ExAmpleS seven- AnD eiGht-note stRinG PAiR CeLLs

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.

L L L