Ex­Am­plES play­inG cells over three oc­taves

Guitar Techniques - - LEARNING ZONE -

e x am­ple 9 This 16th-note triplet idea also use cells that fol­low a (2-2) con­fig­u­ra­tion. Here, each cell con­tains the notes of a third in­ver­sion Cadd9 arpeg­gio (each with the 9th as its low­est note – D-E- G-C). ex­am­ple 10 An­other (2-2) con­fig­u­ra­tion here. This time, each cell com­prises the notes of a third in­ver­sion Cmaj7 arpeg­gio (with the 7th as its low­est note – B-C-E-G). If you look at the fin­ger­ing shown, you’ll see con­sec­u­tive notes aplayed on ad­ja­cent strings us­ing the same fin­ger. Again, this is achieved us­ing a barré roll move­ment, only here you’ll be shift­ing from the tip to the print part and back. The bits not boxed-out are still parts of the same cells, but this is where the melody crosses over bet ween cells. e xam­ple 11 An­other Cmaj7 here, only this time played in sec­ond in­ver­sion (with the 5th as its low­est note – G-B-C-E). This ex­am­ple demon­strates some of the prin­ci­ples shown in Ex5 and Ex10 in that, although the shape stays the same, its mu­si­cal treat­ment is dif­fer­ent in each oc­tave. ex­am­ple 12 Here, each cell is ar­ranged in a (4-0) con­fig­u­ra­tion on each string-pair and com­prises the notes of a C add9 arpeg­gio (C-D-E-G). This is first four notes of the C ma­jor pen­ta­tonic scale, and is also known as a ma­jor te­tra chord. Be­cause this and the fol­low­ing three ex­am­ples all use four notes per string, they are ex­e­cuted us­ing a com­bi­na­tion of fret­ting and pick­ing­hand tap­ping. In­stead of play­ing the high­est oc­tave on the sec­ond string, the same notes have been shifted up onto the first string. This will present you with dif­fer­ent mu­si­cal op­tions, as well as vis­ually keep you within the same area of the neck as the low­est oc­tave (in other words, in the same neck area as the notes on the sixth string).

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