nal ex­am­ple, the har­monic con­text is a G aug­mented triad with A in the bass go­ing to an F aug­mented triad with A in the bass. The chords are writ­ten like this as it makes it eas­ier to trans­late to the gui­tar since 7 the na­ture of the whole-tone scale means chord names can be am­bigu­ous. We start by trav­el­ling up the fret­board by way of a three-notes-per-string shape, adding some se­quence based scale ideas. We then land on an aug­mented A triad at the 10th fret, which gets moved back down the neck in whole tone steps. I rec­om­mend us­ing first, sec­ond and third fin­gers, the third fin­ger on the fifth string and first fin­ger on the 3rd. This idea is then re­peated and fur­ther de­vel­oped higher up the neck, start­ing from 17th fret. Log­i­cal fin­ger­ing is: first fin­ger on the first string, third fin­ger for the 2nd and sec­ond fin­ger for notes on the third string. For the fi­nal phrases, your first fin­ger can be used ef­fec­tively to barre the sec­ond and third strings (4th, 6th and 8th frets).

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