Exam ple LAURA MAR­LING style

Guitar Techniques - - Laura Marling -

[Bar 1] Al­though we are deal­ing with a stan­dard chord pro­gres­sion in A mi­nor, the voic­ing of this Amadd9 chord makes things just that bit more in­ter­est­ing than a stan­dard A mi­nor shape. The ‘add9’ refers to the fact that it has a B note, the 9th of A, in­cluded in the chord which comes in the form of the open sec­ond string. [Bar 2] See how the B now func­tions as the ma­jor 7th of the C chord and then as the #11th of the F chord in the next bar. We can re­fer to this B note as a ‘pedal tone’ or as a ‘com­mon tone’ be­tween all the chords. [Bar 9] A slight change in fin­ger­pick­ing pat­tern here; noth­ing too dras­tic but you may want to think about which fin­ger­pick­ing ap­proach you are us­ing, as sev­eral ap­ply. You could used the tra­di­tional method of say­ing the pick­ing hand thumb takes care of the three bass strings while the first, sec­ond and third fin­gers take care of third, sec­ond and first strings re­spec­tively. Al­ter­na­tively, in this case you may also bring the first fin­ger up to take care of the fourth string – so the bass string mo­tion be­comes thumb to first fin­ger. Ex­per­i­ment and see what works best for you.

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