EXAMPLE1 V-I RES­O­LU­TIONS WITH AD­DI­TIONAL TEN­SION on the V

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The trick to us­ing al­tered ten­sions in both chordal and sin­gle-note sit­u­a­tions, b is un­der­stand­ing where the ten­sions re­solve. This study shows where the 5, b #5, 9 and #9 of the v7 chord push to­wards in both as­cend­ing and de­scend­ing di­rec­tions when re­solv­ing to the i, in this in­stance a ma­jor7 chord. We ini­tially treat each ten­sion in­di­vid­u­ally and in turn, although the study ends with some b5 com­bi­na­tions. The fi­nal #9 voic­ing is par­tic­u­larly colour­ful as the res­o­lu­tions are in two dif­fer­ent di­rec­tions at once, with the #9 of G (A#) mov­ing down by a b5 b) semi­tone to­wards the 6th of C (A) and the (D mov­ing up to the 9th (D).

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