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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.