Guitar Techniques - - LES­SON: VIDEO -

26-30] Here’s a range of arpeg­gio ap­proaches to play­ing over a Bb7 tonal­ity. Bar 26, beat 2 out­lines a de­scend­ing Bb ma­jor triad, while the last of bar 27 uses an un­usual in­ter­val­lic struc­ture (three­B4ths and then

sAtab/rBtibng 28b uAseb/dBibn a ma­jor 3rd) on the Eb (beat 4) and then Bb (bar 1). This

itb­hoes­im­i­larly is in the clas­sic chord stabs in Miles Davis’s jazz clas­sic So

thn­soe­and What. The pas­sage con­tin­ues w ‘open’ in­ter­val­s7of 2nds, 4

A5ths, trans­form­ing a stan­dard blues har­mony into a more lush fu­sion ef­fect. [Bars 33-43] As well as adding vi­brato here, the bar is used to cre­ate th­neoe17bthoe­fret oth­er­wise im­pos­si­ble bends. The E on is bent up a whole tone to soun­n­does theAbb/aBr­bis F# with the bar and, while raised, Carl pulls off from the 17th fret to hicb­hoenow sooe­und the 13th fret (w as a D) be­fore re­leas­ing the bar to a C. Bars 35, 37 and 43 also use thAis ap­proach to great ef­fect.


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