ExAm­pAl1E3S Per­mu10­ta1t2ion­s1f0or 3 P9itches

Guitar Techniques - - LESSON: CREATIVE ROCK -

Eex 9 As in Ex­am­ples 3, 5 and 8 we’ve more tri­ads here. This time, taken up throughEthx­e8s­cale us­ing a five-note unit that fol­lows a 3-2-3-2-1 se­quence. As you may havFe/Ddis­cov­ered with the sec­ond haFlf/Gof Ex­am­ple 7, five-note

they’roee group­ings are pretty dif­fi­cult to play if you’re un­fa­mil­iar with them; how­ever,

three-oe they do sound great once mas­tered.

aoe16thoe-note are­oe­played ex 10 Here, we’re back to one-string units. although these 2-3-1oe) Howeo­ever, isoe

thoeere note units (each to triplet count, rhyth­mic in­ter­est cre­ated by the over­all 3-3-2 con­fig­u­ra­tion within the bar. Although in­serted just as a link­ing melody, another cou­ple of 3-1-2 units have bEeen snuck into bar 20. ex 11 Strictly speak­ing, the third note in bar 21 is a de­par­ture from the three-nBDotes-pe1r-0string pat­tern1s0hown9in Di­a­gram 1 it sounded right at the time. Be­sides, it was just a melody flank­ing the main items of study (each shown en­cased within a rec­tan­gle). The de­scend­ing

te~rm~s~o~f: two-note units in bar 22Gwere de­rivedGb/yE­think­ing in 1+1 (low­est note on top two strings), 2+2 (mid­dle note on sec­ond and third strings),

note.on thi­roedj.and 3+3 (high­est note on third and fourth), 1+1 (low­est fo⋲urth strings), 2+2 (mid­dle note on fourth and fifth), 3+3 (high­est note on fifth and sixth). This is then fol­lowed by a 1+1+1+1 con­fig­u­ra­tion used in an ascending man­ner, tar­get­ing the low­est note on the bot­tom four strings, low to high. ex 12 Fi­nally, we re­turn to sin­gle-string units. This time, each unit fol­lows a 2-1-3 note-se­quence and is ap­plied us­ing string skips. Also, be­cause we have three notes re­peated on dif­fer­ent strings to a four-note count, the units be­come rhyth­mi­cally dis­placed through­out.

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