C≠eLLs ex­Am­pleS 7- AnD68-note stRinG PAiR

Guitar Techniques - - LESSON: CREATIVE ROCK -

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

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