Ex­am­ple 3 Mi­nor 7th Arpeg­gios With Smooth Tra nsi­tions


Guitar Techniques - - Play: Arpeggios -

Now we switch our at­ten­tion to the mi­nor blues us­ing the same process as we did for the dom­i­nant (ma­jor) blues. This ex­am­ple again uses sim­ple qua­ver rhythms to es­tab­lish a fret­board roadmap from which we can start to im­pro­vise. The mi­nor blues form we are go­ing to use is clas­sic BB King style pro­gres­sion in which the V chord is a 7#9 that is pro­ceeded by a ma­jor 7 chord a semi­tone above. We can add the D into our Am7 ar­peg­gio as a colour tone and this gives us A mi­nor pen­ta­tonic. Adding in­ter­vals to our stan­dard mi­nor 7 arpeg­gios can pro­vide some very mu­si­cal re­sults. Gui­tar play­ers like Robben Ford of­ten treat the mi­nor 7 chord ar­peg­gio as home base and then add in the 9th, 11th and 13th as tar­get tones. A light palm mute adds in some rhyth­mic def­i­ni­tion and also helps with dy­namic vari­a­tion. Try the fol­low­ing ex­am­ple, but stick to the al­ter­nate pick­ing regime and start at a slow tempo to fa­cil­i­tate ac­cu­racy and the nat­u­ral build- up to speed.

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