12-Tone Rows (Slow Demo of Divergent Motion)

A 12-tone row comprises all 12 notes in Western music and is a compositional device formulated in order to avoid stating any particular tonality. Basically, the rule is that you are not allowed to return to a pitch until you have played all the other 11. This is an effective way of introducing extended chromatic passages into your playing.
Each of the two 12-tone rows in this example were composed using divergent motion, where two chromatic lines move apart (in different directions).
Firstly, we have C moving chromatically up to Eb on the B string, while we simultaneously move down from B to G on the G string.
The residual three notes (F#, E and F) are played on the high E string in order to complete our 12-tone row and are arranged in such a way that the tension created resolves back to F mixolydian (mainly via chord tones F, A and C).
In the last bar of this line (which represents the first half of the line) we can also see a simple chromatic bridging move whereby A is linked to G via a G#. Finally, the finally G note relates to (in other words, is played in anticipation of) the G7 in the following bar.
In this second half, we can see an even larger example of divergent motion. In fact, it’s a concept that extends beyond the scope of just 12 notes. Starting from G on the B string, one chromatic line descends right down to B on the D string, while simultaneously ascending all the way up to D on the high E string.
Theoretically and practically, we end up playing a double-stop that represents the 3rd and 5th of G. This is then slid up a minor third to embody quite an old-fashioned sounding 6th chord. An effect compounded by two Bo Diddley-style G6 chords at the end.

For over 160 more examples like this, as well as seven 80-bar solos, along with analysis, audio files and backing tracks, click on the following link for my book Chromatic Lead Guitar Techniques:

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