ExAmplES playinG cells over three octaves

example 5 Here, each cell comprises the notes of a root position Am add11 (A-C-D-E), which is the same as the first four notes of A minor pentatonic, and is also known as a minor ‘tetrachord’ (derived from the ancient Greek word téttares, meaning ‘four’). Note that, even though each cell is the same shape in each octave, the musical treatment is different for each one. example 6 Each of the cells in this example follows a (3-1) configuration. Again, like Ex3, each comprises the notes of a G add11 arpeggio, only this time they are in first inversion (with the 3rd as the lowest note – B-C-D-G). If you look at the transcription, you’ll see that there are several places where the same finger is used to play two consecutive notes on adjacent s trings. This will involve a barré roll movement whereby the first note has to be held down with the print part of the finger so that there is enough finger left to play the second note. This involves redistributing the downward pressure from the print part of the fretting finger (first note) to the tip (second note) by using an arm action (achieved by slightly pushing the elbow forward and bending the wrist), as opposed to distorting the shape of the finger. example 7 Here, each cell follows a (2-2) configuration and, like Ex2, comprises the notes of an Am add9 arpeggio, only, this time, they are in third inversion (each with the 9th as its lowest note - B-C-E-A). example 8 This example is based around the same shape(s) as the previous one; however, here, we’re starting with the middle string pair and adding some picking hand taps in order to produce some variation. Your job is to use these ideas musically so as not to sound like playing exercises!