EX­AM­PLES NOTE SHAPES ...CON­TIN­UED

Guitar Techniques - - LESSON: CREATIVE ROCK -

This fi­nal ex­am­ple em­ploy­ing a two -note en­tity, is ar­ranged in a (0-2) con­fig­u­ra­tion on each string-pair. like Ex2 and Ex3, it is based around a per­fect 4th in­ter­val, only here it’s played on a sin­gle string each time us­ing a wide stretch of the fret­ting hand. Ex­am­ple 6 This is the first of three ex­am­ple us­ing three-note en­ti­ties in a (1-2) con­fig­u­ra­tion on each string-pair, and use the notes of an A mi­nor triad – A-C-E). It is rem­i­nis­cent of Steve Vai and, depend­ing on the tempo, can be played us­ing a com­bi­na­tion of sweeps and le­gato, and even a slide us­ing the first fin­ger when trav­el­ling from one note to the other on the third string. ex Am­ple 7 This ex­am­ple is just one pos­si­ble vari­a­tion on the con­fig­u­ra­tion used in Ex6; it demon­strates the sort of idea that can be played if one ex­per­i­ments, rather than play­ing up and down each shape in full each time. Ex­am­ple 8 And yet an­other mu­si­cal vari­a­tion of the same A mi­nor triad note-con­fig­u­ra­tion as used in the pre­vi­ous two ex­am­ples. Ex­am­ple 9 The pre­vi­ous ex­am­ples saw the three notes of an A mi­nor triad ar­ranged in a (1-2) note-con­fig­u­ra­tion (A-C-E). As men­tioned ear­lier, it is pos­si­ble to cre­ate dif­fer­ent in­ver­sion of the same note con­fig­u­ra­tion, by tak­ing the same ap­proach from a dif­fer­ent note each time. So, in this case, fol­low­ing a (1-2) con­fig­u­ra­tion, the notes of an A mi­nor triad can be ar­ranged as fol­lows on each of the three dif­fer­ent string-pairs: (A-C-E), (C-E-A), (E-A-C). This ex­am­ple is based around the sec­ond of the above con­fig­u­ra­tions, and fin­ished off with a sim­ple mi­nor melody in the sec­ond bar.

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