Ex­Am­plES Per­mu­ta­tions for three Pitches

Guitar Techniques - - LESSON: CREATIVE ROCK -

GFex 5 like Ex­am­ple 3, this line deals with tri­ads (each com­pris­ing three pitchEesx) within the scale, rather than thin~k~in~g of three dif­fer­ent pitches

whe­noe on each strinFg/D. Here, each triad is playedFf/oGl­low­ing a 1-3-2-1 se­quence. As this unit lasts four notes, it doesn’t be­come rhyth­mi­cally dis­placed played to a 16th-note count. ex 6 Back to ap­ply­ing our ‘unit’ ap­proach to the notes on each string of our three-notes-per-string scale pat­tern. Here, the unit is 1-2-3 and is ap­plied

rhyth­mica~lly~d~is­placed us­ing string skips. Again, be­cause each unit is three notes long, but played to a 16th-note count, they be­come and thus sound in­ter­est­ing for longer. ex 7G Ev­ery unit in this ex­am­ple is ei­ther five notes long1,a0nd willDalso be­come rhyth­mi­cally d12is­pl1a0ced when re­peate1d0 to 16th-note

CGF­count (four notes per beat). In the first three beats of bar 13, just like the de­scend­ing unit(s) used in bar 8, these are de­rived ef­fec­tiEvx­el5y by com­bin­ing one-note from dif­fer­ent strings. In this case 1+2+3, start­ing with: 1 (low­est note on the sixth string), 2 (mid­dle note on the fifth string), 3

toe­he­no­erepeoeated (high­est note on the fourth string). This same ap­proac⋲h is on the fifth, fourth and third strings re­spec­tively. Next, there is a short 3-1-2 unit in the over­lap be­tween beats three and four of bar 13. Then there is

pBaUtte~rn~. a suc­ces­sion of 3-1-2-3-1 units (five notes each) used on each string down through our three-note-per-string scale ex182 In an1a0p­proach rem­i­nis­cent of bars 9 and 10 in Ex­am­ple 5, we play tri­ads us­ing a four-1n0ote 3-1-21-23 note-se­quence. This time, de­scend­ing through the scale.

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.