Ex­am­ple10 CHORD AND SCALE TONE S – PAR­AL­LEL HAR­MONY A 3rd and 6th ABOVE

Guitar Techniques - - Lesson: Creative Rock -

Here, we see how par­al­lel mo­tion can be ap­plied to a melody (Guitar 3) com­posed from chord tones linked by scale notes. It ’s im­por­tant to start off by iden­tif ying the chord tones from within the orig­i­nal line (the strong­est notes), and mak­ing sure that each of these is un­der­pinned by other chord tones in the other two par ts. Then the ob­ject is to link the chord tones from each har­mony part us­ing scale notes (which act as pass­ing notes be­tween (chord and scale tones - par­al­lel har­mony a 3rd and 6th above) the chord tones) in an equiv­a­lent man­ner to the orig­i­nal (so that any mo­tion is mir­rored as closely as pos­si­ble). If you vis­ually scroll up and down through the three guitar par ts, you will see that: 1) Each chord tone is mir­rored by two other com­ple­men­tary chord tones (in the other par ts), with no du­pli­ca­tions (no two notes are the same pitch). 2) Each scale note is mir­rored by two other com­ple­men­tary scale notes (again, in the other par ts with no du­pli­ca­tions).

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