Ex­aM­PLE CARL VeRheYen MAS­teR­CLASS ...CON­TIN­UED

Guitar Techniques - - CARL VERHEYEN MASTERCLASS PT 4 -

[Bars 27-28] The Bb triad is in­ter­preted as Bb7 here, and you can hear (and see) a string-skipped bro­ken Bb7 arpeg­gio. [Bars 31-32] Sim­i­larly, the C Ma­jor triad is in­ter­preted in a bluesy man­ner in this sec­tion. So we see a mix­ture of C Mixoly­dian (around beats 1 and 2 of both bars), and C mi­nor Blues (in the last half of each bar). Re­mem­ber that Carl is do­ing all th­ese things with­out think­ing about the the­ory.

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