EXAMPLE ONE-BAR 16TH-NoTe MIXOLYDIAN LINES

Example 10 All of the following examples (Ex10-15) represent different ways of playing some three-note entities arranged in a (3-0) configuration on each string-pair (in other words, all notes are on the lowest string of each pair). T he paul Gilbert-influenced line in this example demons trates how, with any configuration that doesn’t have any notes on the fifth string, there is an option of shifting notes f rom the se cond string to the first string. This helps to keep things in the same vicinity of the guitar neck. Although shown played as a wide stretch, it is also possible to play the same thing using a combination of left- and right-hand taps (as in each of the following examples) Example 11 Here we have the first of three variations on the same theme. The (3-0) note-configuration/cell used here is similar to the E minor triad used in Ex10 only, this time, it’s played seven frets lower so that it becomes A minor, and the note-arrangement on the second string kept where it is, rather than shifted up to the first string. Examples 11-13 also all use a combination of left- and right-hand tapping which helps with the large stretches and creates an ear-catching legato effect due to the absence of picking. Finally, as with Examples 2 and 3, this particular example finishes off with some blues-based pentatonic vocabulary. Example 12 Here we’ve simply re-interpreted the same notes to create a musical variation. Example 13 And yet another variation on the same thing, only this time using septuplets. Example 14 This example follows the same E minor triad configuration as Ex10, but executes it using the techniques employed in Examples 11-13 (a combination of left- and right-hand tapping).