Play­ing tiPs

Guitar Techniques - - LEARNING ZONE -

[verse 1 Bars 3 to 14] This sec­tion starts out with some open-string, coun­try style licks. The 12th fret har­monic in bar 5 is a nice touch and adds to the th~e~Bb11

Bb sustEain. For so5und in bars 7 and 8 allen moves to Mi3x­oly­dian mode

-d-eb-F-G-ab), (B -CDE wh5ich out­lines t2he c0hord2 pe0r­fec0tly. T0her5e is a lovely phrase5 to nDav­i­gate for the d151 chord in bar 11 us­ing d Mixoly­dian (d-eE-F4#-G-a-B-C) which re­solves to F ma­jor2Pen0­tatonic in the vid5eo alleEn ex­plains how he con­structed the ear-grab­bing turn­around lick in bar 14, and this is well worth check­ing out.

Mixol·ydian1.0Th1is0pro­vides1a0de1s02­cen1d2 [verse 2 Bars 15 to 26] This sec­tion is a re­peat of verse 1 in terms of har­mony. There is a great phrase in bar 23 to learn which in­cor­po­rates chro­matic notes w3ith d in­1g0­fus8ion styl8e ru1n0th1a1t re1s1olves to3 the F11 in bar 24 us­ing F ma­jor Pen­ta­tonic. at the end of the sec­tion a func­tion­ing B7 chord sets up a per­fect ca­dence to the em7 in bar 27. This B7 change is out­lined with a B7 arpeg­gio and a flavour note (C) is added. as allen ex­plains you could go mad with the B al­tered scale here (B-C-d-d#-FG-a) but the key thing is in­clud­ing the ma­jor 3rd (d#) of the B7 chord.

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