ESLper­mu­taL­tions Ex­am­Expl of four-noLte units

Guitar Techniques - - LESSON | CREATIVE ROCK -


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.

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