ExAmpleS 7AnD68-note stRinG6PAiR CeLLs
LLLL LHere, we’re using the same string-pair cell(s) as in the previous exEBample in an ascending seque2n0ce1a7nd1,6on1c7ea1g6a1i5n, each octave is treated in thBe same w2a0y. m17or1e6d1iffi5cu1lt7to14pla1y3t1h4an13ex1a2mple 6 bABGecause of the fretting-hand t2a0p ea1c7hs1t4rin1g3,w14h1ic3h thAEe first finger coming down from sufficient height to p17rod14uce13en1o4u1g3h1f2or1c7e for a good strong note each time. To do this, you must release the fingers of thEe f2r1etting hand from the fretboard each time a tap is played with this digit.
Finally, we finish with another variation on the same string-pair cell. This time, we’re using septuplets to create an effect similar to michael lee Firkins. Here, the string-pair cell is treated differently in each octave - although each bar is almos1t5th1e2 sa1m11e2, o1n1ly1a0n octave apart. To get the septuple rhythm,
focus on targeting t1h5e tap on the start of each qua1r5te1r-2no1t1e,1a2n1d1th1e0n1t5ry12to s1p1re1a2dt1h1e1n0ot8es in as evenly as possible and the internal r1h5yt1h2m1s1ho1u2ld1j1us1t0tak8e car5e of itself.