Guitar Techniques - - LESSON -

Ex­am­ple 5 Here’s a vari­a­tion on the same se­ries of stacked triad used in the pre­vi­ous ex­am­ple, only this time, an ex­tra 16th-note rest has been added to the end of each pat­tern in order to cre­ate a se­ries of five-note mo­tifs that, when played to a count of 4 (in this caseE,am16th-note couAnt) be­come se­verely rhyEth­mi­cally dis­placed. The re­sult­ing shift in rhyth­mic em­pha­sis sounds less pre­dictable and so helps to main­tain in­ter­est for the lis­tener. Fi­nally, some mEoDre tri­ads have been tagged o4n to5 the en5d of the orig7i­nal se­quence; in this case, each de­scend­ing three-note triad mo­tif also has a 16th-note rest grafted8 four-n∑ote onto the end in order to pro­duce a se­ries of con­sec­u­tive mo­tifs. Ex­am­ple 6 This ex­am­ple rep­re­sents a hy­brid of many of the pre­vi­ous ⋲ex­am­ples: 4∑and it starts with the same triad shapes used in ex­am­ples 5, each fol­low­ing a sim­ple three-note 5-3-1 note-order. This is then fol­lowed, from beat 4 of bDar 21, by the as­cend­ing stacked se­ries of 1-3-5 tri­ads used in ex­am­ple 1. noteDhow each triad mo­tif is three notes long; so, again, the over­all ef­fect is rhyth­mi­cally dis­placed: pro­duc­ing a ‘3 against 4’ ef­fect when played to a 16thnote count.

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