Ex­AM­PLE CARL VeRheYen MAS­teR­CLASS

Guitar Techniques - - LEARNING ZONE -

[Bar 3-4] This gor­geous coun­try phrase uses a chim­ing ef­fect achieved by hold­ing down ad­ja­cent strings as in­di­cated in the tab. No­tice that this is all over a Bb7 har­monic con­text, and Carl shows two lesser known chord voic­ings for it, all in­te­grated with in one phrase. [Bars 8-9] No­tice how Carl flicks the pickup se­lec­tor to the bridge po­si­tion in the same ges­ture as pick­ing the ‘curled’ Db in bar 8 as well as the G bent to an A in bar 9. This lat­ter bend is flat­ter than an A, and over the F7, it is some­where be­tween the mi­nor and ma­jor 3rd (some­times called a ‘neu­tral 3rd’ or a ‘blues curl’). [Bars 14-18] This ex­tremely fluid and mu­si­cal pas­sage will re­quire some work to ne­go­ti­ate the string skips and po­si­tion shifts. Play it slowly but in time, as the main­te­nance of con­sis­tent tempo is quite a chal­lenge. Bar 14-16 uses a com­bi­na­tion of Bb Mixoly­dian, Bb Phry­gian Dom­i­nant and Bb Al­tered scale to cre­ate a tasty an­gu­lar phrase. You may also no­tice some similarities in bar 17 to bar 3, but with the ma­te­rial trans­posed from Bb7 to Eb7.

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