EXAMPLES PLAYING TIPS

EXAMPLE 9 The previous four examples featured string skips involving notes on the strings flanking the third string; however, here, we’re jumping over the fourth string instead. each six-note grouping is derived from a three-notes-per-string approach and produces rhythmic displacement. We start off straddling CaGed shapes #2 and #3 and finish off in CaGed shape #3. If 1-2-3-4-5-6 represents the six pitches within each grouping played in ascending order (from lowest to highest), then the note-order in each of the three six-note motifs in this example would be represented by 1-6-2-4-5-3: just one of 720 possible mathematical permutations when playing six different pitches once each.

EXAMPLE 10 This is the last of our examples containing motifs that span three strings. again, it features rhythmically displaced motifs that employ string skips. Here, each grouping comprises nine notes, and is derived from omitting the middle pitch when applying a three-note-per-string approach.

EXAMPLE 11 another example featuring nine-note motifs, only this time each one spans four strings and is derived by stacking various intervals from within a three-notes-per-string approach to a dominant Pentatonic. We start by straddling CaGed shapes #4 and #5 and finish off in shape #2. note how the line finishes off with a bluesy quarter-tone bend (blues ‘curl’) from a C note towards a C# (3rd). Technically, we can think of the contents of bar 42 as reverting to the a Minor Pentatonic scale.