Guitar Techniques - - Gary Moore Cold Day In Hell -

[Bars 42- 49] The mid­dle- eight fea­tures A7 a lot, but here, Gary adds slightly jazz­ier har­mony, in­clud­ing A13 and typ­i­cal Do­rian-sound­ing F#/C# chords. Roll the vol­ume back a lit­tle for this sec­tion, but don’t over-pick the low notes (par­tic­u­larly the C#) or they’ll sound too big. Gary uses a great bit of chord mod­i­fi­ca­tion (D#m7b5 changed to D#9) and a chro­matic pass­ing chord of Dmaj7 to get us back to C#m. [Bars 50-57] The first half of the solo mixes Gary’s typ­i­cal blues phras­ing with rock­ier bot­tom-string palm-mutes. There’s also some great triplet phras­ing and tim­ing in the fi­nal two bars of this sec­tion, where you’ll re­ally need to dig in with down picks to find the sweet spot for the pinched har­mon­ics (some­where around the mid­dle-to-bridge pickup po­si­tion).

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