EXAMPLE47 eX­AM­PLeS WIth ChoRDS I thRoUGh VII

Guitar Techniques - - PLAY: CHORDS -

Fig­ure 7a:

There are three ma­jor tri­ads in C Ma­jor and three in C Mi­nor, so you can make many ‘sim­ple’ chord pro­gres­sions us­ing only ma­jor tri­ads (see soul clas­sics like Knock On Wood, Gimme Some Lovin’). Rather than fol­low­ing the Ma­jor and Mi­nor scales dili­gently, it

done.here canEbe more id.iomatic to sim­ply use the ‘neu­tral’ notes from the two. keys as is with the C and G.

This Ex­am­ple in­tro­duces the bVI­maj7 along­side the bVII (boAth from C Mi­nor) and I (from C Ma­jor); the melody uses arpeg­gios to ne­go­ti­ate the chang­ing har­mony.

FigDure 7b:

EFig­ure 7c:

There are two ma­jor 7 chords in a ma­jor key and two in a mi­nor key. All four ma­jor 7 chords are used here in the style of Anita Baker’s Sweet Love.

Al­most all ex­am­ples of bor­row­ing (here and in the real world) are in a Ma­j3or ke4y with the chords from a Mi­nor key brought in. How­ever, it can be sur­pris­ing and ef­fec­tive to do the re­verse, as can be heard in the verses of the Doo5rs’ Light My Fire and Too High by Ste­vie Won­der. This can re­sult in sat­is­fy­ingly chro3­matic melodies as demon­strated here.

ex­am­ple 7d:

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