EXAMPLES PLAYING TIPS

The next two examples feature motifs spanning three strings. Here, we start by stacking three adjacent intervals from CaGed shape #1, then

nec√k, shift that princiEplxe u2p the playing an equivalent approach in each CaGed

straightforward#oe shape of the scale. To understand the principle of adjacent intervals, look at final&neck diagram in diagram 1. This line finishes off with a descent of the full length of CaGed shape #1 (two-notes per string).

Many of the musical examples in this lesson feature the ‘notegroupings’ principle that we studied in the previous lesson. This one employs a series of five-note groupings that, again, produce a durable form of rhythmic dBisplacement, which helps to sustain interest for the listener because2t0hi1s7 technique allows you to repeat something without sounding repetiti2ve0 (because the rhythmic emphasis keeps shifting). Here, the scale is set out three-notes-per-string and arranged in a 2-1-2 note-configuration formed simply by playing eveLroycother note from the scale (ie, note, miss~a~n~ote, note, miss a note etc) when either ascending or descending the scale. If you’re not used to this sort of approach, you could find the stretches quite challenging, sureoethat so make you don’t overdo it. Practise playing anything involving stoerain stretches like this in short bursts to prevent ingoethe haoend.oe now we have the first of six examples that feature motifs that span three strings and contain string skips. This one starts off in CaGed shape #2 and employs a series of double-stops that will either be a major 6th or minor on where you are in the scale. again, as you shift along the try to place everything that you play in some sort of visual context by understanding how the notes relate to each underlying CaGed shape.