EX­AM­PLES CHRO­MATIC BRIDG­ING

Guitar Techniques - - LESSON | CREATIVE ROCK -

EX­AM­PLE 14 This line has been des­ig­nated to shape #4; how­ever, you might find the fin­ger­ing too stretchy and com­pli­cated, so you should try re­lo­cat­ing var­i­ous notes un­til you find the most com­fort­able po­si­tion. If ev­ery­thing ends up in CAGED shape #5, you should get to know it as a shape #5 line.

Ex­am­ple 15 This line starts in shape #4 but ends up in shape #5. Make sure that you main­tain your vis­ual ref­er­ences through­out each line; that way, you won’t get lost, and you’ll be able to ap­ply the same line(s) in dif­fer­ent keys.

Ex­am­ple 4 16 For the fi­nal two lines, we shift up to CAGED shape #5. This line fea­tures a mix­ture of ap­proach notes and bridg­ing moves com­pris­ing notes both on and off the beat as well as from both above and be­low the tar­get notes. Note that the un­der­ly­ing theme in bar 62 is coun­try-style 6th in­ter­vals ex­tracted from the scale and linked to­gether us­ing var­i­ous chro­matic ap­proach notes.

Ex­am­ple 17 Fi­nally, this shape #5 line demon­strates some of the ear-bend­ing ef­fects that can be achieved by ap­ply­ing a close suc­ces­sion of chro­matic moves. For a bluesy twist at the end, we re­turn to the Am6 Pen­ta­tonic scale from Ex­am­ples 2 and 7; note the char­ac­ter­is­tic quar­ter-tone blues ‘curl’ on the mi­nor 3rd (C note).

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