Scales used: D minor pentatonic (D-F-G-A-C); C major pentatonic
(C-D-E-G-A); C Mixolydian mode (C-D-E-F-G-A-Bb).
Significant added tones: Bb (measure 11)-though part of the C
Mixolydian mode, the use of Bb in this line is so melodically striking
that it's particularly worth noting.
Solo signatures: Use of arpeggios, diatonic and pentatonic melody;
pedal steel-style string bends; ostinato riffs (measures 7-8); melodic
sequences (measures 3-4 and 20-21); virtual absence of standard
rock guitar clich6s.
Performance notes: This signature, predominately single-note Mark
Knopfler solo is played fingerstyle on electric guitar. ln addition to his
very personalized plucked/picked attack, Knopfler favors the "inbetween
tone" of a Fender Strat-which adds much to the overall
character of the guitar sound and his solo lines. The famed cascade
of sixteenth-note arpeggios in measures 13-17 has become a
hallmark of his style. This passage requires considerable dexterity to
pull off at tempo. One of the keys to mastering this phrase is to
visualize the three physical shapes of the Dm, Bb and C arpeggios
which comprise the section, and to note the commonalities. Notice
that all three are situated on the top two strings, and are constructed
of two notes on the first string (which are played legato with a pull-off)
and one on the second string. This pattern is continued through the
eight-measure phrase, though subtly altered to fit the changing chord
progression.
Sound: Fender Stratocaster; Fender Vibrolux amp; delay-either via
an MXR Analog Delay or added in the studio.
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