ExAmpLE5 Di­min­isheD Line throuGh mi­nor chanGes

Guitar Techniques - - LEARNING ZONE JIM MULLEN -

Jim dis­re­gards the C half-di­min­ished chord in bar 1 and chooses to cover thisEaxn5d:thDeim­foin­l­lioswheindglinFe7#th9r­wouit­gh­hth­meinHoarlcf-hWan­h­goe­les Sym­met­ri­cal Di­min­ished

eba5u­ti­ful (R-b2-#2-3-b5-5-©6»-b™7)¢.ºIn scale3 con­trast with tChimsb7 har­monic den­sity, his an­swer­ing phrase over a de­cep­tive II-V-I that ini­tially hints at F mi­nor but changes its mind last minute to F7 re­lies heav­ily upon the blues, with none other than the mi­nor pen­ta­tonic (R-b3-4-5-b7) serv­ing Jim’s pur­pose.

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