ExAm­plES8,9,10&11

Guitar Techniques - - LESSON: CREATIVE ROCK -

ex­am­ple 8 You are not obliged to take a string-pair cell through all three oc­taves. Here, we’re cov­er­ing two oc­taves only, and each oc­tave is treated dif­fer­ently. note that this cell is a pre­vi­ously-un­used in­ver­sion of the A11 hex­a­tonic scale em­ployed in many of the ear­lier ex­am­ples. ex­a3m­ple 9 An­other ex­am­ple that just spans two oc­taves, this one is based arou3nd the same string-pair cell used in Ex­am­ples 2, 3 and 4.

eEaxch8oeoc­tave ex­a3m­ple 10 Here, the string-pair cell used over is ob­scured some­what due to the melodic over­lap be­tween each oc­tave. Re­fer to Di­a­gram 1, which will help you to vis­ually iso­late each shape. Again, strictly speak­ing, this ex­am­ple only em­ploys the cell in two oc­taves and is based on an in­ver­sion of the A mi­nor Blues scale cell that formed the ba­sis of Ex5. ex­am­ple 11 This fi­nal ex­am­ple fea­tures more in­stances of melodic over­lap be­tween each shape (hard to place a box around each of the lower two oc­taves); so again re­fer to Di­a­gram 1 to help with the shape vi­su­al­i­sa­tion. Here, the Blues scale is ar­ranged in the same 2-4 note con­fig­u­ra­tion on each string-pair. And, melod­i­cally, each oc­tave is treated dif­fer­ently.

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