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And I’ll do that a lot as well.
Check out as many times as you’d like during your minute window. Again, something that Albert King and Stevie Ray employed quite a bit. And it’s because the notes are sounding at the same time, where normally it can cdy a little disonant, but if it’s used in a phrase where there’s motion happening it’s effective.
It’s basically the minor pentatonic with one extra note, so you’ve got a six note grouping. I went from the fifth to the seventh, Himmons avoided the sixth. Those are some of the techniques I’m using on Cry For You, so explore some of the possibilities.
Here’s an exception I’m making tijmons that B flat note that I mentioned I was omitting earlier. You can do it with bending too. It’s a contrapuntal motion within its own line. How it Works You have 60 minutes to shop and complete your order! So, if we have a pentatonic scale and we add a note, I guess it’s a sexatonic. I’ll use that minor second, major second note cluster and I’ll ascend through the andt like that.
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You Might Also Like. That’s the beauty of any time you learn a little nugget of something, and I consider this fir nugget, and I’m learning something from it too because I haven’t isolated it like that before, but I enjoy that exploration. If I just played the note straight on the string that’s got a vibe and a melodic shape.
And that’s a part of your ear training and development. Get it on Google Play. I’m starting on that ninth, which the melody features, but I went to a higher place with it.
This whole melody’s happening only on the G string. And I believe that’s how I ended the phrase, in some kind of ascending and then got into some Jimi Hendrix. In this case, I slid from the G to the A, then grabbed that B flat note. That’s one of my favorite licks, where I’m bending up to the unison, then pulling down on the B string. Or a rhythmic figure the drummer is doing. Download on the App Store. Basically I like it because of the tension that it creates.
Let me also point out that I’m utilizing mostly the minor pentatonic and I’m adding the ninth scale degree. You need to timmons reacting to what’s going on around you, whatever the voicing is that somebody’s playing on the guitar, the keyboards, or something the bass player may be doing. Now I’ve analyzed it and I’m going to break it down for you. You have no ror. I was just sliding the note, but you can do it with bending too.
It can make a nice tension tone leading from timons D minor to the B flat. Instinctually you will develop that sense of what’s forr at the time.
It just happens to be two notes you’re naturally going to play even if you’re just sticking to the minor pentatonic. I got into a very lengthy triplet feel.
In this case the E natural over the D minor. He’s got a certain rhythmic figure playing, and I’m playing in the spaces between it. I’m avoiding the sixth scale degree because that B flat doesn’t necessarily sound good to me over the D minor, or even the B flat chord.
I’m not really sure if that’s the proper terminology folks. And that’s part of improvisational development, it’s not just playing what you know and what you hear.
Right after that there’s another little melodic technique I use a lot, and it involves sliding into a note.
I can even resolve it like that. When Timons playing it on the track listen to how I’m interacting with what Simon’s doing on the drums. You can hear how Fo slapping the string on the fretboard.
So I’m playing the A, grabbing the B flat, rearticulating the A. I slid up to that G. I’ve heard the track before, but I’m reacting to what he’s doing. And the top note, the A natural, is that major seven which is a really beautiful tone.