Ex­Am­plES play­inG cells over three oc­taves

Guitar Techniques - - LEARNING ZONE -

ex­am­ple 1 The fol­low­ing ex­am­ples are all based around ‘cells’ that ex­ist within A Ae­o­lian (A-B-C-D-E-F-G), and can be taken over three oc­taves via the var­i­ous string-pairs. The in­ten­tion is to help you to start build­ing up a use­ful reper­toire of shapes and lines for you to be able to draw upon when im­pro­vis­ing. In the first ex­am­ple, each ‘cell’ (col­lec­tion of notes each given string-pair) is ar­ranged in a (1-3) con­fig­u­ra­tion and com­prises the notes of a first in­ver­sion Am7 arpeg­gio (with the 3rd as its low­est note - C-E-G-A). See how the notes are em­bel­lished us­ing a com­bi­na­tion of slides (ar­tic­u­la­tion) and sur­round­ing notes in or­der to give ex­pres­sion and in­ter­est? ex­am­ple 2 As in Ex­am­ple 1, each ‘cell’ in this and the fol­low­ing three ex­am­ples is ar­ranged in a (1-3) con­fig­u­ra­tion. Here, each one com­prises the notes of a sec­ond in­ver­sion Am add9 arpeg­gio (with the 5th as its low­est note - E-A-B-C). Again, the notes of this line are em­bel­lished us­ing slides. Also, note the tim­ing: we’re not just start­ing on the first beat of the bar. ex­am­ple 3 Each cell in this ex­am­ple com­prises the notes of a root po­si­tion G add11 arpeg­gio (G-B-C-D). ex­am­ple 4 The same Am7 cells as used in Ex­am­ple 1 are used again here, only this time they are in­ter­preted in a very dif­fer­ent way: apart from slides, the notes are also em­bel­lished us­ing var­i­ous dy­nam­ics (ac­cents). This ex­am­ple fin­ishes off with a straight­for­ward A mi­nor pen­ta­tonic run.

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