Ex­am­ples mix­ing ma­jor and mi­nor tonal­i­ties

cd track 34

Guitar Techniques - - LESSON | CREATIVE ROCK -

Ex­am­ple 6 This shape #4 line has echoes of jazz gui­tarist Pat Martino. In time­honoured jazz tra­di­tion, it’s com­posed of lots of dis­crete el­e­ments (usu­ally four notes long); for ex­am­ple, the first four notes are taken from A ma­jor Pen­ta­tonic; the se­cond four notes are a Gmaj7 arpeg­gio etc. Here, the C# note is set up in dif­fer­ent ways in each oc­tave: on the se­cond string it is ap­proached from a semi-tone below (from a C note); whereas on the third string, it pre­ceded by a D note (sus­pended 4th).

Ex­am­ple 7 The mi­nor Blues scale forms the bulk of the first half this other shape #4 line; how­ever, in bar 25, we see the in­clu­sion of a B note (9th) at the start of beat 3 (a very Eric John­son-style trait): in fact, it could be said that beat 3 is com­posed en­tirely of E mi­nor Pen­ta­tonic notes. The se­cond half (bar 26) starts off us­ing the A ma­jor Blues scale (ma­jor Pen­ta­tonic with a pass­ing note: A-B-C-C#-E-F#). Then shifts to A mi­nor Pen­ta­tonic, be­fore fin­ish­ing some­where be­tween A Mixoly­dian and A Do­rian via the E, C and A notes.

Ex­am­ple 8 In this line, which is cen­tred in and around shape #5, the first two beats of bar 29 can also be seen as be­ing de­rived ex­clu­sively from A ma­jor Blues scale (which has the same notes as F# mi­nor Blues scale). In beats 3 and 4 of the same bar, the first four notes are de­rived from A mi­nor Pen­ta­tonic. The line then shifts to A Mixoly­dian for the re­main­der of the bar via a fa­mil­iar C to C# (mi­nor 3rd to ma­jor 3rd) tran­si­tion. In bar 30, we move out of shot for the fi­nal A bend in or­der to pro­duce a spe­cific ar­tic­u­la­tion (a slide up to a bend).

Ex­am­ple 9 This, the se­cond of our shape #5 lines, fea­tures an ear-catch­ing in­ter­play be­tween C and C# dur­ing the first three beats of the se­quenced con­tents of bar 33. Af­ter the ini­tial C note, the first beat of bar 34 uses the A ma­jor Blues scale, whereas the se­cond beat of the same bar uses the A mi­nor Pen­ta­tonic scale. Fi­nally, the lat­ter half of this bar sees us back to ex­ploit­ing the in­ter­play be­tween C and C# be­fore fin­ish­ing on a con­clu­sive-sound­ing A7 arpeg­gio frag­ment.

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.