Guitar Techniques - - LEARNING ZONE -

Ex­am­plE 4

EGBAnext, we’re now us­ing the parental a triad as the ba­sis for our line in CaGed shape#3 of Mixoly­dian. There are a cou­ple of things to note here. First, how a tense-sound­ing C note (mi­nor 3rd of a) is fol­lowed by a more ‘cor­rect’ and re­solved-sound­ing C# (ma­jor 3rd of a). Se­condly, note from the fin­ger­ing in the tran­scrip­tion that a quick and deft re­lo­ca­tion of the first fin­ger is re­quired betw&een the third¢and first string in or­der to play the a triad at speed.

Here, we con­tinue to move up through the CaGed shapes by play­ing a line that uses the parental a triad in shape#4 (al­though the range has been ex­tended some­what to in­clude the high root note from the top of shape #5B). again, we need to em­ploy the bar­rAé roll tech­nique us­ing the sec­ond fin­ger; this time, across the 14th fret in or­der to play the notes on the third, fourth and fifAth strings. note that7, when de­scend­ing the triad in the se7­cond half of this

Ex­am­plE 5

line, the C# note on the sec­ond string needs to be fret­ted quite high up the fin­ger in or­der to have enough sur­face area left to re­dis­tribute to the a and e notes on the fourth and third strings re­spec­tively. Once more, a slight amount

notej. of palm mut­ing will help when try­ing to sep­a­rate the sound of each

Fi­nally, here we see the parental a triad used as the ba­sis for this line is shape#5 of Mixoly­dian. note that we stray ei­ther side of shape #5 oc­ca­sion­ally in or­der to keep the note con­fig­u­ra­tion phys­i­cally con­sis­tent in each beat (in beat 1 of bar 21, the a note from the fourth string has been re­lo­cated to the third string; and, in beat 4 of the same bar, the e note on the sec­ond string has been re­lo­cated to the first string).

This is the first of five ex­am­ples that are de­voted to con­sec­u­tive di­a­tonic arpeg­gios (in other words, all the tri­ads that ex­ist within the scale

Ex­am­plE 6 Ex­am­plE 7

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