ExAmplES playinG cells over three octaves

e x ample 9 This 16th-note triplet idea also use cells that follow a (2-2) configuration. Here, each cell contains the notes of a third inversion Cadd9 arpeggio (each with the 9th as its lowest note – D-E- G-C). example 10 Another (2-2) configuration here. This time, each cell comprises the notes of a third inversion Cmaj7 arpeggio (with the 7th as its lowest note – B-C-E-G). If you look at the fingering shown, you’ll see consecutive notes aplayed on adjacent strings using the same finger. Again, this is achieved using a barré roll movement, only here you’ll be shifting from the tip to the print part and back. The bits not boxed-out are still parts of the same cells, but this is where the melody crosses over bet ween cells. e xample 11 Another Cmaj7 here, only this time played in second inversion (with the 5th as its lowest note – G-B-C-E). This example demonstrates some of the principles shown in Ex5 and Ex10 in that, although the shape stays the same, its musical treatment is different in each octave. example 12 Here, each cell is arranged in a (4-0) configuration on each string-pair and comprises the notes of a C add9 arpeggio (C-D-E-G). This is first four notes of the C major pentatonic scale, and is also known as a major tetra chord. Because this and the following three examples all use four notes per string, they are executed using a combination of fretting and pickinghand tapping. Instead of playing the highest octave on the second string, the same notes have been shifted up onto the first string. This will present you with different musical options, as well as visually keep you within the same area of the neck as the lowest octave (in other words, in the same neck area as the notes on the sixth string).