Example9 Dom­i­nant ma­jor Pen­ta­tonic/tri­adic ideas

cd track 56

Guitar Techniques - - LESSON | JAZZ -

As we have seen, tri­ads form a large part of Carl­ton’s vo­cab­u­lary, rather than scales in a lin­ear fash­ion. Here we see how he might out­line a

Ab7 Ab- Eb-Gb), tran­si­tion from B7 (B-D#-F#-A) to­wards ( C- ini­tially by us­ing B ma­jor Pen­ta­tonic (R-2-3-5-6) be­fore pro­gress­ing to a cool triad idea that

Ab utilises both B (B-D#-F#) and A (A-C#E), be­fore re­solv­ing to against the

Ab7 ap­pro­pri­ate tonal­ity.

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