Example 37: Major 13

This is an impressive looking wide stretch moveable shape articulating an A major 13 chord (R 3 5 7 9 11 13). This is definitely one for the front cover of an instructional DVD! Even better, it sounds great and works well when arpeggiated. You could expect this in a Joe Satriani or Eric Johnson ballad.

Example 38: Minor 9

Here is a great way to play an E minor 9 voicing in a less jazz-funk vein. By using the open strings where available we can further embellish the chord with a pull-off on the first string from the 9 (F#) to the root (E). Notice how the shape can also be maintained to articulate other chords from the key.

Example 39: Dominant 13 to 13B9

Two ideas for the price of one this time! First up, a nice sounding dom 13 (R 3 5 b7 9 11 13) which can easily be manipulated to form a 'jazz-tastic' 13b9 voicing which increases the amount of tension felt as the V chord (C13) resolves to the I (Fmaj9). Nice!

Example 40: A9

Last up a quirky version of an A dominant 9, this time using some open-string colour in place of the notes that would normally be played at the 12th fret, resulting in a less typical sound. You should experiment with the same approach with any chord that incorporates notes at the 12th fret area.

Further Applications: Other ideas to aid your ongoing creativity...

Example 41: Quartal Harmony

Quartal harmony is a concept whereby a chord tonality (in this case Am7) is articulated by stacking intervals of a related scale (in this case A Dorian) in diatonic 4ths. These shapes can then be played freely along the neck to provide a melodic contour as opposed to a simple static chord.

Example 42: Minor-major 7 Quartal Harmony

The approach explained in example 1, can also be used with chord tonalities that exist outside of the major scale, as seen here. The A min/maj7 can be articulated by stacking the parent scale of A melodic minor in 4th intervals. This is a very common approach in jazz-funk.

Дата добавления: 2015-10-23