MPLELS EXA 9 - 10

wL baLr trEadb/iAtional noeow areoewe usoeing

theLwhole for a more blues-rock Pentatonic lick ith a oeribn/Ag

skoeips, buoet twist. not only sEt repeated lick starts to

displaceEoedb/(Astarts become rhythmically on a different part of the each time)

half&beats as it is ten 16th-notes (or five eighth-notes) long and, therefore, takes two and a to complete. When trying to play figures like this, it’s important not to become rhythmically cut adrift, so make sure that you can tap your foot throughout. If you find it difficult to do this, try building the section up slowly by practising the notes in

L LL L LLL LLL L LL L LL Lthoeen each beat first (to a metronome) and try to combine those beats as you steoeadily inch your way across the section.

This represents a simplified version of ex 6. Here, only one unit (1-2-3) is employed throughout. It is yet another example of how it is possible to play an equivalent figure in adjacent scale positions. like ex 6, this section (and the ones that follow it) could have been played just using the fretting hand; however, it’s shown here played using a combination of picking and fretting-hand tapping so that it links smoothly with the sections that follow it.

LL L LL L