example 1 The following examples are all based around six-note stringpair ‘cells’ that exist within A Aeolian (A-B-C-D-E-F-G) and arranged in a 3-3 note configuration (apart from Ex11). The intention is to help you to start building up a useful repertoire of ideas for you to draw upon when improvising. This first example is based upon a particular string-pair cell and a symmetrical descending 16th-note triplet pattern used frequently by Richie Kotzen. Each cell is composed exclusively from the notes of the following Am11 hexatonic scale (six-note scale): A-B-C-D-E-G. You don’t have to use fretting-hand taps when changing from string to string (you can pick the first note on each string instead); however, this is how Richie plays it, and the absence of pick attack makes for a smoother effect. example 2 Here, we’re using an inversion of the previous hexatonic scale string-pair (the same notes arranged in a different order). Again, all octaves are treated in the same way, only this time it’s an ascending melodic sequence and we’re playing septuplets (seven notes per beat). If you haven’t used this sort of pattern before, it’s a lot easier than it looks. Basically, if you roll forwards, backward and forwards using hammer-ons and pull-offs on a single string where there are only three notes, you will end up playing seven consecutive notes; so, when playing this example, just focus on rolling back and forth through the notes on each string, and target the first note in each so it lands on the quarter-note pulse. As long as you keep an even space between each note, you’ll be playing perfect septuplets.