EX­AM­PLES CHRO­MATI­CISM

cd track 51

Guitar Techniques - - LEARN­ING ZONE -

This line, also in shape #4, demon­strates the same con­cept as the pre­vi­ous ex­am­ple, only here our di­a­tonic tri­ads are taken up through the scale (in other words, as­cend­ing, rather than de­scend­ing).

This shape #4 ex­am­ple em­ploys chro­matic notes a semi­tone be­low each tar­get note and utilises a mix­ture of on- and off-beat ap­proaches.

Our fi­nal shape #4 line fea­tures a mix­ture of on- and off-beat chro­matic notes ap­proach­ing tar­get notes from both a semi­tone above and be­low. The tar­get notes in bar 63 are all notes of the parental A ma­jor triad (A-C#-E).

Here’s the first of two ex­am­ples stem­ming from CAGED shape #5 of A Mixoly­dian. Bar 66 com­prises a suc­ces­sion of de­scend­ing tri­ads. An on-beat chro­matic note is used to ap­proach the low­est note in each triad from be­low.

Fi­nally, this shape #5 ex­am­ple fea­tures a healthy mix­ture of onand off-beat chro­matic ap­proach notes from both a semi­tone above and be­low var­i­ous tar­get notes. It starts in shape #5, but fin­ishes up in shape #1.

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