Today, let's look at the bar 6 and 7.
On bar 6, the melody note is E, Gb, Ab, B then E.
Peter plays a breakdown of augmented triad for each melody note. Why he does that, is E, Gb, Ab is whole tone apart from one another, augmented chord and whole tone scale is strongly related. Starting on any note on whole tone scale, skipping every other note you'll have an augmented triad. Also, augemented chords will work pretty much in any ways on altered dominant chords if the top note is right. For this case, the melody E, Gb and Ab is in whole tone scale order, so it's perfect to utilize augmented triads.
Bar 7, Peter plays a simple E7 chord at 12th fret position, root on 6th string. Little chord he plays between single notes are 3rd (G#) and 7th (D) slid from half step above. This is another little harmonic device Peter uses alot for comping. Below are few examples.
The first chord is a typical E7 chord on 12th fret positon. The following little chords are what Peter uses alot when he comps. Bass note is G# (3rd of E7).
On bar 6, the melody note is E, Gb, Ab, B then E.
Peter plays a breakdown of augmented triad for each melody note. Why he does that, is E, Gb, Ab is whole tone apart from one another, augmented chord and whole tone scale is strongly related. Starting on any note on whole tone scale, skipping every other note you'll have an augmented triad. Also, augemented chords will work pretty much in any ways on altered dominant chords if the top note is right. For this case, the melody E, Gb and Ab is in whole tone scale order, so it's perfect to utilize augmented triads.
Bar 7, Peter plays a simple E7 chord at 12th fret position, root on 6th string. Little chord he plays between single notes are 3rd (G#) and 7th (D) slid from half step above. This is another little harmonic device Peter uses alot for comping. Below are few examples.
0 件のコメント:
コメントを投稿