Guitar Techniques - - LESSON -

ex­am­ple 1 at the end of the pre­vi­ous les­son, de­voted to triad pairs G and a, I rec­om­mended that you ex­per­i­ment with an al­ter­na­tive pair: em to F#m (a triad pair com­prises two tri­ads from the same scale but not shar­ing any com­mon notes). Here, as an ex­am­ple, we’re ar­rang­ing var­i­ous in­ver­sions of em and F#m into three-string shapes (all on the fourth, third and sec­ond strings) that are shifted along the length of the neck. This ex­am­ple stems from CaGed shape #1. Try to cre­ate sim­i­lar ideas from each one of the other CaGed shapes too.

ex­am­ple 2 More triad pairs here. We’re back to a and G; how­ever, un­like many pre­vi­ous ex­am­ples in this se­ries, this one (which starts from shape #2) il­lus­trates how it is pos­si­ble to mix dif­fer­ent sized triad shapes. Bars 5 and 6 fea­ture a com­bi­na­tion of six and three-string shapes in­te­grated into a line that con­tains a va­ri­ety of ap­proaches and tech­niques.

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.