EX­AM­PLES

Guitar Techniques - - LESSON -

Ex­am­ple 3 So far, we have played each triad straight up or down (1-3-5 as­cend­ing, and a 5-3-1 de­scend­ing); how­ever, in this ex­am­ple, we’re mix­ing things up bit by play­ing the notes in a dif­fer­ent se­quence. Here, we’re playin8g each triad as 5-1-3; this fur­ther high­lights the rhyth­mic dis­place­ment that oc­curs from play­ing three-notes to a four-note count; and by stack­ing the tri­ads in 4ths we get a con­ve­nient sym­met­ri­cal fin­ger­ing on each string pair. ex­am­ple 4 although tri­ads are three-note en­ti­ties, by play­ing one of 5 6F their notes twice, it is pos­si­ble to cre­ate four-note mo­tifs that do not get rhyth­mi­cally dis­placed when played to a fo7ur-note count (in this case, be­cause we are play­ing 16th-notes, each mo­tif will fit per­fectly into each beat). In this ex­am­ple, each triad is played in a 3-1-3-5 note-order (see the 24 per­mu­ta­tions dis­cussed ear­lier).

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