Example4 os­ti­nato with dou­ble stops8

Guitar Techniques - - LESSON -

This ex­am­ple is rem­i­nis­cent of both Wes Mont­gomery and Jim Hall and uses a rep­e­ti­tious high note (a#/B ) against shift­ing two-note chord voic­ings and cre­ates un­der ly­ing quite a pi­anist wicinegf­fect that bridges the gap be­tween sin­gle-note line and chord melody. Like the pre­vi­ous ex­am­ple, you could con­sider both high melody and chord figure as part of the same com­bined chord shape, bring­ing out each voice in­de­pen­dently or in com­bi­na­tion as re­quired.

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