ExAmpAl1E3S Permu10ta1t2ions1f0or 3 P9itches
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.