ExAmPlE5 AL­TER­nA­TIVE AP­PROAcHES In BAR 4

Guitar Techniques - - VIDEO MASTERCLASS -

eb9. and h4ere Tim demon­strates the use of a mi­nor 7 ap­proach to a dom­i­nant 7 chord from a semi­tone above: Fm7 ap­proaches e9, which re­solves down a semi­tone to Ex­am­ple 5A: Al­ter­na­tive ap­proaches in Bar 4 4 Fm7 Fm11 Fm7 E9 E13 E9 Ex­am­ple 5A: Al­ter­na­tive ap­proaches in Bar 4 4 4 Fm7 Fm11 Fm7 E9 E13 E9 Ex­am­ple 5A: Al­ter­na­tive ap­proaches in Bar 4 Ex­am­ple 5A: Al­ter­na­tive ap­proaches in Bar 4j #E9 E13j Fm7 Fm11 Fm7 E9 E13 3j F Fm11 Fm7 E‰ 9E 1oe 6 9 9 9 9 6 9 9 E9 E9 6 6 E E E˙ E 99 E9 Fm7 Fm11 Fm7

EEx­am­ple 5B: Al­ter­na­tive ap­proaches in Bar 4 Bb7 Ex­am­ple 5B: Al­ter­na­tive ap­proaches in Bar 4 Ebb9 Fm7 Fm11 Fm7 B Ex­amp­bleoe Aoel­ter­naoe­tive apbproa­coehesBoe oein Ex­am­ple 5B:5B: Al­ter­na­tiveAl­ter­na­tive ap­proach­esap­proaches inin BarBar 44 5B: Bar 4 Fm7F Fm11Fm11 Fm7Fm7 B 7 EE 9 E˙ Fmoe 11 F m7 Boe 7 9 6 9 9

E6 9 9 6 6 9 9 6 6 to a dom­i­nant9 6 7 chord9 (B 7), 9 which 6 re­solves9 down a 5th to the ‘tar­get’ of e 9. 9 9 9 9

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