C≠eLLs exAmpleS 7- AnD68-note stRinG PAiR
The same string1-2pai1r5cel8lis1u2s6e8d h1e0re using12a d5iffe9ren5t m7elodic seqEDuence. This one is reminiscent of Greg Howe, whose playing often fea9tur1e2s an iAngenious interplay betwe1e2np15icki8ng1-2an8d f1r0etting-hand taps. Again, the
a≠y cellEis9treated15in e1w0 in each octave. Technically, this1e2xa1m5ple8 is12qui8te to play: which is good news
t7rea≠ted thoeemoeiddlLe repLeatedoe, because it’s 32nd notes throughout (demi-Esexm4i-quaver1s)2. Th5ec9ell5is in becEauxs4e
octaoeve theAsame way in each octave; however, is
EL L LLL L LL L L L Lit creates a9 musical overlap that helps the line to avoid predictability. chromatic9notes A3min5or≠pent0atonic In this and the following two examples, we’re adding some th3is c7ase3, G#5 an7d e1b0)t3o th7e scale (A-CD9-e-5G).7I bu5tw≠e’re u7s s1e0ve3n no7tes3, doubling up on know thaLt this only gives not≠e ord1eL0r the G in to3pr7odu3ce a5ne7igh1t0-no3te ell3tha5t co7mpr0ises D-eb-e-G on the lower string in each pair, and G- G#-A-C on the upper string. Note how, in thoeree eoexamoeple1s all th3eoec7hrooematioec notes are used as passing notes.
L L L LLL L LLL L L L