Ex­am­pleS per­mu­ta­tions of four-note units

Guitar Techniques - - LEARNING ZONE -

This and the fol­low­ing line both shift through three shapes (via sym­met­ri­cal fin­ger­ings shifted through three oc­taves through shapes #2, #1 and #5). To add in­ter­est here, the notes have been put in groups of 10, which causes each mo­tif out­lined in the tran­scrip­tion to be rhyth­mi­cally dis­placed, as the un­der­ly­ing pulse is in groups of four (16th-notes).

This line works on the same prin­ci­ple as the pre­vi­ous one, only this time each mo­tif is nine notes long.

Here, we’re shift­ing from shapes #3 through #2 and then down to #1. The first half is en­tirely A mi­nor Blues scale, whereas the se­cond half starts off as A Do­rian, but then shifts to A Mixoly­dian via (as usual) the tran­si­tion from a mi­nor 3rd (C) to a ma­jor 3rd (C#).

This fi­nal line starts off in shape #5 and moves up to shape #1. There is a free-flow­ing am­bi­gu­ity be­tween mi­nor and ma­jor here. Again, lis­ten out for the sour ef­fect of the C notes com­pared with the more set­tled C#.

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