EXAMPLE1 EMBELLISHED BLUESY CHORDS

We begin with a set of bluesy four-bar chordal phrases that are mainly concentrated on the highest three or four strings. Our initial Kirk Fletcher phrase, 1a) uses chromatic approaches and smooth and connected voice leading rather like a mini big-band arranged for guitar. In 1b) we see how Stevie Ray Vaughan exploits identical fingerings a tone apart, while our Robben Ford example, 1c) shifts our voicings across to strings 2-4. We round things off here with a set of Danny Gatton pedal-steel like 6th voicings moved

Bb Bb- Eb- Ab) through Mixolydian ( C-D- F-G- and a Cornell Dupree-inspired phrase that moves a specific voicing found on each string group (1-3, 2-4, 3-5), diatonically through the neighbouring scale tones.