Ex­am­ple SOLO STUDY

Guitar Techniques - - Lesson: Creative Rock -

[ Gen­eral] Be aware of the scale ( non- chord tones) and non- scale ( chro­matic) notes that are used as a means of ap­proach­ing ( tar­get­ing) var­i­ous chord tones; these are also in­di­cated ( square brack­ets) within the tran­scrip­tion. [ Bar 3] When us­ing a note to tar­get a chord tone, it will of­ten ap­pear on an ‘ up’ or ‘ off’ beat. This re- en­forces its role as leading to some­thing more im­por­tant – a chord tone, that will oc­cur on a strong beat. In this bar, the D note is used as a means of pass­ing, on a weak beat, be­tween the pre­vi­ous C note ( b3rd of Am – on a strong GT beat), 2 3 3 to the fol­low­ing E note ( 5th of Am – also on a strong beat). [ Bar 9] Al­though the pre­vail­ing rhyth­mic de­nom­i­na­tion in this bar is half as fast as in bar 3 ( eighth- notes in­stead of 16ths), the G# pass­ing note ( in brack­ets) still leads from a weak beat to a chord tone ( A, the root of Am) on a strong beat. Re­mem­ber, ‘ chroma’ is the Greek term for colour, and that’s what this type of note adds to your melody. The mu­si­cal ten­sion cre­ated is tol­er­a­ble, be­cause it ap­pears on a weak beat, leads to a stronger note, and doesn’t last too long. [ Bar 13] The main func­tion of the E note ( in brack­ets) is to pass, again from a weak beat, to a chord tone on a strong one ( F, the root of the un­der­ly­ing F chord).

[ Bar 14] Plac­ing a non- chord tone on a strong beat toys with the sense of ten­sion and re­lief in your melody, but of­ten the re­sults de­pend on note du­ra­tion. The quicker you leave a chro­matic note, the less ten­sion it cre­ates. In this bar, there is a mo­men­tary side­step to a D# note, which ap­pears on a strong beat and clashes with the 2 un­der­ly­ing xxxxxxxxxx E7 chord; but the ten­sion is re­leased quickly to the root, E. [ Bar 16] 2 This xxxxxxxxxx bar fea­tures sev­eral ex­am­ples of tar­get­ing. The Ab in beat 2 is used as a chro­matic bridge be­tween A and G; here, a scale- note is be­ing tar­geted. The sec­ond in­stance in­volves the G notes shown in brack­ets ( 17th fret, fourth string) in the mid­dle of the D7 chord. Again, whether viewed as chro­matic or as the 4th de­gree of the D Phry­gian Dom­i­nant scale, it is ba­si­cally a non- chord tone; it al­ways ap­pears on a weak beat, and is used as a means of pass­ing to­wards a chord tone on a stronger beat: F# ( 3rd of D7), then A ( 5th of D7). Fi­nally, Bb is used to pass to­wards the B note at the start of the fol­low­ing bar. [ Bar 17] In re­la­tion to the un­der­ly­ing E7 chord, the two A notes ( in brack­ets) func­tion like the two G notes from the pre­vi­ous bar did against the D7. Note how the fi­nal note ( C) an­tic­i­pates the Am chord at the start of the fol­low­ing bar.

[ Bar 18] The melody side­steps each note of the un­der­ly­ing Am; from C ( b3rd of Am) down to B and back; then E ( 5th of Am) down to Eb and back; then A ( root of Am) down to G# and back, all bring­ing ten­sion and re­lease) against the Am chord. [ Bar 24] A sim­i­lar side­step mo­tion oc­curs here, from A ( root of Am, on a strong beat) down to G# ( weak beat) and back to A again ( strong beat). [ Bars 25- 3 26] Some­times it’s good to place chro­matic notes on strong beats; here we have 3 sev­eral. The ten­sion is bear­able be­cause each chro­matic note is fol­lowed by a chord tone; and, be­cause we are play­ing 16th- notes, any ten­sion is fleet­ing. [ Bar 27] As in bar 3, we’re back to us­ing a D scale- note as a pass­ing tone leading to both an E ( 5th of Am) and a C ( b3rd of Am). Also, no­tice how the D note is al­ways on a weak beat, and each of the chord tones it leads to are on strong beats. [ Bar 30] Fi­nally, note how in this penul­ti­mate bar, the chord pro­gres­sion has been changed in or­der to bring ev­ery­thing to a happy con­clu­sion: here, an E7 ( V of Am) is played in­stead of C7 ( V of F) in or­der to set us up ( in other words prime the lis­tener’s ear) to con­clude on an Am chord ( which sounds re­solved), in­stead of the chord of F ( which would sound un­re­solved).

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