Example9 CHORD TONE S ONLY – PARALLEL HARMONY A 3RD AND 6TH ABOVE

The approach in Examples 7 and 8, although okay for, say, a ballad, would be too fiddly when attempting to harmonise powerful rock lines: basically, we need something more direct. This example shows an arpeggio passage played as a three-par t harmony. Here, Guitars 2 and 1 are a 3rd and 6th higher respectively, than Guitar 3 (the most commonly-used inter vals when applying parallel harmony are 3rds, 6ths and octaves).