Mi­noroe­t­onaoeli­tiEoeS Ex­am­plES mix­ing dom­i­nant and

Guitar Techniques - - LESSON|LEARNING ZONE -

(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

Joe­ma­jor

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).

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