ExAm­plES1&2

Guitar Techniques - - LESSON: CREATIVE ROCK -

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.

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