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So I’m playing the A, grabbing the B flat, rearticulating the A.

This whole melody’s happening only on the G string. And that’s a part of your ear training and development. That’s a pretty sound too.

Again, underscoring how much I do that and how much Dor love the sound of how vocal that can be. And, so I improvised something. So that’s another cool little technique, you can make an exercise out dor it. What do I feel timmoons to do with what’s going on. In this case, I slid from the G to the A, then grabbed that B flat note. Hurry, all sales end in. And it’s because the notes are sounding at the same time, where normally it can sound a little disonant, but if it’s used in a phrase where there’s motion happening it’s effective.

It’s a contrapuntal motion within its own line.

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Close Check Out Now. Instinctually you will develop that sense of what’s appropriate at the time. That’s the beauty of any time you learn a little nugget of something, and I consider this a nugget, and I’m learning something from it too because I haven’t isolated it like that before, but I enjoy that exploration.


I can even resolve it like that. I’m not really sure if that’s the proper terminology folks. Those are the notes that sound best to me, and my favorite melodic choices over these two chords. You have crj notifications. Check out as many times as you’d like during your minute window. So, if we have a pentatonic scale and we add a note, I guess it’s andg sexatonic. After I did those double stops I got into a rhythmic feel, and this is something that I do a lot, in addition to just feeling where the quarter note and eighth notes are.

Or a rhythmic figure the drummer is doing.

Right after that there’s another little melodic technique I use a lot, and it involves sliding into a note. And I’ll do that a lot as well. It can make a nice tension tone leading from the D minor to the B flat. That’s a nice little cluster, because you get interesting harmonic content because you hear the raising and lowering of the lower harmonic.

I got into a very lengthy triplet feel. I do play a lot of triplets, and some of it comes from having played a lot of jazz and swing feel music. You can do it with bending too. Get it on Google Play.

Cry For You Progression 1: Performance – Andy Timmons – Guitar Lesson – TrueFire

I got all the way to that A and then I wanted to get back because by then the B flat major 7 chord is happening, so that D, the root of the key, is also the third of that B flat. And the top note, the A natural, is that major seven which is a really beautiful tone.


No other discounts can be applied. Those are some of the techniques I’m using on Cry For You, so explore some of the possibilities. It’s basically the minor pentatonic with one extra note, so you’ve got a six note grouping. I started off with something we talked about called motivic development. Learn to Play Guitar Topics.

I did another hybrid picking bend where I’m using my middle finger gripping underneath the high E string pretty stiffly. That’s what we’re calling it.

When I’m playing it on the track listen to how I’m interacting with what Simon’s doing on the drums. I really like that feel of superimposing the triplet. How it Works You have 60 minutes to shop and complete your order!

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I slid up to that G. And that’s part of improvisational development, it’s not just playing what you know and what you ahdy. Basically I like it because of the tension that it creates. 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.

Let me also point out that I’m yoou mostly the minor pentatonic and I’m adding the ninth scale degree. Cart Join Free Log In. You can hear how I’m slapping the string on the fretboard.