The first six examples here are devoted to the parental triad, a. Here the e (5th of a) has been relocated from the fifth string to the third string in order to make it easier to play intricate sequences (difficult when each note is on a different string). This string-skip is typical of players like Paul Gilbert.
HTeErCe’sHaNvIaQriaUtiEoSn us2in5g8the same shape, just as an illustration of how to experiment with your own ideas on each given theSmhea.
now we move up to using the parental a triadVinesrhtiacpael#U2
ExGaUmITpAlER2 ExamplE 3
(although we drift into shape#1 for the last note). You will need to employ a barré roll using the second finger in order to fret the e and a notes on the fifth and third strings. This involves laying the finger across notes that are on different strings but within the same fret. Pressure on the surface area of the finger is then redistributed from note to note using an arm movement in order
tEhe sNepa-rate notes rather than have them bleed into each otlyhedri: antoTurcihaodfsm(uptainrgt f1r)om both hands will help with this note separation.