THE GUITARIST’S GUIDE TO COMPOSING AND IMPROVISING. Now, let's take this “foundation” and put it into action. In the Suspension- Approach Study, an original note of the basic triad is approached, either from a step above (suspension) or from a step below (approach note). This creates a simple cadence, similar to the species two counterpoint studies in chapter three. For example, in bar 1, the top note of the first G minor triad is approached from a scale note above, and then the bottom note of the second G minor triad is approached from a scale note above. It continues with a series of approach notes from above and below any of the original triad’s three notes. For now, the rhythm is kept simple. Later, we will use some rhythmic variation and Double Combo Special to create more interest ‘Compare the approach notes with the foundation study above (fig. 4.14) Stella by Flashlight Suspension-Approach Study ena tb ‘Mad a Fig. 4.15. Suspension-Approach Study Of course, the possibilities are vast. They will greatly add to your harmonic vocabulary, which is what this book is all about! How vast are the possibil- ities? Add them up; it's in the hundreds! Remember all the variables: * You can use either of the chord symbol’s basic triads. * You can play this triad in either open or close position. * You can choose any inversion you wish. * You can approach any note of a triad from above or below! The possibilities sure add up, and we're not even adding rhythmic or textural variety yet!