EX­AM­PLES PREMUTATION OF FOUR-NOTE UNITS

Guitar Techniques - - LEARNING ZONE -

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).

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