Guitar Techniques - - LEARNING ZONE -

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

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