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FRETBOARD LESS TRAVELED
SEQUENCES � Rich Severson
Having a sequence within your improvised solo is always a cool idea. Learning to develop sequences within your single note soloing makes your improv playing sound more designed and less random. Also, I believe sequences engage the listener. First, they hear a statement, then hear it again with different
Sequences
A ‹ 7
& 4 œ œ œ œ œ# œ œ œ œ œ œ œ# œ œ œ œ w
⁄
&
" A " Dorian Mode
Cell
Cell Cell
1 2 3 5 1 2 3 5 1 2 3 5
3rd
3rd 4 3rd 3rd 5 6
⁄
&
1 2 3 5
1 2 3 5
3rd 3rd 3rd 7 8 9
⁄
|
& 1 2 3
5
1 2 3 5 œ œœœœ œ
4th
4th
|
1 2 3 |
10 |
11 |
⁄
5 7 8 5 7 4 5 7
4 5 7 5 7 8 5 7 8
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2
Cell 1 2 3 5 œœœ œ œ œ# œœœ œ œœœ œ œ # œ œ
œœœ œœ œ
8 5 7 5 7
4 5 4 5 7 4 7 4 5 7 7
1 2 3 5 1 2 3 5
5
4th
5
3
1
12
The Cell œ œ œ œ œ 2 3 5
5 7 8 7
3rd
Rich Severson
Cell
Cell 1 2 3 5 2 3 5
# œ œ œœœ 1 œ œ
Blues Lick
Am
Em7 Ó
7 5 7 5 7 8 5 8
œ# œœ œ œ œœœœ œ œ œœœ œ # œ œœœ œ œœ bœ ‰ Œ œœ œ œ
5 7 8 7 5 7 5 8 7 4 5 5 4 5 7 5 7 5
8 5 7 5 4 5 7
6 5 8 5
1 2 3 # œœœ œ œœœ # œ œ œ# œœœ œ œ œ œœœœœœ˙
5 4 5 7 pitches and they can anticipate what’ s coming up next.
Let’ s look at the makeup of a sequence. First, it consists of a short( usually) musical phrase. Then, that phrase or cell is transposed by an interval to a new set of pitches and played
7 5 7 8 7 5 5 5
7
4 5
7 5 7 again. Next it is transposed and played again to another set of pitches and so on. To create an actual sequence the cell is played at least three times. If played only twice it is considered an echo.
Now let me explain these music examples. Measures 1 & 2 show the“ A” Dorian Mode, which is a“ Go to” scale when soloing over an Am7 chord.
Measure 3 shows the“ Cell”, which is the group of notes that form a small musical phrase or statement. In this case the“ Cell Factors” are 1 2 3 5, meaning we start with three ascending adjacent notes, skipping the 4 th and playing the 5 th. All the notes are derived from the Dorian Mode. Our first cell starts on the note“ A”.
Measure 4 shows the cell( 1235) now starting on the note“ C” and then“ E”. The cell is being transposed in 3rds. It’ s important to note that the cell and its transposition conform to the“ A” Dorian Mode
Measures 5 & 6, we continue with the transposition of the cell in 3rds, building it from the notes“ G, B, D, & F #”.
Measures 7 & 8, we are applying the cell starting on the note“ E” and descending in 3rds( skipping every other note of the Dorian mode) and ending the sequence in measure 9 with a blues lick.
Measures 10 & 11 the cell is applied to every 4 th degree of the“ A” Dorian Mode starting on“ C”, then transposed up to F #, B, & E. In measure 12 we end the lick with a simple Amin and Em7 arpeggio.
We’ ll work more with sequences next time. Remember, they can be used with any scale and in any style of music you play.
28 Jul � Aug 2017 CollectibleGuitar. com