Again with the STRONG TONES – STRONG BEATS formula – lots of accenting, stressing and placing- on the-beat of our guide tones – the 3 and 7 – and also the tonic and perfect 5th tones.
Also in this lesson we focus on line extension – lengthening our phrases with consecutive 8th notes so that we can get practice our linear flow and legato (slurred or fluid sounding) lines, which is difficult to do with shorter or syncopated line fragments.
You’ll notice there is a short pause (which can be treated as a rest or held for desired effect) – this adds a basic syncopation to the line, without having too much rhythmic interference so the line still flows.
Here we are exploring 3 different chord voicings that relate to Cma7:
1. A Cma7/G around frets 3 to 5 (which is actually an E minor triad)
2. A different voicing with the note B on top (the 7th degree) – same as an Ami9 over G
3. And a C6/9 which is essentially stacked 4ths from the note A – same voicing as an Emi7(add4).
Latest posts by Dixon Nacey (see all)
- Lesson of the week: Kurt Rosenwinkel – The Next Step  - 23 September 2015
- Chord Inversions – 8 Top-Notch Tips for Playing Chord Inversions - 23 September 2015
- Lesson of the week: Kurt Rosenwinkel – Minor Blues  - 10 September 2015