Ex­AM­pLE CARL VeRheYen MAS­teR­CLASS

Guitar Techniques - - LESSON: VIDEO -

l4ic4k which em­ploMy­isl to­hen'‘csatch-bend’ J2er4ry4Don­ahue andCMmAi­latRonLyn'oVstEheRrsH. bTeEnCt sec­ond stMCrinAil­gtRouLnd'VseEr fin­ger. In this way the bend on the first string, ‘pre-bendCsA’tRheLsVecEoRndHsEtrYinEgN aTEpCedHaNl

coe [Bars 5-8] This long pas­sage demon­strates Carl’s mixed and ver­sa­tile

oeNot­ni­coee o.f ap­proach to play­ing over a Dom­i­nant 7 hor⋲d. the⋲use the mi­nor

JBlues scale (D-F-G-Ab-A-C), mixed in with more coun­try use of Mixoly­dian mPot­d5e (-D-FE-UF#N-KG-YA-JBA-CM)aInNd open strings. [BPatr511-, bFeUatN4K–YBaJrA1M2, 2] This is a de­vice that is read­ily at Carl’s dPist­p5osa-l. aJroAuMndINtheDCAGED G shape of a Dom­i­nant chord, and uses a sat­is­fy­ing coun­try-ish over-ring­ing across the sec­ond and third strings be­tween the 4th and 3rd in­ter­val of the chord (G and F# in this case). You’ll see a sim­i­lar idea used on the Bb7 chord in bar 50.

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