Ex­Am­plES Per­mu­ta­tions for three Pitches

Guitar Techniques - - LESSON: CREATIVE ROCK -

ex 1 This is based around a 3-2 con­fig­u­ra­tion taken up through the above ex 4 There are three dif­fer­ent types of ‘unit’ in this ex­am­ple. The first fol­lows three-notes-per-string pat­tern. Here, ‘3’ rep­re­sents the high­est note, and ‘2’ a 3-2 con­fig­u­ra­tion on each string as in Ex­am­ple 1, only this time, we start the mid­dle note on each string. Each unit has been rhyth­mi­cally dis­placed by on the down beat in­stead of the off­beat. This is then fol­lowed by a 2-1 start­ing on the off­beat, so the sec­ond note falls on the strong beats. con­fig­u­ra­tion on each string which is rhyth­mi­cally dis­placed by start­ing ex 2 Next, we’re us­ing all three notes on each string, de­scend­ing the scale on the off­beat so that the sec­ond note al­ways lands on a strong beat. The us­ing a 3-1-2 note-se­quence. Again, this is rhyth­mi­cally dis­placed; this helps to de­scend­ing se­quence in bar 8 is achieved by play­ing ‘1’ (low­est note) on the sus­taGinUinITtAeRresTtE­foCrHtNheIQliUstEeSneMr, iAt l4es8s repet­i­tive. ‘3’ (high­est) on the sec­ond string and then ‘2’ (mid­dle) on the third. ex 3 This one deals with three re­lated pitches on dif­fer­ent sPtrEinRgMsUthTAroTuIOgNhoSuP­tart aRlEthEoPuIgThCtHhEeSnotes are dis­persed through­out the scale, this sec­tion is the scGaUleIT, n2o4te8s of a triad. HePreE,RwMeUdTeAsTcIeOnNdS by ap­ply­ing our ‘unit’ ap­proach: an ap­proach re­peated from the throuGgUhITthAeRscTaEleCHusNinIQgUaEsSerMieAs tZrIiNadEs e2a4ch8­played in a 3-PS2EH-1RAsMUeNUq'TuSAeCTnIRcOeENASTIPVaErtG1sUTeITHcAoRnREdEsPtrIiTnCgHfEoSrthe fol­low­ing three notes. Fi­nally, note the over­lap be­tween (high­est note, mid­dle then low­est). Again, it is rhyth­mi­cal­lyPdEisRpMlaUcTeAdT. the mid­dle and last se­quence (oc­cur­ring at the first note of bar 8).

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