Guitar Techniques - - LEARNING ZONE -

EX­AM­PLE 4 Mov­ing on, we get to CaGed shape #5. This fea­tures a mix­ture of 4-3-2-1 and 1-2-3-4 note-or­der per­mu­ta­tions.

EX­AM­PLE 5 The pre­vi­ous ex­am­ples all fea­tured di­a­tonic 7th arpeg­gios played in se­ries from within the scale (ie shift­ing up or down by 2nd in­ter­vals); how­ever, this line, which is based around CaGed shape #1, sees a 4-2-1-3 per­mu­ta­tion ap­plied to arpeg­gios that are each down a 4th from each other. note that it fin­ishes off with an as­cent of the a Ma­jor Blues scale, be­fore fin­ish­ing in bar 19 us­ing the notes of a con­clu­sive-sound­ing a Ma­jor chord: a BC C# e F# a ma­jor blues scale - 12 356 EX­AM­PLE 6 This ex­am­ple is also based around CaGed shape #1; how­ever, this time, the arpeg­gios (all fol­low­ing a 1-2-3-4 note-or­der) as­cend in 3rd in­ter­vals; coEnse­quently, it is pos­si­ble to view1t2his same line as be­ing con­structed from one large ex­tended arpeg­gio shape (some­time re­ferred to as a su­per arpeg­gio – iDn this case, a13): note that the sec­ond half of this line (the blues-rock bit) fea­tures the same chro­matic C to C# (Mi­nor to Ma­jor) move in two dif­fer­ent oc­taves. EX­AM­PLE 7 We’re back to CaGed shape #1 for this next line, which fea­tures 7th arpeg­gios be­ing played a scale 6th lower each time. It starts off with the a Mi­nor Blues scale. b a mi­nor blues scale ... be­fore be­ing ‘cor­rected’ back to a Mixoly­dian via our now cus­tom­ary shift from C (Mi­nor third) to C# (Ma­jor third).

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