Example2 neo-classicalrhythm
EThisistheonlyexampleplayedinstraighttime,ratherthanwithashuffle feel;however,thetempoisveryslow,whichwillprovideitsownchallenges asyourtime-keepingwillbeundermuchmorescrutiny.Again,makesure thatyouareclearastowhichnotesarepalm-mutedornot.Forexample, thefirstbeatshowshowallbutthelast16th-notearemuted.Thiswillbe easierthanitlooksifyoufollowthepickingpattern,asthefirsttwonotesof thebeatareplayedusingadown-stroke,makingiteasytoreleasethepalm mutewhenplayingtheupstrokeforthefinalnote.
Irecordedeachbackingtrackwithaliveband(PaulElliottondrums andAlanMianonbass),sowhatyouhearisusplayingitforthefirsttime inawarts-and-allperformance.Thissecondexamplewasthendoubled byPhilHilborne,whowasrecordingusatthetime.Beingtheexperienced professional,Philwasabletoinstinctivelyknowhowtoconstructa complementaryguitarpartwhichwouldboththickentheoriginal,by doublingit,andembellishit,by,forexample,playingthedouble-stopfigure attheendofbar2upanoctave,andtheFchordattheendoftheBsection onthe12th,13thand14thfretsofthesecond,thirdandfourthstrings respectively.Incidentally,therearelongpausesduringtheBsectionwhose effectcouldbedestroyedbyextraneoushandlingnoise,somakesurethat yourestlightlyandcarefullyonalltheidlestringsin-betweeneachchord, avoidinganysuddenorclumsymovementthatcouldproveaudible(the sameappliestothestopsattheendofthefirstendingoftheA1section).
Ifyouwanttopractiseimprovisingoverthisprogression,ithasbeen designedsothatyoucanuseEPhrygianDominantscalethroughout: EPhrygianDominantscale–E F G#A BC D
1 b23 4 5b6b7 ThisscalehasthesamenotesasAHarmonicMinor(it’soneofitsmodes); however,thecrucialdifferenceisthatthenotesofgravity(musicalrest)are nowrelatedtoaparentalEmajortriad(E,G#andB),notAm.
Finally,notetheinclusionofpassagesusingsinglenotes(suchasthe secondhalfofthesecondendinginA1,whichstandsoutduetotheuseof anexpressivedevicesuchasvibrato).
B