Ex­am­ple

Guitar Techniques - - Lesson: Creative Rock -

[Bars 9-10] There’s more tar­get­ing here. Firstly, we see a side-step from a chord tone to an­other note a semi­tone be­low (and back), as demon­strated in the first three notes. Note the rhyth­mic in­ter­est cre­ated by play­ing two con­sec­u­tive three-note side-step mo­tifs like this (as in the first six notes of bar 9). The ‘3 against 4’ ef­fect cre­ated here is known as a hemi­ola. Hope­fully, by view­ing the brack­eted notes again, you’ll be able to see that the other pre­dom­i­nant tar­get­ing de­vice in this two-bar sec­tion is the tech­nique of ap­proach­ing a chord tone from notes a tone and semi­tone above re­spec­tively (dou­ble- chro­matic de­scend­ing ap­proach). [Bars 11-12] The tar­get­ing here is con­sis­tent all the way through - each chord tone is ap­proached from a semi­tone be­low. Note how, in or­der to

FGFGGFG­main­tain the mu­si­cal theme down the neck, the same prin­ci­ple is ap­plied to a lower in­ver­sion of a G triad over the sec­ond G chord than over the first. [Bars 13-16] We re­turn to the pedal point tech­nique for these four bars. Whereas the open­ing bars had sin­gle chord tones mov­ing be­low a three­note pedal point mo­tif, here the three-note mo­tif is al­ways be­low. Note, by ob­serv­ing the non- chord tones in brack­ets, how each three-note pedal is based around the same side-step mo­tion as shown at the start of bar 9, based mainly around a chord tone with the mid­dle note al­ways a semi­tone be­low. Also note how ev­ery other note is a chord tone, and how in­ver­sions of each chord are em­ployed in or­der to main­tain as­cend­ing lat­eral mo­tion (up the neck, to­ward the bridge) with the ini­tial four-note mo­tif.

GFG

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