EX­AM­PLES CHRO­MATI­CISM

Guitar Techniques - - LEARN­ING ZONE -

EX­AM­PLE 2 In the pre­vi­ous line, each chro­matic note was on the down­beat; whereas, here, each one is on an off-beat and so won’t stick out so promi­nently to the lis­tener (be­cause all the notes on the down-beats will be con­so­nant). This line, also stem­ming from shape #1 of A Mixoly­dian, fea­tures lat­eral mo­tion (along the length of the neck) and each beat con­tains a scale 3rd in which we start with the low­est note, ap­proach the high­est note from a semi­tone be­low, and then re­turn to the low­est. Fi­nally, the sec­ond note in beat 2 of bar 5 is not shown in brack­ets be­cause it is not chro­matic (in other words, it ex­ists within the scale).

EX­AM­PLE 3 Like the pre­vi­ous two ex­am­ples, the chro­matic notes in this shape #1 line are also used as a means of ap­proach­ing a scale note from be­low; how­ever, here we have a mix­ture of ap­proaches whereby there are chro­matic notes played on both on-beats and off-beats. Note how the sec­ond half of bar 10 fin­ishes off with a bluesy-sound­ing, Hen­drix-style A Mi­nor Pen­ta­tonic idea. EX­AM­PLE 4 Again, an­other mix­ture of on- and off-beats. Bar 13 fea­tures some bluesy Pen­ta­tonic notes (mainly in the form the mi­nor 3rd of A, C nat­u­ral); whereas, bar 14 is based en­tirely around the notes of the parental A ma­jor triad; the three-note group­ings pro­vid­ing a rhyth­mi­cally en­gag­ing ‘3 against 4’ feel.

EX­AM­PLE 5 Here, we have more on- and off-beat chro­matic ap­proach notes played from a semi­tone be­low each tar­get note; how­ever, we also see the introduction of the con­cept of play­ing a chro­matic ap­proach note from a semi­tone above the tar­get note (last note of beat 1 of bar 18). Gen­er­ally, chro­matic notes from above sound more dis­so­nant than those from be­low.

EX­AM­PLE 6 All the chro­matic ap­proach notes used in this shape #1 line are from above and, rhyth­mi­cally, all ap­pear on an off-beat.

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