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The composition and its arrangement suggest a relaxing sea setting, with cymbals imitating the sound of waves (Mick Fleetwood played his drum kit using timpani mallets to give a muted sound) and a dreamy solo from Green's guitar. It contains four chords, E, Emaj7 (or G#m/E), A/E, and F#m, played by Green on his Fender Stratocaster into a Matamp ...
C6 tuning is one of the most common tunings for steel guitar, both on single and multiple neck instruments. On a twin-neck, the most common set-up is C6 tuning on the near neck and E9 tuning on the far neck. On a six-string neck, for example, on lap steel guitar, C6 tuning is most usually C-E-G-A-C-E, bass to treble and going away from the ...
This is a plagal cadence featuring a dominant seventh tonic (I or V/IV) chord. However, Baker cites a turnaround containing "How Dry I Am" as the "absolutely most commonly used blues turnaround". [5] Fischer describes the turnaround as the last two measures of the blues form, or I 7 and V 7, with variations including I 7 –IV 7 –I 7 –V 7. [6]
The rigidity of the neck with respect to the body of the guitar is one determinant of an instrument's quality. Conversely, the ability to change the pitch of the note slightly by deliberately bending the neck forcibly with the fretting arm is a technique occasionally used, particularly in the blues genre and those derived from it, such as rock ...
The move to the IV chord usually happens at bar 3 (as opposed to 5 in twelve bar); however, "the I chord moving to the V chord right away, in the second measure, is a characteristic of the eight-bar blues." [1] In the following examples each box represents a 'bar' of music (the specific time signature is not relevant).
The Blues for Alice changes, Bird changes, Bird Blues, or New York Blues changes, is a chord progression, often named after Charlie Parker ("Bird"), which is a variation of the twelve-bar blues. The progression uses a series of sequential ii–V or secondary ii–V progressions, and has been used in pieces such as Parker's "Blues for Alice".
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Guitarist Pat Metheny mixed the sounds of rock, blues, country, and “world” music, while still maintaining a strong foundation in bebop and cool jazz, playing both a flat-top acoustic guitar and an electric guitar with a softer, more mellow tone which was sweetened with a shimmering effect known as “chorusing". During the 1980s, a neo ...
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