This Week on the Guitar Blog...
Acoustic Guitar Riffs and Licks
In this episode of the GuitarBlog we discuss methods for how the acoustic guitar can be used to perform beautiful open sounding progressions with rich melodies.
Video - PART 1: In the first example, our practice progression applies open 4th and 3rd strings in a key of "G Major" progression that includes suspended and "add" intervals to diatonic chords.
Example two works on a similar approach in the relative minor key of "E Minor." This Minor key progression focuses on the 6th interval across the second measure creating a "D6sus4" chord, as well as, a "Cmaj13." An inversion of the keys VII-chord strengthens the turnaround in measure four by placing the third chord tone (F#) into the bass of the "D Major."
Video - PART 2: In the second half of the lesson, (available with the lesson handout in the members area), the third example explores arpeggiated riffs and connecting licks in a phrase that outlines chords in the key of "C Major." Chord highlights and embellishments add to small arpeggiated chord voicings to create a catchy major tonality riff.
Example four accents the rhythmic feel of sixteenth-notes in a phrase that opens with a picked pattern. The immediate impact of this picked pattern feel quickly captures the listeners attention in measure one and allows the rest of the progression to better connect with the listener.
Take particular notice of how the chord harmony of example four places a strong focus upon the major 2nd interval. Each chord is using either the second or the ninth degree as a chord extension. Chord types across the progression range from the use of; "Minor 9, add2, and sus2."
Be sure to watch Part 2 of this lesson and download the handout in the members area of CreativeGuitarStudio.com
"Acoustic Guitar Riffs and Licks"
For more resources on the topic of Harmony and Theory, visit the course pages at Creative Guitar Studio / Harmony and Theory.
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March 17, 2017:
Drop "D" Guitar Riffs
PART ONE: In part one we begin in the first example by taking advantage of the deep tone produced when using Drop "D." The riff operates using the key of "D Natural Minor," with a focus on the prominent minor scale tones of "F" and "C," (the minor 3rd and minor 7th). The scale tone of "Bb" (the minor 6th) is also used to strengthen the resolution in the riffs final measure.
In the second example our tonality shifts into the major key with a "Ballad" riff built from the tones of the "D Major" key center. Example two applies three chords from the key's harmony. Plus, the progression adds a 6th extension on the "G major" chord as well as, a suspended 4th on the key's tonic chord of "D." The tonic also appears as a 1st inversion of "D/F#" acting as a voice leading component for the arrival of the VI-chord (G major).
PART 2: In part two, (available in the members area) our focus turns to the world of modes with a progression in example three from the "D Dorian" Mode. A Southern-Rock riff applies Dorian's minor quality through the scale tones of "F," and "B." The progression generates a minor harmony using both "D" minor 6 and "D" add4 chords. The open 6th string combined with the use of open 2nd through 5th strings produces a dark minor effect highlighting the color tones of Dorian.
In example four, the "D Mixolydian" Mode harmony is applied across our 6th string Drop "D" tuning to produce a Major /Blues progression using the Mixolydian sound. The scales minor 7th (C) is combined with Mixolydians major 3rd (F#) to implement the full impression of Mixolydian. An interesting collection of chords including; Dominant 9, Minor 6, 6th sus2, and Minor 7 all work together to compliment Mixolydian's character.
Both video lessons, the PDF handout and MP3 jamtrack are avalabe in the paid members area of CreativeGuitarStudio.com