Example3 Con­nect­ing ma­jor II V lines

Guitar Techniques - - LEARNING ZONE -

Once again, there is a clear con­nec­tion here be­tween the melodic choices and the un­der­ly­ing har­mony, al­though Emily is not re­stricted to just chord

Db­maj7 Bbm7 tones alone. We see a su­per­im­posed arpeg­gio against to

Bbm9 Eb7 cre­ate in bar 2, fol­lowed by an en­har­monic Gmaj7 against in bar 3,

Db con­tain­ing a dis­so­nant D nat­u­ral against the in the chord. As this forms part

Eof a the­mat­i­cally-de­vel­oped melody and is played with both dy­namic and rhyth­mic in­tent, it works per­fectly well and you prob­a­bly wouldn’t be aware of any form of clash if I hadn’t drawn your at­ten­tion to it. While the rhyth­mic con­tent is mainly eighth-note de­rived, the oc­ca­sional triplets, rests and syn­co­pa­tions pro­vide hugely ef­fec­tive punc­tu­a­tion to the lines.

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