EX­AM­PLES CHRO­MATI­CISM

cd track 51

Guitar Techniques - - LEARN­ING ZONE -

Our fi­nal shape #1 line fea­tures an equal mix­ture of on- and off-beat chro­matic notes ap­proach­ing both from above and be­low.

Next, we move things up to CAGED shape #2. We’ve learned that chro­matic notes played on on-beats are more dis­so­nant that those played on off­beats. Here, we take it a step fur­ther by play­ing each chro­matic note twice. The re­sul­tant ef­fects (again, based around the A Ma­jor triad) are quite strik­ing.

And here’s a shape #2 ex­am­ple that uses ap­proach notes from a semi­tone above only: each one played on the off-beat.

This line is the first of three ex­am­ples stem­ming from CAGED shape #3 of A Mixoly­dian and fea­tures a mix­ture of ap­proaches. Bar 38 demon­strates the use of chro­matic ap­proach notes from a semi­tone be­low each tar­get note. Each chro­matic note is on the off-beat and all of the tar­get notes are from the parental A triad (A-C#-E). Next, in bar 39, we have a 3rd-based scheme whereby, in each beat, the low­est note is fol­lowed by a note a semi­tone be­low which leads back to the orig­i­nal note, and the fourth note in the beat is a scale 3rd above the first note. The fi­nal note in bar 39 is a semi­tone above the fol­low­ing note at the start of bar 40. That bar fea­tures some ap­proach notes from be­low, all of which are played on an off-beat. Fi­nally, note the bluesy mi­nor 3rd at the end of bar 40.

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