Guitar Techniques - - Lesson: Creative Rock -

[Bar 41 (A7 Shape #5)] Again, there are two pos­si­ble per­spec­tives for much of the ac­tiv­ity in this fi­nal line. For ex­am­ple, the first three notes could be two notes of A Mi­nor Pen­ta­tonic/Mi­nor Blues scale re­solv­ing to the ma­jor 3rd of A Mixoly­dian (C#); al­ter­na­tively, the same three notes could be seen as a ‘dou­ble chro­matic’ ap­proach to the chord-tone C# (3rd of A7): here, ap­proached via a com­bi­na­tion of notes a semi­tone above and be­low. In fact,

Ethis en­tire line fea­tures a lot of chro­matic ap­proaches to chord tones. Firstly, an Eb is used as a chro­matic bridg­ing note lead­ing from the 5th (E) to the 4th (D) to set up a sense if sus­pen­sion (sus4) be­fore be­ing re­solved to a C# (3rd of A7) via a chro­matic as­cent from B and C. Fi­nally, the line con­cludes with the same ‘dou­ble chro­matic’ ap­proach to a C# note ob­served at the very start of the line, only this time an oc­tave lower.

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