EX­AM­PLES NOTE SHAPES

Guitar Techniques - - LESSON: CREATIVE ROCK -

The fol­low­ing ex­am­ples are all based around ‘cells’ that ex­ist within A Nat­u­ral mi­nor (A-B-C-D-E-F-G), and can be taken over three-oc­taves via string-pairs. The in­ten­tion is to build up a use­ful reper­toire of shapes and lines for you to be able to draw upon when im­pro­vis­ing. Ex­am­ple 1 This is the first of three ex­am­ples de­voted to play­ing two-note en­ti­ties us­ing a (1-1) note-con­fig­u­ra­tion on each string-pair. This ex­am­ple is based around the per­fect 4th in­ter­val cre­ated when trav­el­ling from an A note down to an E note. The use of slides makes this idea more ear-catch­ing. Ex­am­ple 2 An­other per­fect 4th idea - this time be­tween an A note and a D note. It’s sim­i­lar to the pre­vi­ous one, but it’s com­ing the other way (as­cend­ing). This ex­am­ple is topped off with some typ­i­cal blues vo­cab­u­lary. Ex­am­ple 3 This line is based around the per­fect 5th in­ter­val cre­ated when trav­el­ling from an A note up to an E note. This ba­sic shape could be ob­scured as one dou­bles back and forth through­out the line; so re­fer to the rel­e­vant pat­tern in the Di­a­gram on the pre­vi­ous page. Again, the sec­ond half of this line em­ploys some stan­dard blues-based vo­cab­u­lary which pro­vides mu­si­cal bal­ance - we don’t want to sound like we’re sim­ply play­ing ex­er­cises. Ex­am­ple 4 In this ex­am­ple, a two-note en­tity (the ma­jor 3rd in­ter­val be­tween the notes G and B) is ar­ranged in a (2-0) note-con­fig­u­ra­tion on each string-pair. By us­ing a com­bi­na­tion of slides and bends, this line demon­strates that the three-oc­tave tem­plate is also use­ful as the ba­sis for slow ideas, not just fast ones.

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.