Oe11-1oe5 Ex­am­plES

Guitar Techniques - - LESSON | CREATIVE ROCK -

L Lthoee oetbh/Ae li­oeck 16th-noeotes,re­oep­e­ti­tiooen

eighthoe-no­teoes), ex­am­ple 11 This ex­am­ple seesB of same lick. The lasts two and a half beats (10 or five so it be­comes of­foe rhyth­mi­cally dis­placed each time it’s re­peated. In other words, it starts in a dif­fer­ent part of the bar each time – caus­ing the melodic and rhyth­mic

ofLthe exLam­ple wit6hiLn veryLs­traight­for­ward6bLut em­pha­sis to change, which helps to keep things fresh for the lis­tener.

HLere, ex­am­ple 12 and ex­am­ple 136 we see a ef­fec­tive use of 2-3-1 units de­scend­ing through ex­am­ple 12, and 3-1-2 units as­cend­ing thrEBough 13, all the same area neck.

ELLoey­our lesso­noe, exaoem­ple toehe 14 To whet ap­petite for fol­low­ing an ex­am­ple that

skip­soe­has snoeuck yooeu agreeoethat em­ploys string been in here. Hope­fully, will this re­ally does start to take the three-notes-per-string ap­proach to Pen­ta­tonic scales into an­other di­men­sion. note the use of lat­eral mo­tion sim­i­lar to re6mLinis­cent exLam­ple ex­am­ple 6. ex­am­ple 15 Fi­nally6, back to an that is of ex­am­ple 5, only this time each nine-note pat­tern takes one and a half beats to com­plete, so2provi1des so1m7e rhyth­mic in­ter­est be2­fore a luesy17fin­ish.


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