Ex­am­ples mix­ing ma­jor and mi­nor tonal­i­ties

cd track 34

Guitar Techniques - - LESSON | CREATIVE ROCK -

Ex­am­ple 10 Now for the first of three ex­am­ples that shift through var­i­ous shapes and po­si­tions. This one shifts from shape #2 to #3 then back to #2. The first half of bar 37 is typ­i­cal of Larry Carl­ton and uses a suc­ces­sion of as­cend­ing arpeg­gios (A, then G, then C#m7). There then fol­lows a chro­matic as­cent from

Eb a C# note (ma­jor 3rd of A) to an E note (5th of A) via D and re­spec­tively. We then see a de­scend­ing A ma­jor triad fol­lowed by a de­scend­ing G ma­jor triad:

Eb note that the first notes of both are pre­ceded by a chro­matic pass­ing note ( to E at the start of beat 3; and C# to D at the start of beat 4). Bar 38 fea­tures a straight­for­ward de­scent us­ing the A Be­bop scale (A Mixoly­dian with a ma­jor sev­enth pass­ing note be­tween the root and the b7), be­fore fin­ish­ing on a C note fea­tur­ing a bluesy curl fol­lowed by an A root note.

Ex­am­ple 11 Here, a seven-note mo­tif played on the top two strings (note the use of C to C# again) is shifted down in oc­taves, keep­ing the same fin­ger­ing: first on the middle two strings, then on the bot­tom two strings. The fact that each mo­tif is seven notes long causes the rhyth­mic em­pha­sis to change as it’s played to a four-note count, which helps to main­tain in­ter­est for the lis­tener: in other words, we get all the ben­e­fits of rep­e­ti­tion (mu­si­cal logic, the­matic de­vel­op­ment, mem­ory aid etc) with­out its usual pre­dictabil­ity. No­tice that this line cov­ers quite a large range: start­ing in shape #3 and shift­ing through shapes #2, #1 and #5.

Ex­am­ple 12 Fi­nally, we get a vari­a­tion on ex­actly the same ap­proach. This time, each mo­tif is nine notes long (and so also pro­vides the un­pre­dictable

Eb ef­fect cre­ated by rhyth­mic dis­place­ment), and fea­tures an pass­ing note be­tween the E and D notes, as well as the fa­mil­iar tran­si­tion from C to C#.

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