EXAMPLE DELAYED RESOLUTION

In this section, each eight-note grouping contains a seven-note delayed resolution motif – the second an octave lower than the first. Look at the first and last note of each motif and you’ll see how the basic chromatic

[Bars 61-64]

motion has been delayed through the use of other notes.

Finally, here we have a chromatic line moves down and up on the second string while another one moves up and down on the third string.

[Bars 77-80]

arpeggio, we automatically have melodic note choices that sound perfect for the chord you are playing over.

Ex1 shows the first position of the Dominant arpeggio which starts with the root on the sixth string and has the intervals 1-3-5- In this example we are using the same arpeggio shape starting from each root note, so E7, D7 and A7 starting on the 12th, 10th and 5th frets. This is not the most elegant way to play over the changes as quite a bit of position shifting is required, but it’s a good way to visually adopt the concept of ‘one arpeggio per chord’.

Ex2 again uses the concept of ‘one arpeggio per chord’, but this time all the notes are located in the same area of the neck, so you don’t have to jump up and down the neck as the chords change. Try playing this example unaccompanied and see if you can hear the underlying chord changes just from the notes.

SINCE EACH CHORD GOES BY RELATIVELY QUICKLY WE DON’T HAVE TIME TO PLAY A FULL SCALE, SO INSTEAD WE FOCUS ON ARPEGGIOS

Ex3 uses the ‘in position’ shapes, but adds a bluesy melodic lick to each arpeggio. Before playing the ‘3rd’, play the note above, then below it. In other words, play the 4th, then Major 3rd. This move is a tried and tested bluesy lick which goes a long way when improvising and sounds very strong.

Ex4 uses Dominant Pentatonic shapes. These are the same as Dominant arpeggios (1-3- 5- but with an added 2nd interval (1-2-3-5- This could also be described as a Dominant 9 arpeggio, but as they fall neatly into two-notes-per-string shapes, ‘Pentatonic’ seems appropriate. This lick has an Eric Johnson meets Robben Ford flavour.

Ex5 is inspired by fusion maestro Scott Henderson and adds a hint of ‘D Lydian Dominant’ scale to our arpeggios. Just like playing Lydian (1-2-3-#4-5-6-7) over a Major chord gives it a different flavour, we can play Lydian Dominant (1-2-3-#4-5-6- over a Dominant chord. Here this is hinted at with a #4 over the D7 chord, which gives it an ‘outside’, blues fusion sound.

NEXT MONTH Charlie brings us an introduction to the technique of Travis Picking

D7

D7

D7

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