EX­AM­PLE 3 MI­NOR VARI­A­TIONS: NO 4TH/ADD 5

Cd track 8

Guitar Techniques - - THEORY & TECHNIQUE -

Mov­ing into the key of B, this gives us B-d-F-F#-a – great for ex­otic ‘metal’ type solo­ing. as usual, I’m try­ing to avoid too much ‘lin­ear’ Pentatonic phras­ing, as that would de­feat the ob­ject. The most in­ter­est­ing as­pect of this pat­tern is prob­a­bly the con­trast be­tween F and F#, so that’s what I’ve leaned on most heav­ily here. re­mem­ber, this won’t be com­fort­able at first; you need to ed­u­cate your fin­gers into ac­cept­ing it as the ‘norm’.

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