Nuances are a key part of phrasing, and Joe uses them in all sorts of nifty ways. There’s even an internet meme floating around that says, “Even people who hate the Eagles are like, ‘but Joe Walsh is alright.’” Let’s explore what makes this celebrated guitarist’s playing so much fun to listen to, while we learn more concretely what phrasing is all about, and how focusing on it can help each of us find our unique guitar voice.Ī hallmark of Walsh’s style is his sly use of decorative nuances, such as bends, finger slides, vibrato and more. Throughout his time with James Gang, his solo career and, of course, his continuing run with the Eagles, Walsh has written or co-written many classic songs and created some of the most memorable and catchy guitar parts committed to tape. Joe Walsh is a master of phrasing, and it’s no coincidence he also has a legendary sense of humor. In music, we call it style, or phrasing – that elusive element imbuing notes with a special personal quality that makes you want to listen again and again, even though you already know the “punchline.”
As it turned out, I had stumbled onto one of the most important lessons I would learn about music: What made me want to learn that solo wasn’t as much the notes as how Armstrong played them. 11th or 13th are in the bass, they're usually shown as 'slash chords', such as C9/D, which means a C9th chord with the 9th (D) as the bass note.But this time, it made me stop and think. Inverted chords are less stable and can be used for more subtle effects. If the 5th or 7th of the chord is in the bass, the chord is said to be in second inversion or third inversion, respectively. If the 3rd of the chord is in the bass, the chord is said to be in first inversion. If the lowest note of the chord is NOT the root, then the chord is said to be inverted. Root position is by far the most common arrangement. If the bass note is also the root of the chord, (e.g., the note G in any G chord) then the chord is said to be in root position and will be at its most balanced and stable. However, the choice of bass note can make a significant difference to the sound of a chord. In practice, the notes of a chord can be arranged in any order on the fretboard, and, as mentioned, the notes can be doubled at any octave, and it will still be that chord. The common C7 chord shape at the nut is an example of a 7th chord with the 5th (G) missing, but it's no less effective as a dominant 7th chord than other shapes that do contain the 5th. 5ths (provided they're not diminished or augmented 5ths) are very inactive chord tones and can easily be left out of most chords without weakening their harmonic effect in any way. 9ths can also be omitted from 13th chords without weakening their harmonic effect. Not only is it not essential in defining the harmony of a 13th chord, it causes a strong clash with the 3rd of the chord that most people want to avoid (the so-called avoid note in jazz). Major 13th chords, for example, include the 11th scale note in theory but rarely include it in practice. It's common practice when playing chords to omit notes that aren't considered essential, especially on guitar, which is limited to a maximum of six notes. A guitar can manage six notes at most as it only has six strings, but an orchestra playing a C major chord can have dozens of duplicated notes with some instruments playing the note C and others playing E and G notes. For example, the first chord in the list is C major with chord tones C, E & G, but we can have as many C, E & G notes as we like - or as many as our instrument (or our fingers) can handle and the chord will still be C major. So, to know the notes of G major 7th, for example, use its formula (1 3 5 7) but with the G major scale instead of C major.Īny notes of a chord can be doubled at any pitch without changing the chord's quality. To make any chords other than C chords, just use whichever major scale corresponds with the root of the chord.
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