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This whole melody’s happening only on the G string. Aney can even resolve it like that. I do play a lot of triplets, and some of it comes from having played a lot of jazz and swing feel music.
Close Check Out Now. In this case, I slid from the G to the A, then grabbed that B flat note.
Download on the App Anry. Cart Join Free Log In. I got into a very lengthy triplet feel. And I’ll do that a lot as well. It’s basically the minor pentatonic with one extra note, so you’ve got a six note grouping. He’s got a certain rhythmic figure playing, and I’m playing in the spaces between it.
Cry For You – Andy Timmons tab | PlayItYet
I’m not really sure if that’s the proper terminology folks. I’ll use that minor second, major second note cluster and I’ll ascend through the scale like that.
And I believe that’s how I ended the phrase, in timmohs kind of ascending and then got into some Jimi Hendrix. Right after that there’s another little melodic technique I use a lot, and it involves sliding into a note. So, if we have a pentatonic scale and we add a note, I guess it’s a sexatonic.
I slid up to that G. So that’s another cool little technique, you can make an exercise out of it.
Cry For You
No other discounts can be applied. Those are some of the techniques I’m using on Cry For You, so explore some of the possibilities. So I’m playing the A, grabbing the B flat, rearticulating zndy A. Here’s an exception I’m making on that B flat note that I mentioned I was omitting earlier.
You can do it with bending too. Add courses or jams to your cart and check out quickly. In this case the E natural over the D minor.
What do I feel naturally to do with what’s going on. It just happens to be two notes you’re naturally going to play even if you’re just sticking to the minor pentatonic. That’s the beauty of any time you learn a little nugget of something, and I consider this a nugget, itmmons I’m learning something from it too because I haven’t isolated it like that before, but I enjoy that exploration.
Andy Timmons – Cry for you Chords – Chordify
And that’s part of improvisational development, it’s not just playing what you know and what you hear. And it’s because the notes are sounding at the same time, where normally it can sound a little disonant, but if it’s used in a phrase where there’s motion happening it’s effective. Instinctually you will develop that sense of what’s appropriate at the time.
It’s just not a note that I gravitate towards. I’m avoiding the sixth scale degree because that B flat doesn’t necessarily sound good to me over the D minor, or even the B flat chord.
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What might sound cool with that. That’s a pretty sound too. It’s a contrapuntal motion within its own line.