EX­AM­PLE ONE-BAR 16TH-NoTe MIXOLY­DIAN LINES

Guitar Techniques - - LESSON: CREATIVE ROCK -

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).

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