EX­AM­PLE 5 SU­PER­IM­PO­SI­TION ...CON­TIN­UED

Guitar Techniques - - JAZZ-ROCK -

[Part 5b] For our sec­ond vari­a­tion we’re tak­ing the F route. Se­lect­ing the same scales this gives us the so­lu­tion of Fm against Fm 7th, F half-di­min­ished against Db7, and F ma­jor 7th against Dm7. As we can see things from a par­al­lel per­spec­tive root-wise, this makes the util­i­sa­tion of var­i­ous tech­ni­cal as­pects such as tap­ping that much eas­ier, as I can see a pat­tern shift from one type of F thing, to a dif­fer­ent type of F thing - and so on. (re­mem­ber Sco’s “I play mi­nor stuff” quote?) For more of this kind of stuff you may wish to check out the rock fu­sion tap­ping master Greg Howe.

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