Guitar Techniques - - USER GUIDE -

EX­AM­PLE 1 The bulk of this les­son’s mu­si­cal ex­am­ples are de­voted to ex­ploit­ing var­i­ous in­ver­sions of the parental a7 arpeg­gio. We start off with a 1-2 con­fig­u­ra­tion on the top two strings. In­ter­est­ingly, we are only us­ing three notes from each in­ver­sion. Can you work out which note is miss­ing out in each beat or shape? Bar 2 starts off by trav­el­ling straight up and down a oneoc­tave root po­si­tion a7 arpeg­gio in CaGed shape #5 of a Mixoly­dian (ver­ti­cal mo­tion). This ex­am­ple then fin­ishes off with some typ­i­cally bluesy Mixoly­dian phras­ing us­ing var­i­ous tone-wide bends.

EX­AM­PLE 2 Here, the trun­cated a7 arpeg­gio forms in ex­am­ple 1 are ex­tended via the ad­di­tion of the third string to pro­duce a 1-1-2 note con­fig­u­ra­tion over three strings that pro­vides all four notes re­quired for each arpeg­gio in­ver­sion. The pick-strokes in­di­cate how I played the recorded ex­am­ple; how­ever, some play­ers (like Yng­wie), would play each note on the third string in bar 5 us­ing a down­stroke, not an up­stroke. The line con­cludes in bar 6 with a de­scend­ing pas­sage that’s based mainly around an edited form of the a7 arpeg­gio shape that ex­ists with CaGed shape #4 of a Mixoly­dian (an­other ex­am­ple of ver­ti­cal mo­tion) be­fore slid­ing down to an a root note at the 7th fret of the third string.

EX­AM­PLE 3 next, the a7 shapes from ex­am­ple 2 are ex­tended even fur­ther by

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