"Melodic Symmetry" Part 1: The Dominant Chord
The material presented in this book is something that I have been quite fascinated with ever since I started playing guitar. The magic and wonders of the melodic geometry and the movement and inversion of symmetrical patterns and shapes over the guitar fretboard has always captivated my inner muse and sparked my creativity. Here I want to offer you some of the melodic structures and their symmetrical movement and usage over the Dominant chord.
All examples in this book are based on a G7 chord so you can compare their architecture and sound much easier. Most all patterns are constructed using different kinds of triads with a heavy emphasis on the augmented sonorities. Physically all patterns share the “2-1-2” melodic split which I find to be one of the most ergonomic and comfortable ways to move throughout the neck. It basically means that there will always be two notes on a string followed by one note on the next string and then the pattern keeps repeating.
These melodic symmetries are also designed to effortlessly dance between the diatonic extensions of a dominant chord (9, 11, 13) and its more dissonant and tense alterations (b9, #9, #11/b5, #5/b13).
I truly hope you can have fun with this melodic structures and get plenty of new ideas to incorporate in your playing over dominant harmonies.
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