Ex­Am­pLEs

Guitar Techniques - - LEARNING ZONE -

Ex3am­plE 11 Ex­am­plE 12 ExEam­plE 13

GAE/Ex­a5m­plE 14

Cand, here, an­other four-note sequence (5-1-3-5). ones avail­able to us. next, we’re go­ing to look at the sub­ject of triad pairs. a In ex­am­ples 7-11 we have rig­or­ously ap­plied var­i­ouDss­me­qau­j7en(ncoes5th) t/rEi­a5d pair is any two tri­ads within a scale that do not share any notes. Here, we to the full lengthC# of shape#1; you oeshould also aim to do the same for the are able to pro­vide melodic con­trast in our line by al­ter­nat­ing be­tween var­i­ous oth­3er four aGed scale shapes shown in di­a­gram 1. Mu­si­cally, thisDs­moratjo7f(no in­ver­sions of a G and a triad. ground­work will prob­a­bly sound like ex­er­cises; how­ever, the aim iDst­moathj7e(nno Fi­nally, here’s an ex­am­ple of how our triad-based lines can be

ts# the­soee use frag­men of flanked by other de­vices and ap­proaches in spiced up by in­tro­duc­ing pass­ing notes. The first two tri­ads in this ex­am­ple

fo&ur-note or­der to pro­vide more well-bal­anced mu­si­cal lines. For ex­am­ple, hDerme aEc5h start with an ap­proach note from a semi­tone be­low (in­clud­ing the the sequence used in ex­am­ple 11 used to de­scend the scale pat­tern. chro­matic e , which does not ex­ist within a Mixoly­dian). note that we’re also Fur­ther­more, we are not us­ing the full scale-shape, so the end re­sult doesn’t us­ing triad pairs in this line start­ing off in shape#5 and then drift­ing up into sound so me­chan­i­cal aEnd long-winFded. shape#1; also, how in bar 54, the notes on strong beats are al6l chord tones

So far, we’ve looked at the parental triad, and all of the di­a­tonic within a, whi5ch makes th7e line re­late heav­ily to the chord.

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