Ex­am­ple SOLO STUDY

Guitar Techniques - - Lesson: Creative Rock -

[Bars 7- 8] This sec­tion in­volves straight­for­ward arpeg­gia­tion of the E and F chords. Re­fer to the pre­vi­ous lessons for the main ma­jor tri­adic ar­peg­gio shapes (all three in­ver­sions). [Bars 9–11] The bulk of bars 9 and 10 is given over to the same six-note mo­tif used in bar 5; again, us­ing a two-string scale pat­tern with no C note ar­ranged three-notes-per-string (G#-A- B and D- E- F) and shifted up and down in oc­taves the clas­si­cally-in­flu­enced Yngwie is fond of four-note scale se­quences which he uses vir­ti­cally within a sin­gle scale shape, or lat­er­ally along the length of one string. Start­ing from beat 4 of bar 11, we see a de­scend­ing four-note scale se­quence played ver­ti­cally down through the same scale shape to a 16th-note triplet count (which has the ef­fect of rhyth­mi­cally dis­plac­ing it). Note how this sec­tion fin­ishes off with an E ma­jor ar­peg­gio to an E bend, even though an F chord is be­ing played at this point. This still works be­cause the over­rid­ing ‘home’ tonal­ity (to the lis­tener) is E. [Bar 12] This sec­tion is based around the three semi­tone in­ter­vals that ex­ist within each oc­tave of this scale. The rhythm in the first half of the bar could have been writ­ten as 16th-note triplets; how­ever, con­cep­tu­ally, it’s eas­ier to think of a four-note 16th-note mo­tif shifted to a quar­ter-note triplet count. [Bars 13–15] Most of the notes in these three bars are de­rived from chord tones (ar­peg­gio notes) re­lat­ing to both the E and F chords. There are a few chro­matic notes added for fun: in beat 1 of bar 13, a D# note is used to ap­proach the E root (re­fer to the pre­vi­ous les­son for more ad­vice on chro­matic tar­get­ing); beat 3 of bar 13 starts with a G nat­u­ral, which is of­ten em­ployed as a bluesy ad­di­tion to the Phry­gian Dom­i­nant scale (we will see some more ex­am­ples of this later in the solo); and bar 15 ends with a Bb (A#) note as a means of tar­get­ing the B note at the start of the fol­low­ing bar.

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