Rob Schumann: In this second segment we are continue with our use of major thirds in the blues scale and I should mention that this works well over dominant seven, type of blues applications where you are playing over seventh chords or nine chords or thirteen chords. Where this doesn't work is when you are playing over minor seven chords or minor chords, because that major third is not in a minor chord.
So it won't sound that good. When we want to use this concept for bending, it's a little bit different then just going to that major third and we are actually trying to bend in between the nodes and you will see this tab or it's marked as a quarter step bend. You hear this all the time. Well, rather than going --, or --, you will hear something like --.
And it's kind of a choked band and this is used all the time at the ends of phrases. And so any of these, I can sort of bend up. In this second segment we are continue with our use of major thirds in the blues scale and I should mention that this works well over dominant seven, type of blues applications where you are playing over seventh chords or nine chords or thirteen chords.
Where this doesn't work is when you are playing over minor seven chords or minor chords, because that major third is not in a minor chord. So it won't sound that good. When we want to use this concept for bending, it's a little bit different then just going to that major third and we are actually trying to bend in between the nodes and you will see this tab or it's marked as a quarter step bend.
You hear this all the time. Well, rather than going --, or --, you will hear something like --. And it's kind of a choked band and this is used all the time at the ends of phrases. And so any of these, I can sort of bend up and do the same things. So going on the scale that way would look like this.
So I am just bending in between --. The one thing that's kind of important phrasing wise is not to release that band. You actually want to bend it up just between those node. So I am not bending all the way up to a major third. I am actually bending just shy that, but I am not releasing it. Notice if you do that, it sounds a little bit on the – side.
It's much cooler, if you would take it up, choke it and then go back down under the next node. That sounds like this. So you will do that all the time in finish phrasing. One other application of this in the same position is to bend up to that major third, release it, down to the flat third and then bend it up and choke it on that quarter step band.
So you hear that all the time and so we can use that same technique and that same kind of phrase in all over our positions that we are going to be looking at. So our next position --.
Ryan Newell: Hello everyone! My name is Ryan Newell. I play guitar in the band Sister Hazel. This would be a G core and you just drum down and then orpage a back up. And the last banish is --.
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