Guitar Techniques - - LESSON | CREATIVE ROCK -

Exam ple 4 Here, we have three-note 3 mo­tifs shifted down 3 the neck on the top two strings in bars 25-26. Af­ter the ini­tial as­cend­ing 5th in bar 27, we see BU an in­verted ver­sion of the fig­ures from the pre­vi­ous bars taken up through the scale along the neck. In 10 bars 25-26, 14 each mo­tif 15 com­prises (17 ) a ‘low-note + (14 ) high-note + low-note’ com­bi­na­tion with the po­si­tional-shift slides on the lower string, whereas in bar 27 each fig­ure is com­posed of a ‘high-note + low-note + high-note’ se­quence and each po­si­tional-shift is on the up­per string. 12

Exam ple 5 The de­scend­ing se­quence shown in bar 35 of this ex­am­ple is typ­i­cal of one used by Yng­wie Malm­steen. As you can see, af­ter the ini­tial de­scend­ing 5th, it fea­tures a suc­ces­sion of three-note mo­tifs fol­low­ing a ‘low-note + high-note + low-note’ con­fig­u­ra­tion; how­ever, Yng­wie prob­a­bly thinks in terms of the three-note mo­tif en­cap­su­lated within each beat (that is, a de­scend­ing 5th fol­lowed by a de­scend­ing slide of ei­ther a ma­jor or mi­nor 2nd: de­pend­ing on what­ever in­ter­val is re­quired to stay within the par­ent scale).

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