![]() Let’s take a look at two approaches to creating a melody similar to Ronson’s-one with not very much movement-over this sort of chord progression. Looking at the chord tones, all are diatonic (in the key), with the exception of the G# and D# of the G#m chord. We can think of this as IV–V–#IVm in the key of D (D–E–F#–G–A–B–C#) with the G#m chord being an odd, out-of-key choice. ![]() Here, the chord progression is: G (G–B–D), A (A–C#–E), G#m (G#–B–D#). From a compositional standpoint, it can be helpful to be aware of the chord tones available, especially when dealing with a bit of an odd progression, like the one in Ex. As far as technique, it’s best to use the same approach here as we did with vibrato, so as to have the most control over your bends. He simply manipulates a single note by bending it varying degrees to fit over the chords. To execute the entire melody, Ronson never once moves his fretting hand.
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