EXAMPLE3 TRIADS (PARTS A, B AND C NOT ON AU­DIO)

Guitar Techniques - - JAZZ-ROCK -

[Part 3a] Here we’re go­ing to look at some ways to utilise the Ma­jor triad (r-3-5). Our first ex­am­ple’s ori­gins can be traced all the way back to Bach and his con­tem­po­raries, and can be heard to­day ex­pertly han­dled by the likes 3 of Mike Stern, Frank Gam­bale and eric John­son. The prin­ci­ple at work is oc­tave dis­place­ment, tak­ing any note from within a fa­mil­iar con­struc­tion and 3plac­ing this ei­ther up or down by an oc­tave while leav­ing ev­ery­thing else in the same place. When oc­tave dis­plac­ing sin­gle notes we can ei­ther choose to leave the or­der un­changed, pro­duc­ing huge and of­ten un­ex­pected in­ter­val­lic leaps, or reshuf­fle to suit our new or­der of in­ter­vals. More of this in b). For now we’re deal­ing with chords, in this case the ba­sic triad of C (C-e-G), repo­si­tioned us­ing an oc­tave dis­place­ment that takes the mid­dle note an oc­tave higher and shifts through all the pos­si­ble in­ver­sions.

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.