Ex­am­ple2 Bluesy lines in 3

Guitar Techniques - - LEARNING ZONE -

Wes’s play­ing had both a beau­ti­ful har­monic clar­ity and sweet bluesy na­ture and both of the at­tributes are clearly ev­i­dent here. We’re mov­ing

Bb7), Ab7), be­tween a I7 ( down a tone to the be­fore mov­ing to some­thing of a Montgomery trade­mark, the tri­tone II-V. E7 is a flat­tened Bb. 5th, or tri­tone away from In jazz this is a reg­u­lar sub­sti­tu­tion as th­ese Bb- Ab- two 7ths share the same 3rd and 7th de­grees ( D- E-D-G#). What Wes does is to place the II in front of this new V, in this case Bm7, re­solv­ing via Eb7. E7 to Once you un­der­stand this de­vice it’s just so us­able!

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