ExAmplES Permutations for three Pitches

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).