ExAmplES Permutations for three Pitches

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.