EXAMPLES NOTE SHAPES
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.