EAADDin order). Here, as a technical exercise, we start with a three-note sequence (1-3-5) played up through the full length of shape#1. note how such a three-note sequence, when played to a 16th-note count, produces a throoeugh ‘three-against-four’ feel (known as a hemiola). although the triad names are marked in the transcription, I’m not really aware of them as I plough sc&ale: the I’m merely playing every other scale-note from ea note. ooer choestoearting legoeatoeo canoe In examples 7-11, I haven’t indicated where should be used, or theseoe given specific fingerings or pick-strokes, because it is possible to play examples in a host of different ways. Some players will be more comfortable altBernate picking everything, whereas others will want to use some legato and even the occasional sweep. The main thing is that we want to strive for4 evAGen results: the listener isn’t interested in the particular techniques that4you
ADare using: that’s your little secret. although, we’re only playing 16th-notes at 120 bpm, you’ll probably find it more difficult to play these triad-based lines than many other things that you can play at much faster tempos. Finally, oethoee make sure that you can play this and the following sequences down through scale shape and not just up it.
Here we’re applying a different three-note sequence (5-3-1) to the same set of diatonic triads.
and anBotherCthree-note sequence (1-3-5 followed by 5-3-1). Once you have mastered this, you should also try 5-3-1 followed by 1-3-5. and, as already mention5ed, tak7e ea5ch s8eque7nce down through the scale as as up – this vastly increases your lick permutations and8versati5lity9.
we have a four-note sequence [1-5-3-1].
ExamplE 8 ExamplE 9