Ex­AM­PLE CARL VeRheYen MAS­teR­CLASS ...CON­TIN­UED

Guitar Techniques - - LESSON: VIDEO -

[B2arx1x7x-x1x8x]xTx­hx­ixs phrase uses D mi­nor Pen­ta­tonic with the ad­di­tion of the 9th (E2)toxxaxdxdx­ixnx­tx­exrexst; again, no­tice the ul­tra-smooth and nat­u­ral po­si­tion shifts. [B2arx1x9x-x2x0x]xAxnx­ox­ther coun­try style bend, this time the two strings ring to­gether in adding some twang; this is fol­lowed by a D mi­nor Pen­ta­tonic phrase which ex­ploits the D on the open fourth string for tim­bral in­ter­est.

24-28]~Th~is [Bar phrase starts a sig­na­ture Pen­ta­tonic lick that you’ll hear else­where in this solo. This is about the un­lazi­est you can be with the mi­nor Pen­ta­tonic within a cou­ple of po­si­tions. Note the skipped strings (you’ll need ac­cu­racy and mut­ing aware­ness in both hands). Also no­tice how the Pen­ta­tonic phrase at the 4th and 3rd po­si­tion tran­si­tions smoothly into the box po­si­tion of D minDor­mP7en­ta­tonic, which then con­tin­ues through sev­eral

or7­sooep.his­ti­caoeti.on anoed po­si­tions (adding an EDfm an Ab for bluesi­ness).

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