Ex­am­plES mix­ing dom­i­nant and mi­nor tonal­i­tiES

Guitar Techniques - - LESSON|LEARNING ZONE -

(shape #5) an­other coun­try-rock-style ex­am­ple here that starts

T'his off w3ith a held benAd7at the 16th fret ofoethe third string while adding other Peoen­toeatob­noeic notes from the topAt7wo strings to form anja ma­jor triad. is fol­lowedG/A oey-r scoeale

eeoe­naoeMi­noeor by some typ­i­cal coAun7tr oeck aj r dou­ble-stops be­foGre/A

bridg­jes #a fin­ish­ing with paAss7age that, again, the gap betw aGn/Ada Ma­jor &(dom­i­nant). Try making a note of wjhere­obr oe­back­the C and C# notes oc­cur, and

stnooef Coe# how the C note is ei­ther re­solved to the down to a B note.

tw' (shape #2 to #1) Here, we havBeUtheB­fiDr o ex­am­ples that

dou~b~le~stoEGp isBpDromptl'y shifEt through po­si­tions. We start with an em­phatic Ma­jor4­sound via a com­pris­ing a 5th and ma­jor 31r2d, b14ut tBhUi(s fol­lowed by a

Bcon­tradEicx­to9r(ySmhaip­neor#P5e) nntaoe­tonic li­oene. From there, the in­ter­po­la­tion be­tween

throughooeut mi­nor aEnxd9m(Sa­jhoarpceo#n5ti)nues (make a note of wGhe/Are a C or a C#

uEsx­eoe9d) note is

to #4 to #5) al­though the start of thGis/Aexam roAm7ati­coeno ocuoe­ses pleoe fea­tures ch tes, it also f on chord tones. ThGe/Afirst t

wooenotes, ao­ere

ve­doeup e and C# the 5th and 3rd of a7. This two-note mo­tif is then mo chro­mat­i­cally to G and e (12th frets of third and first strings re­spec­tively), which areHtBohlUde flbeanttdened 7th and 5th of a7. The shift from mi­nor to ma­jor hap­pens of1b5ar 46,1i4n which a17C note1(5mi­nor 3rd against a7) is bent up to16C(#1(8m)a1jo7r(318rd) o15fa(178).)14

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