EXAMPLE11 FULL STUDY - 4-PART ‘LOOP’ PIECE MOVING THROUGH THE STRING SETS
SECTION C Moving down another string set, we clean things up and switch to fingerstyle. It’s the same harmony but exploiting closer voice leading to minimise the movement within string groups 2-4. Again, this then joins the loop and you’ll end up hearing this idea twice before we end.
SECTION D We conclude with a single-note melodic idea based on a combination of arpeggios, bends and hammers found within the range of the top three strings. You can boost the gain here and, naturally, this is just one example of what you could play. By all means use the underlying parts as your improvisational backing and play whatever and wherever you like. Although it’s a good idea, initially at least, to stay close to the harmony so make sure you can connect all the arpeggios along the highest strings with confidence and authority. These ideas can add a whole new aspect to your vocabulary.