Chords for Andy Timmons Cry For You. the above link, please try opening the link in an incognito tab or clearing your browser cache and refreshing the page. Cry For You by Andy Timmons tabs, download and listen on Loop and slow down this Rock phrase, use backing tracks, scale diagram and our tab editor to analyse guitar tab and transpose.

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Once you’ve gotten that little piece of information, see where else you can plug it in. I got all the way to that A and then I wanted to uou back because by then the B flat major 7 chord is happening, so that D, the root of the key, is also the third of that B flat.

That’s a nice little cluster, because you get interesting harmonic content because you hear the raising and lowering of the lower harmonic. And I believe that’s how I ended the phrase, in some kind of ascending and then got into some Jimi Hendrix.

That’s the beauty of any time you learn a little nugget of something, and I consider this a nugget, and I’m learning something from it too because I haven’t isolated it like that before, but I enjoy that exploration. 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.

What do I feel naturally to do with what’s going on. That’s what we’re calling it. Here’s an exception I’m making on that B flat note that I mentioned I was omitting earlier. I slid up to that G. It’s basically the minor pentatonic with one extra note, so you’ve got a six note grouping.


Hurry, all sales end in. Default View Soundslice Classic. You can do it with bending too. I got into a very lengthy triplet feel. Check out as many times as you’d like during your minute window. It’s a contrapuntal motion within its own line. Cart Join Free Log In. Add courses or jams to your cart and check out quickly. What might sound cool with that.

When I’m playing it on the track listen to how I’m interacting with what Simon’s doing on the drums. It timmmons make a nice tension tone leading from the D minor to the B flat.

Cry For You

Instinctually you will develop that sense of what’s appropriate at the time. So that’s blending together motivic development, some horizontal playing.

I started off with something we talked about called motivic development. Learn to Play Guitar Topics. It’s just not a note that I gravitate towards. So, if we have a pentatonic scale and we add a note, I guess it’s a sexatonic. I did another hybrid picking bend where I’m using my middle finger gripping underneath the high E string pretty stiffly. Those are some of the techniques I’m using on Cry For You, so explore some of the possibilities. Let me also point out that I’m utilizing mostly the minor pentatonic and I’m adding the ninth scale degree.

So that’s another cool little technique, you can make an exercise out of it. I made a melodic statement and then I figured out a way of reincorporating that statement in some way to give the listener something to grab on to.

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And it’s because the tijmons are sounding at the same time, where normally it can sound a little disonant, fr if it’s used in a phrase where there’s motion happening it’s effective. I can even resolve it like that. Get it on Google Play. I’m starting on that ninth, which the melody features, but I went to a higher place with it. You have no notifications. Basically I like it because of the tension that it creates.

And, so I improvised something.

In this case, Dry slid from the G to the A, then grabbed that B flat note. You can hear how I’m slapping the string on the fretboard.

Again, underscoring how much I do that and how much I love the sound of how vocal that can be. If I just played the note straight on the string that’s got a vibe and a melodic shape.

Guitar tab transcription from Andy Timmons- Cry For you – Tab N.1 –

Right after that there’s another little melodic technique I use a lot, and it involves sliding into a note. How it Works You have 60 minutes to shop and complete your order! It’s just a simple little phrase but I really like how it laid over that chord. I really like that feel of superimposing the triplet. It’s a nice way to build excitement and build the tension. No other discounts can be applied. So I’m playing the A, grabbing the B flat, rearticulating the A.