Ex­Am­pleS seven- AnD eiGht-note stRinG PAiR CeLLs

Guitar Techniques - - LESSON: CREATIVE ROCK -

This first ex­am­ple fea­tures a seven-note string-pair cell ar­ranged in a 3-4 note-con­fig­u­ra­tion. It com­prises notes of an Am11 Hex­a­tonic scale (A-B- C-D-e-G), and is treated the same way in each one of the three oc­taves. Here, we get a seven-note cell from this six-note scale by trav­el­ling from root to rGoUotI.TTAhRerTeE’sCuHnNreIQlaUteEdSstMuf­fAG­taAgZgIeNdEon2to4 t5he end of this exSamHpAleU, there to give you an idea of how each idea can be flanked by other vo­cab­u­lary, rathGeU7r oAMnIARaGbCAeZEnINdLELorSa2h4e5ld note with vi­brSatHo to sGavUEeIxToA1nRspTaEcCe,HaNl­lIQofUtEhSe eMx­aAmGpAlZeIsNtEhat2­fo4l­l5ow do ex­actly thSatH). ex­aGmU7pI-lTNeAOcRoTnTEtEaiCSnHsTNaRIbQINuUsGEy p5ick­ing and tap­ping, pick over the shiftSbHacAk

toeapoeping. fret­b7oa-NrdOraTtEheSrtThRanINoGve-rPpAicIRkupCsEaLs hav­ing to

anoed with the pick­ing hand when al­teroe­nat­ing be­tween pick­ing

LThis one uses the same string-pair cell as in ex1, only this time us­ing a de­scend­ing se­quence. Again, a seven-note string-pair cell is ar­ranged in a 3-4 note-con­fig­u­ra­tion, but this time, it’s treated dif­fer­ently in each oc­tave. Tap­ping helps to avoid the busy in­ter­play be­tween pick­ing and tap­ping;

by pick­ing nearer the fret­ting hand, it’s pos­si­ble to elim­i­nate each fret­ting-hand tap by pick­ing the string in­stead. and the fol­low­ing ex­am­ples fea­ture eight-note cells in a 4-4 each string-pair. This time some of the notes are dou­bled (G-A-B-Doeo­noethe lower string tooeeve­nand C-D-e-G on the up­per); the cell is treated the same in each oc­tave. Keep 16th-note triplets and imprint the pat­tern in your hands, eyes and ears at a slower pace be­fore try­ing to speed things up.


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