Example8 Con­trary mo­tion through changes

Guitar Techniques - - LEARNING ZONE -

We’re re­vis­it­ing the as­cend­ing/de­scend­ing see­saw idea that we first en­coun­tered in ex­am­ple 1, al­though this time by ne­go­ti­at­ing a set of har­monic changes. Specif­i­cally, this pro­gres­sion is a IV7-II7-V7-I7 se­quence in D (G7-E7A7-D7) and much of the sin­gle-note vo­cab­u­lary is drawn from th­ese chord tones with ap­pro­pri­ate ex­ten­sions, such as the #11 on G7 (C#) and both flat­tened and raised 9ths on E7 (F F#, en­har­mon­i­cally equal to the much more read­able G nat­u­ral). Again, give the sug­gested fin­ger­ing and ar­tic­u­la­tion di­rec­tions a whirl be­fore ex­plor­ing your own al­ter­na­tive op­tions.

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