There’s nothing like being able to burst out a tight cluster of chromatic notes to add a new color or texture to your guitar solos, but there is more to it than just flying around the Chomatic scale. If you ever tried to do this in the context of a guitar solo, then the chances are [...]
Continue reading...28 December 2010
Ok, a while ago I talked about the theory behind Quartal Arpeggios and some handy fingerings for them. This time I want to put them into context, so you can hear what they sound like, and start applying them in your own guitar improvisations. So let’s start with a single arpeggio shape. This is one that I [...]
Continue reading...22 December 2010
Following on from my previous article Minor 7th Pentatonic Substitutions for Major 7th Chords. I’d like to extend that idea to talk about various ways of using Minor 7th pentatonics to create tone colours. This time let’s analyse some simple natural Minor scales looking for pairs of Minor 7th chords. Let pick E Minor as a [...]
Continue reading...5 June 2010
This is a different way of using the Minor 7th Pentatonic to get some feels, sounds and tensions that are a little different than you’d normally expect from this old favorite of Guitarists. There are many approaches to this technique the one I’m going to talk about this time starts with the concept of Polychords. Polychords The concept [...]
Continue reading...20 May 2010
If you want to get to the arpeggio charts, click here: Quartal Arpeggio Charts Background Standard Western musical harmony is based on stacked thirds. So for example a C Major Chord is made by playing a “C”, the note a third above that which would be an “E” then the note a third above that which would [...]
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31 December 2010
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