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I’ve heard the track before, but I’m reacting to what he’s doing. I went from the fifth to the seventh, I avoided the sixth. I really like that feel of superimposing the triplet. And that’s a part of your ear training and development. Here’s an exception I’m making on that B flat note that I mentioned I was omitting earlier.
You can do it with bending too. So that’s another cool little technique, you can make an exercise out of it. And I believe that’s how I ended the phrase, in some kind of ascending and then got into some Jimi Hendrix. You need to be reacting to what’s going on around you, whatever the voicing is that somebody’s playing on the guitar, the keyboards, or something the bass player may be doing. Once you’ve gotten that little piece of information, see where else you can plug it in.
I’m starting on that ninth, which the melody features, but I went to a higher place with it.
In this case, I slid from the G to the A, then grabbed that B flat note. It’s a nice way to build excitement and build the tension.
Close Check Out Now. 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.
Download on the App Store. It’s just not a note that I gravitate towards. You can hear how I’m slapping the string on the fretboard.
Default View Soundslice Classic. That’s a pretty sound too. It can make a nice tension tone leading from the D minor to the B flat. He’s got a certain rhythmic figure playing, and I’m playing in the spaces between it. When I’m playing it on the track listen to how I’m interacting with what Simon’s doing on the drums.
That’s one of my favorite licks, where I’m bending up to the unison, then pulling down on the B string.
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CRY FOR YOU INTERACTIVE TAB by Andy Timmons @
It’s just a simple little phrase but I really like how it laid over atb chord. I’m not really sure if that’s the proper terminology folks.
What do I feel naturally to do with what’s going on. Again, something that Albert King and Stevie Ray employed quite a bit. 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.
You have no notifications. It just happens to be two notes you’re naturally going to play even if you’re just sticking to the minor pentatonic. He got that rhythmic figure going and I just played in the spaces around it, and I thought it sounded cool. If I just played the note straight on the string that’s got a vibe and a melodic shape. Again, underscoring how much I do that and how much I love the sound of how vocal that can be.
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I do play a lot of triplets, and some of it comes from having played a lot of jazz and swing feel crg. So that’s blending together motivic development, some horizontal playing. Let’s go through the D aeolian scale and see what we find. Now I’ve analyzed it and I’m going to break it down for you. And the top note, the A natural, is that major seven which is a really beautiful tone.
In this case the E natural over the D yoj. That’s a nice little cluster, because you get interesting harmonic content because you hear the raising and lowering of the lower harmonic.
Chords for “Cry For You” – Andy Timmons (Cover) by Jack Thammarat
This whole melody’s happening only on the G string. I’ll use that minor second, major second note cluster and I’ll ascend through the scale like that.
Right after flr there’s another little melodic technique I use a lot, and it involves sliding into a note.
Let me also point out that I’m utilizing mostly the minor pentatonic and I’m adding the ninth scale degree. Basically I like it because of the tension that it creates. And then grabbing the note above it that is the next consecutive scale tone, so it’s a major or minor second note cluster basically. Instinctually you will develop that sense tmmons what’s appropriate at the time. Learn to Play Guitar Topics. It’s basically the minor pentatonic with one extra note, so you’ve got crj six note grouping.
So, if we have a pentatonic scale and we add a note, I guess it’s a sexatonic.