EXAEMxP2LES 4# - 8

anLd again, a simple sequence made effective because of the way the notes of the scale have been arranged on the guitar. This is a very

douoeble-backusinoeg straightforward application of a 1-2-3 unit on each√string, the string that’s been skipped as the new starting point, in a sort of motion.

More variations on the same themes e6xplored in the previous two examples. Here, the first half of the bar employs 1-2-3 units, whereas the second half of the bar employs 3-2-1 units.

now we’re using the 1-2-3 units (on bea1t5s 1 and 3-2-12u0n1it7s (onG beats 2 and 4) to move laterally up the guitar in a sort of ‘castle wall’ motion using fretting-hand legato in conjunction with slid

This represent1s4the17op1p9osi1te4as1c7en1d9ing equivalent of the

FL L L L LL L L LL L L LBsequence used in example 3. like all examples in this solo, make foeromoeanoey

ooether poeoint sure that you can apply the same principle in the scale:

isoea examoeple ofoethoeis. 8 good Here, we are taking the contents of each bar and playing the

prooeduce aoen aoesceoendioeng equivalent in a different position each time in order to sequence. a 3-1-2 unit is applied on each string using a combination of pickinghand tapping and fretting-hand legato. The way that the units are distributed through the bar in a 3-3-210co1n2fig8ur1a0tion h8elps to give this section some rhythmic

Y4ou1c7ould play the same finge1r2ing on9 th1e2 fi7rst,9third a9nd fifth strings if you start the line five fret1s0lo1w2er8(in1t0his ca8se, on the 10th of1th0e1fi2rst7st1ri0ng).

examples you can shif1t th9is i1n2th7e sa9me m9anner.

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