Ex­am­ple SOLO STUDY

Guitar Techniques - - Lesson: Creative Rock -

[Bar 1] We start with a melody con­structed from the semi­tone in­ter­vals that ex­ist within the scale (three per oc­tave). Each three-note mo­tif (a 16th-note fol­lowed by an 8th-note) cre­ates in­ter­est for the lis­tener, be­cause it is played over a 4/4 back­ing that has four 16th-notes per beat. The re­sul­tant ‘three­a­gainst-four’ ef­fect is known as a hemi­ola. [Bar 2] The main idea in this sec­tion, which starts in the sec­ond half of beat 2, is a line that is em­ployed heav­ily by Yngwie Malm­steen through­out his so­los. Note how it re­solves to the G# note (3rd of E) in the fol­low­ing bar. [Bar 3] Al­though E Phry­gian Dom­i­nant can be used over both chords in our E and F pro­gres­sion, oc­ca­sion­ally notes re­lat­ing to F are em­pha­sised over the F chord in or­der to re­flect the har­monic shift in be­tween one chord and the next (E sounds re­solved, F un­re­solved). In the first half of this bar, a G# pedal note is used in or­der to re­flect the E chord, whereas the melody in the sec­ond half starts with an F triad to re­flect the un­der­ly­ing F ma­jor. [Bar 4] As with the G# note in the first half of the pre­vi­ous bar, here, an E note is used as a pedal point through­out the du­ra­tion of the E chord. [Bar 5] If one omits the C note from E Phry­gian Dom­i­nant, it is pos­si­ble to mod­ify the two-string scale shapes men­tioned ear­lier and pro­duce a three­notes-per-string for­ma­tion that can be shifted up in oc­taves. For ex­am­ple, if one were to start with D, E and F on the sixth string, and G#, A and B on the fifth string, one could shift this same two-string scale shape up in oc­taves, firstly onto the mid­dle two strings, and then onto the top two strings. It’s from the re­sul­tant pat­tern that the melody in bar 5 is based. Note the the­matic use of the same six-note melodic mo­tif through­out. [Bar 6] The run in this bar is based around the same two-string scale ap­proach used in bar 5, only this time the C note has been re­in­stated to en­com­pass all seven notes of the scale (this would re­sult in a 3- 4-3- 4-3- 4 note con­fig­u­ra­tion if ap­plied across all six strings).

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