Guitar Techniques - - Lesson: Creative Rock -

[Bars 1-2] This open­ing sec­tion is based around an eight-note mu­si­cal mo­tif that fea­tures a three-note pedal point. For ex­am­ple, over the Am chord, the three-note pedal is E- D- E. Here, the D is act­ing as a lower neigh­bour tone to the E note (the 5th of Am). The other two notes in the eight-note mo­tif are both chord tones: C (the b3 of Am) and A (the root). Note how this same eight-note mo­tif is then moved down and adapted sys­tem­at­i­cally for the G and F chords. Fi­nally, we shift to an in­ver­sion of the same mo­tif for the last G chord, but this is mod­i­fied with the ad­di­tion of a small three-note scale pas­sage leading up to the fol­low­ing sec­tion in bar 5. [Bars 3- 4] This sec­tion is the first of our ex­tended triad pas­sages (al­though the pre­vi­ous sec­tion can also be seen as com­pris­ing add4 and add2 arpeg­gios). This one fea­tures add2 arpeg­gios. You may want to re­lo­cate the 5th of each ar­peg­gio from the sec­ond to the third string, and the sec­ond of each ar­peg­gio from the third string to the fourth string (play­ers like Paul Gil­bert tend to pre­fer string-skipped ver­sions like this). [Bars 5- 6] Note how chro­matic notes such as C#, B and Bb (in bar 5) are al­ways leading to chord tones, and also the use of a dou­ble- chro­matic as­cend­ing ap­proach to the A and B nat­u­ral notes in bar 6. [Bars 7- 8] Here, we have a sec­tion com­posed of a mix­ture of tri­ads and ex­tended tri­ads (Am, G add2, F, G add2). Note the use of a chro­matic pass­ing note (G#) at the very end of bar 8 used as a means of tar­get­ing the A note at the start of the fol­low­ing bar.




cd track 65

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