EXAMPLE3 PER­PET­UAL III-VI-II-V LINES IN G

Guitar Techniques - - LEARNING ZONE -

Yet more non-stop phras­ing here, although we see more of those slurs and slides we men­tioned pre­vi­ously. From a notes per­spec­tive, all the in­ter­est­ing stuff takes place over the two dom­i­nant 7th chords that we find in bars 2 and 4. against E7 Philip chooses to play a line based around both C7 and B 7, both

found in the E Su­per­locrian or ‘al­tered’ scale (E-F-G-ab-Bb-C-d), while against d7 in bar 4 he plays an as­cend­ing se­ries of tri­tone tetra­chords, namely dadd9 (d-E-F#-a) and a add9 (a -B -C-E ). We’ll re­visit this idea in a fur­ther ex­am­ple, so keep your eyes and ears open.

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