Andy Timmons - Finding The Melody Via Alternative String-Bending Techniques - video Dailymotion

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MELODIC MUSE by Andy Timmons THE BENDS, PART 3  We've been discussing string bending techniques and the many different melodies, sounds and emotive qualities available to guitarists via different ways to bend and shake the strings. Our previous examples have been in the key of C# minor, and this month’s musical example will be played over a 24-bar minor blues form in that key. Andy Timmons' goal here is to present some beautiful and musical lines that are performed with a variety of bending techniques, which he hopes will ultimately inspire you to do the same in your own improvisations.

Transcript

00:00Hey everybody, Andy Timmons, welcome back to Melodic Muse for Guitar World and we're continuing

00:22talking about building and today we're going to put some of these pieces together and play over

00:26a C sharp minor blues so I'm going to be trying to do the best I can to play some really beautiful

00:31melodies with bending and I hope it inspires you so let's get into it.

01:04So here's the chord progression.

01:34So here's the chord progression.

02:04As I start the solo, you know, I've always kind of have some kind of potential direction

02:32in mind.

02:33I want to start simply, and as the lines build, you'll see that I'm kind of ascending up the

02:39neck, even though it's just one time through a blues form.

02:43And I might continue playing as the band vamps up.

02:46But even just this one time through the form, it's got a certain direction.

02:51It's starting kind of low and building up and building excitement and kind of climaxing

02:54in a certain way before the band comes in fully.

02:57So when I start off on that C sharp minor, I might not be remembering verbatim what I

03:05played, but some of the basic things that I was doing, and it's all really revolving around

03:09bending melodies through the chord tones, right?

03:12So I'm going to be very aware that if I'm on C sharp minor seven, I know where the root

03:17is, where that third is particularly, the fifth is, and where the flat seven is, and where

03:24the root is, right?

03:25So I played something to the, right?

03:30So I'm making a melody, bending up to the ninth.

03:38Another common thing I do quite a bit is even though I'm bending up to a scale tone, I might

03:44bend again to the next scale tone, and that's what I'm doing.

03:46I'm bending up to the ninth from the C sharp.

03:48And then adding another half step to that by achieving the third.

03:56Because again, I know that's kind of, that's what's outlining that harmony.

03:59That's what's giving you the tone of the chord.

04:05But I'm really featuring more of the ninth because it's more of a, it's more of a kind

04:09of a tension note.

04:13Then I resolve it in a way where I'm coming back down to the root and eventually back down

04:17to the fifth.

04:18You know, in the next, in the next phrase I get into, I'm bending further up through.

04:33There I get up, I'm getting up into this position here in the ninth fret where I'm,

04:37I'm bending from the fifth to the flat seven.

04:40Now that's a, that's a minor third bend.

04:44So this time I'm not going up to the next scalar pitch.

04:46I'm actually skipping a tone going to the next pitch.

04:50So that's, but I start by bending to the, that seventh.

04:56And that's a nice tension tone because we're still, we're on a static C sharp minor.

05:00So that note, that's the sixth scale degree.

05:04And so it's a kind of a cool, it's like the, it's like that, the ninth where it wants to,

05:09it wants to resolve.

05:13So, but I'm bending up.

05:17Do that kind of thing all the time.

05:18As I'm wanting to gather even more energy and kind of a climax to the solo on that,

05:33when it gets to the five chord, I utilize this bend.

05:38That's a very bluesy way of approaching the five chord in that I'm, I'm starting on the,

05:44on the root, bending from the flat third to the fourth.

05:50And instead of releasing to the flat third, it's flat, flat third plus.

05:56It's not quite the major third, not the minor third.

06:01It's all right.

06:02Then I slide all the way up here to where I'm fretting the, the F sharp.

06:09I mean, yeah, the, the, the F sharp bending up to the G sharp.

06:14Here's the first time we get into a chromatic bend.

06:18So I'm, I'm, I'm, I'm achieving the root.

06:23Letting it descend to the natural seven to the flat seven.

06:26And I'm all the way up to that high C sharp bending from B to C sharp.

06:45Actually, I think I included the flat nine, didn't I?

06:49So there's a chromatic.

06:51They're all the way up to the flat nine from the flat seven.

06:57Right.

06:59Yeah.

07:04Yeah.

07:05Yeah.

07:06Yeah.

07:09Yeah.

Andy Timmons - Finding The Melody Via Alternative String-Bending Techniques

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