Example SOLO STUDY
[Bars 16-17] This section reflects Yngwie’s propensity for using open strings with E Phrygian Dominant scale, allowing him to shift laterally in the style of a Greek bouzouki player (who would also use this scale). [Bar 18] Here the introduction of a G natural produces a bluesy frisson to an ascending four-note scale sequence (played to a 16th-note triplet count as in bars 10 and 11) and allows Yngwie to arrange the notes in a symmetrical fashion (9th, 10th and 12th frets of the fourth, third and second strings). [Bar 19] As mentioned, E Phrygian Dominant contains a G#dim7 arpeggio. Diminished 7th is a four-note entity (1, b3, b5 and bb7), and is the harmonic equivalent of a square as it has ‘four equal sides’. By this, I mean that there is an equal distance between each consecutive note (a minor 3rd) – see Diagram 2. This means that each inversion looks exactly the same (as you roll the same shape over, starting from a different point); also, one could say that G#dim7 has the same notes as Bdim7, Ddim7 and Fdim7. This symmetry can exploited on the guitar by simply taking any diminished arpeggio shape and moving it up or down in minor 3rd intervals (every three frets), and bar 19 shows a graphic example of this: each identical four-note arpeggio shape contains exactly the same four notes. Finally, in terms of visualising the dim7 arpeggio from within the scale, many players (including me) prefer to think of it as a 7b9 arpeggio with no root: E7b9: E G# B D F 1 3 5 b7 b9 [Bar 20] This section reads like an ascending version of the idea shown in bar 12; here, used over two octaves. [Bars 21-22] Like the previous bar, this section is a graphic example of how to base an idea around the three semitones that exist within each octave of the Phrygian Dominant scale. This passage can be played using just the first two fingers of the fretting hand - as gypsy jazzer Django Reinhardt would.