Guitar Techniques - - Soloing Over 7ths -

Mixoly­dian b6 Ex 1 This ex­am­ple im­me­di­ately touches on the two key colours, the b6 (C) and the ma­jor 3rd (G#). Use your fourth fin­ger to fret the B (9th fret, fourth string). The as­cend­ing run pri­mar­ily uses a three-notes-per-string pat­tern, end­ing on a ten­sion re­lease mo­ment, as you play the b6th (13th fret, first string) – the ten­sion – fol­low­ing by the per­fect 5th (12th fret, same string) – the re­lease. Mixoly­dian b6 Ex 2 This ex­am­ple con­sists en­tirely of oc­taves played with your thumb. Use fret­ting hand mut­ing to pre­vent un­wanted notes from ring­ing. We are play­ing with ten­sion and re­lease here; the F note (b6th) and the Dm/A chord pro­vid­ing the ten­sion and the E note (5th) and C# (the 3rd) pro­vid­ing the re­lease. Mixoly­dian b6 Ex 3 The pro­gres­sion in­stantly sets the mood of Mixoly­dian b6, by way of the A and G13/A chords. The notes in­her­ent in those two chords alone will cover all the notes of the Mixoly­dian b6 scale. We start by cre­at­ing a pen­ta­tonic ver­sion of Mixoly­dian b6, tak­ing five in­ter­vals of the scale (1, 2, 3, 5 and b6) and mov­ing this ‘box’ up through three oc­taves. For the high G on the first string (15th fret), use your fourth fin­ger and re­main in the 10th po­si­tion. No­tice how the sec­ond half fea­tures a run of di­a­tonic tri­ads - Faug, Em, Dm, C#dim and B dim arpeg­gios. To fin­ish, we are back in the E shape, work­ing with ten­sion and re­lease around the 5th and b6th in­ter­vals and re­solv­ing on the fi­nal E (5th).

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