Download Visions. A personal tribute to jazz guitarist Lenny Breau by Anderson, Cid PDF

By Anderson, Cid

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Extra resources for Visions. A personal tribute to jazz guitarist Lenny Breau

Example text

This E Minor11 (a favorite of Lenny’s) is more suited to pattern A. The next chord (4), E Minor7/11, is a perfect voicing for harmonics, all 4th intervals. I use a variation pattern, mixing up the sequence a bit, which is just a basic example of the many variations that are possible. I have given patterns A and B only as guides, not to be used in any strict fashion. They are basically the same, simply starting at different degrees of the arpeggio, and either on a harmonic or a regular note. Use these patterns as a starting point and explore.

The first arpeggio here suggests a D7flat-9,#9,flat-5,#5. This shows how effective this approach can be in extending the harmony. By using hammers and pulls, what began as a five- note D7flat-9,flat-5 chord, suggests a chord with 7 notes ... and it is still voiced on only five strings. By using full 6-string voicings and more hammer/pulls, the harmony can be extended further. Most of the voicings given in part 2 have 6 notes and some are very effective in this context. 53 The second chord (D11/13flat-9) in example 4 actually illustrates the opposite idea.

When two notes of different pitches are sounded together, the distance between them is called an interval. When the lower note is played as a harmonic, it is raised an octave. This changes the quality of the interval. If it results in raising the lower note above the other, then the interval is ‘inverted’ (see example 2). In some cases an actual inverted interval is not produced, but the harmonic still creates a ‘close voicing’, which would be difficult to play without using the harmonic. Roots and other notes that are in the bass register are moved inside the chord by using this technique.

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