MinoroetonaoelitiEoeS ExamplES mixing dominant and
(shape #2) again, like example 1, this one features lots of instances where the minor 3rd is ‘corrected’ to the major 3rd. Here, we’re finishing in the root and 3rd of an a major triad (featuring a short side-step motion for another tensiBon-and-release effect).
(shape #2) This example features many double-s4tops. d7ue to this, noteEhow a quarter-note ‘curl’ is applied to both minor 3rd an4d 5th bar 14.
(shape This example star3ts off w4ith th7e sweet-sounding a
Pentatonic scale, and thHeonlddbrieftnsdinto some minor blues (bars~1~8~and 19), before reverting back to majoHrvolida abennad7 arpePgBgio fragmPeBnt in bar 20. (shape #4) Here, we’re using10rhytPhmBic displaPcBement
via5a five-note motif8th(a1t0h)elps to maintain int(e1r0e)st for th(e1l0is)ten8er by5causing rhythmic emph8as(i1s0t)o change each time(t1h0e) motif i(s1r0e)pea8ted (b5ecause it
start on the same beat each time). in bar 23, there are two occasions in which C (minor 3rd of a7) is ‘corrected’ to C# (major 3rd of a7).