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Changes
m
b B c C d D e E f F gG
b B c C d D e E f F gG
a A b B c C d D e E f F g G a A b B c C d D e E f F g G aA
a A b B c C d D e E f F g G a A b B c C d D e E f F g G aA
→Scales between 2nd and 3rd Strings
e----------0--1--3-
b-0--1--3----------
And let's play those same exact notes on the 2nd and 3rd strings:
b----------5--6--8-
g-4--5--7----------
We play a h/w pattern on both strings in both cases, but when going from the 2nd to 3rd string, we shift one fret upwards. '''My advice is to do a positional shift.''' Let's take a look at this in a larger context:
a-0--2--3-------------------------------------
e---------------------------------------------
fig. 10
a-0--2--3-------------------------------------
e---------------------------------------------
Both examples play the exact same notes, except Figure 10 shifts from open to first position between the 3rd and 2nd strings. '''Notice how when performing the shift, we get 3 notes per string.''' This is a concept we will revisit later, but many speed players prefer this because it creates more balance when moving up or down the scale through the 2nd and 3rd strings. It is also easier to derive scales this way - each string will be either a w/w, w/h, or h/w pattern of 3 notes. Without the shift, we get 2 notes on either the 2nd or 3rd string, and 3 notes on the other. This disrupts the order of the patterns across strings. In the above examples, figure 10 has ring, ring, stretch, stretch, stretch patterns. In Figure 9 we have ring, ring, ?, middle, middle patterns, then a final stretch to the high A. And again, we may have 2 notes on the G string in this case, but in other cases it would have 3 notes and the B string has 2.