Ex­Am­plES play­inG cells over three oc­taves

Guitar Techniques - - LEARNING ZONE -

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!

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