ESLpermutaLtions ExamExpl of four-noLte units

L L L LLL L LL L LL L L(BFa/Drs

1oe3-17) as indicoeated in the transcription, the link meoelody at the start of this example is derived using groups that each comprises three pitches, whichEhxarks back to our previous lesson. don’t worry that some pitches are played&more

than once in succession, as this is merely to provide rhythmic interest&.

Bars 15 and 16 of this example, like examples 1 and 3, feature an ascend&ing sequence of diatonic arpeggios; this time, each following a 2-1-3-4 note-sequence. Here, we’re employing exactly the same fingering as bars 3 andE4, which utilises some of the white notes shown in diagram 1 in order to prodEuce a fin1g5erin10g th1a2t is13both practical and consistent throughou1t5.

(Bars 17-19) Once m1o5re,1w0e b1a3ck to our four-notes-p1e5r-st1r0ing12

L L LLL L LL L L Lpattern (black and grey notes). This time, a unit following a 2-3-4-1 noteseqoeuence

is employed on each string using a combination of fretting-hand tapping, picking-hand tapping and legato. rhythmic interest is provided by bars.oe booeth the fact that the units are grouped in threes (3-3-3-3) across (Bars 19-22) after an initial link melody, like examples 1, 3 a¢nd 7, diatonicoearpoeeggios: bars 20-22 in this example features an ascending series of each following a 4-2-3-1 note-sequence. note that the third note in bar 20 does go ‘out of shot’ a bit (5th fret, fourth string). In other words, it’s not within the notes given in diagram 1, but this has been done in order to provide a fingering that is cons1i4sten9t w1it0h e1a2ch of the following units.