Ex­am­ple

Guitar Techniques - - Lesson: Creative Rock -

[Bars 17-18] We mark the start of the sec­ond half of this 32-bar piece with a higher in­ver­sion of the pedal point mo­tion ap­plied in the open­ing two bars. [Bars 19-20] In fact, both com­po­si­tion­ally and ed­u­ca­tion­ally, we seize the op­por­tu­nity in the sec­ond half of the piece to play in­ver­sions of other pre­vi­ous pas­sages too. This two-bar sec­tion is based on the one in bars 7 and 8, only this time we are play­ing higher up the neck us­ing add4 arpeg­gios, rather than add2 arpeg­gios (in this case, Am add4, G add4, F add#4, G add4). [Bars 21-22] The sec­tion pre­sents a bit of a mix­ture. First, we start with an

GGGFGAm add2 ar­peg­gio. This is fol­lowed by a de­scend­ing G triad leading, via a chro­matic pass­ing tone, to a melody based ex­clu­sively around an F triad, which also moves via a chro­matic pass­ing note to a melody com­posed ex­clu­sively of a G add4 ar­peg­gio. [Bars 23-24] Here, chord tones are tar­geted from a semi­tone be­low. Note how the eight 16th-notes over each chord are di­vided into a 3+3+2 con­fig­u­ra­tion, which helps to give each mo­tif some rhyth­mic in­ter­est against the un­der­ly­ing pulse (of 4+4).

FFGG

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