Var­i­ous Var­i­ous TRACK71

Guitar Techniques - - LESSON: ROCKSCHOOL -

This piece is writ­ten around two dif­fer­ent key cen­tres; the first of these is shown at the be­gin­ning of the score as two sharps: F# and c#. As we have seen be­fore, this key sig­na­ture can mean one of two things – ei­ther the piece is in D ma­jor, or this key’s rel­a­tive mi­nor, B mi­nor.

When you be­gin to play the piece, your ear will nor­mally de­duce whether you are play­ing a ma­jor or mi­nor-sound­ing melody and in this case we are play­ing in B mi­nor. But we can go a lit­tle deeper than de­scrib­ing the tonal­ity as sim­ply ‘ma­jor’ or ‘mi­nor’ by us­ing modal names such as Do­rian, Ae­o­lian or phry­gian in or­der to spec­ify dif­fer­ent ‘shades’ of mi­nor. The in­ter­val­lic dif­fer­ences be­tween the modes comes down to no more than chang­ing a note or two here and there.

For ex­am­ple, for B Ae­o­lian to be­come B Do­rian we sim­ply move the 6th note up a semi­tone; B Ae­o­lian is B-c#-D e-F#-G-A-B, while B Do­rian is B-c#-D-e-F#-G#-A-B.

It is a good idea to keep your fin­gers within the Do­rian scale frame­work as much as pos­si­ble so you don’t get too lost in the fret­board.

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