Gilmour’s extensive use of triads reveals an awareness of chord/scale relationships. 1, causing each part to overlap the previous one until both guitars join in unison for a brief stab outside of the established D minor tonality.ĥ “Another Brick In The Wall, Pt. 2 and 3 are effected with the same delay settings as Gtr. The spacey guitar overdubs in the second system float over Rhy. 1)-which utilizes the timed delay from “Run Like Hell” at a slightly slower tempo-and presents two optional variations to drop into beat four of the figure. The first system isolates Gilmour’s palm-muted eighth-sixteenth-sixteenth accompaniment (Gtr. Both of the riffs illustrated in this excerpt broke new textural ground for guitarists. Set yours to play back four repeats starting a dotted-eighth note-or three sixteenth notes-later, dial in a 50/50 blend of wet and dry signals, and bask in it.Ħ “Another Brick In The Wall, Pt. The delay time and blend is crucial to both guitar parts. Gilmour’s majestic delay-drenched major triads pierce the upper register over a rhythmic D pedal tone that recurs throughout The Wall. These major- and minor-tenth harmonies outline the chords notated in parentheses.ħ “Run Like Hell” from The Wall (0:22 - 0:55). Ascending parallel major triads played over a static D pedal tone-another Pink Floyd hallmark-make an appearance in bars 5 and 6, and provide the segue to the harmonized two-bar melody in bars 7 and 8. Gilmour and company approach total heaviosity with this classic intro riff, which again combines gothic and blues elements within its opening four bars.
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