Quartal Harmony Blues Scale

Mit
Ron SayerRon Sayer zeigt, wie man Quarten zu Quartakkorden schichtet, um einen fusion-angehauchten Sound zu erzeugen, den du in einen Slow Blues oder Funk-Groove einbauen kannst.
Das steckt im Kurs
12 Lektionen (1h 27m) · 2 gratis
01. Willkommens-Jam zum Kurs
Gratis-Lektion2:21

02. Arpeggien in deinem Blues einsetzen
Gratis-Lektion8:23

03. Halbton-/Ganzton-Tonleitern in deinem Blues
8:49

04. Verminderte Septakkord-Arpeggien in deinem Blues
10:14

05. Weitere verminderte Septakkord-Arpeggien
10:32

06. Von Non- zu Sext-Akkorden im Blues gleiten
8:16

07. Quartal Harmony Blues Scale
Du bist hier4:46

08. Blues-Tonleiter mit Nonakkorden
3:24

09. Moll-Septakkorde & Quartakkorde in deinem Blues
4:36

10. Maj7-Arpeggien in deinem Moll-Blues
12:48

11. Alterierte Skalen in deinem Moll-Blues
9:56

12. BONUS-LEKTION: Santana - Black Magic Woman
3:16
Transkript der Lektion
Understanding Chordal Harmony
Okay, we're going to look at something called chordal harmony. This posh name essentially refers to a chord that's created by stacking lots of fourths in a row. So, fourth, fourth, fourth, fourth creates our chordal harmony chord.
Why Use Chordal Harmony?
I really like this idea. It's nice to throw in to something like a slow blues or something funky, just to give things a bit of a fusion-esque sound. It's quite reminiscent of Robin Ford's style.
However, it was a guitarist named Greg Cork who actually showed me this nice little lick, so thanks Greg for that!
The Chord Structure
Finding the Chord
We're going to start with the following notes:
- F#
- B
- E
- A
This forms our chord, using A as the root note.
Concentration on Root Notes
What you need to concentrate on is that these notes move from the root note, allowing you to monitor where you're at.
- D ? 4th fret
- G ? 4th fret
- B ? 5th fret
- A ? 5th fret
This forms a nice chord, but take that top note, A. That's the note you need to keep an eye on.
Blending with the Blues Scale
Now, what you're going to do is play a pentatonic scale or a blues scale on your E string. It's up to you. I'm going to play a blues scale because I think it sounds much nicer.
Incorporating the Chord
You're going to include all the other parts of that chord while you play it. So, you're going to play your blues scale and then combine it with the chord:
- Play up to the top of the blues scale.
- Use the chord alongside it.
Once more, here's our pentatonic scale up the E string, combined with our chordal harmony style chord, played over the blues scale.
Extending the Scale
Obviously, you can carry on if you can reach. That's as far as I'm going to go, but you can also go back down.
Practical Application
So, the entire blues scale is using that chord over it. Now, I'm going to give you an example of the sort of things you can do.
What you're trying to achieve is to play over a blues scale while incorporating an entire chord.
Let's Play
I'm going to get the guys to play me a vamp, and I'll show you what we can do over it.
A 1, 2, 3, 4.
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Ron Sayer ist ein Gitarrist für Gitarristen auf der britischen Blues-Szene und Mentor von Spielern wie Oli Brown und Sol Philcox. Er wurde viermal für die British Blues Awards nominiert - für das Album 'Better Side', die Single 'Don't Make Me Stay' und seine Mitwirkung als Co-Autor bei Oli Browns 'Here I Am' - und hat den Preis als Guitarist of the Year gewonnen. In seinen Kursen schlüsselt er das Phrasing, den Ton und das Feeling hinter dem elektrischen Blues-Leadspiel auf.












