EX­AM­PLES EN­CLO­SURE

Guitar Techniques - - LESSON CREATIVE ROCK -

EX­AM­PLE 9 Here we have a clas­sic ex­am­ple of a coun­try-rock style line that uses a com­bi­na­tion of chro­matic bridg­ing (see pre­vi­ous is­sues) and en­clo­sure to link de­scend­ing scale 6ths.

EX­AM­PLE 10 Next, we have the first of three lines that stem from CAGED shape #3. In this one, a se­ries of four-note en­clo­sure mo­tifs are used to tar­get each note of the un­der­ly­ing A ma­jor arpeg­gio (A-C#-E).

EX­AM­PLE 11 We’re tar­get­ing the notes of an A ma­jor arpeg­gio again here, only, this time, via a se­ries of three-note en­clo­sure mo­tifs, cre­at­ing the same ‘three-against-four’ feel fea­tured in Ex­am­ples 1 and 4.

EX­AM­PLE 12 In this, the last of our CAGED shape #3 lines, chro­matic notes only ever come from a semi­tone be­low the tar­get note and are al­ways on the off­beat. Note that, in bar 46, our group­ings have now grown to six notes long. This still pro­duces rhyth­mic dis­place­ment, but the ef­fect isn’t as rad­i­cal or ob­vi­ous as re­peat­ing groups of five.

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