EXAMPLES PREMUTATION OF FOUR-NOTE UNITS

EXAMPLE 8 also in CaGed shape #1, this line deals with a pair of arpeggios in which hardly any of the notes are common. This is the first example that features arpeggio shapes that go beyond four-note shapes. each arpeggio is composed of a five-note shape that spans a full octave. each one is arraEnged in a consistent 2-1-2 note configuration for physical and visual convenience. Finally, this line finishes off with an em7 arpeggio (with the root omitted from the third string) with an added C# passing note.

EXAMPLE 9 This CaGed shape #4 line features a random mix of diatonic 7th arpeggios taken from the scale. notice the various passing notes: there is an a7 arpeggio with F# passing note (leading to the G note at the end). and, in the fourth beat of bar 33, a B note is used as a means of bridging chromatically between the a and B notes.

EXAMPLE 10 Time for a line that is situated exclusively within CaGed shape #3. again, we have a random mix of 7th arpeggios taken from the scale with a sprinkling of passing notes. at end of bar 37, a B note is used as a means of bridging chromatically between B and a. and then we get two incidents whereby a C note (Minor 3rd) starts bending up towards a C# note (via curl) without ever quite getting there (bars 38 and 39).