Guitar Techniques - - INTRO -

Here, we have a re­peat (al­beit a slight vari­a­tion) of the phrase in bar 3. In fact, hope­fully, you have no­ticed again that, like solo #4, we also have the­matic de­vel­op­ment in larger clumps, whereby the first four bars are re­peated in a slightly mod­i­fied form.

This line strad­dles the gap be­tween just A play­ing mi­nor blues, and tar­get­ing chord tones. Here, the note at the start of beats 1, 2 and 3 is a D ( of

Eb) E7); how­ever, all of the other notes (C and are taken from the scale but do not re­flect the E7: they’re more about the over­all tonal cen­tre of A (to un­der­line the sound and shape of the blues pro­gres­sion as a whole).

The first part of this sec­tion veers be­tween A7 arpeg­gio tones and A mi­nor Blues scale notes. And, there are more aes­thetic con­sid­er­a­tions to­wards the end. The E7 in this line is sig­ni­fied by the lone E note. Blues is pretty ‘rootsy’, and of­ten the root note of a chord is pre­ferred to some­thing fur­ther up the food chain like the 3rd. Try fin­ish­ing on a G# note in­stead. It’s cor­rect, but is it too syrupy/corny? Again, you de­cide – it’s those de­ci­sions re­gard­ing taste that will de­fine your per­sonal style.

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