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T rex drawing simple3/12/2024 ![]() Let’s take a look at two approaches to creating a melody similar to Ronson’s-one with not very much movement-over this sort of chord progression. Looking at the chord tones, all are diatonic (in the key), with the exception of the G# and D# of the G#m chord. We can think of this as IV–V–#IVm in the key of D (D–E–F#–G–A–B–C#) with the G#m chord being an odd, out-of-key choice. Here, the chord progression is: G (G–B–D), A (A–C#–E), G#m (G#–B–D#). From a compositional standpoint, it can be helpful to be aware of the chord tones available, especially when dealing with a bit of an odd progression, like the one in Ex. ![]() As far as technique, it’s best to use the same approach here as we did with vibrato, so as to have the most control over your bends. He simply manipulates a single note by bending it varying degrees to fit over the chords. To execute the entire melody, Ronson never once moves his fretting hand. ![]()
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