ExamplE7 out­side line over f do­rian vamp

Guitar Techniques - - LESSON | JAZZ -

While we couldn’t be more F mi­nor to be­gin, with a melodic fig­ure tog­gling be­tween F and ab (root-b3), things be­come much more am­bigu­ous in bar 1, wi4thx­cxlex­axrx­exvx­ixdx­exnce of ma­jor 3rds (a) and even a chro­mat­i­cally ap­proached F7b7b9 arpeg­gio (F-a-Cb-eb-Gb), be­fore re­turn­ing to an even keel with Gb ly­dian (Gb-ab-Bb-C-db-eb-against our un­der­ly­ing ab/Gb har­mony. Holdsworth is clearly at home with har­monic am­bi­gu­ity – in fact, he re­joices in it – and likes to com­bine ideas with both ma­jor and mi­nor 3rds, along with ma­jor and flat­tened 7ths, as il­lus­trated.

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