EXAMPLES

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).