Ex­am­ple

Guitar Techniques - - Two-bar Triplet Mixolydian Lines Learning Zone -

[Gen­eral] The main ex­er­cise in­volves play­ing a se­ries of two-bar triplet Mixoly­dian lines over the same chord-type in dif­fer­ent keys all over the neck. It’s vi­tal to put each line into visual con­text, and be aware of which in­ter­vals you are us­ing from the un­der­ly­ing scale pat­tern, and any notes that fall out­side. If you just learn each line par­rot-fash­ion with­out see­ing how it re­lates to the scale, you will not truly un­der­stand it or be able to adapt it to dif­fer­ent sit­u­a­tions. Although writ­ten in 12/8, all the lines in this les­son could serve as eighth-note triplet lines in 4/4 at mod­er­ate tem­pos. De­spite the fact you are not im­pro­vis­ing at this point, this ex­er­cise is solid prepa­ra­tion for play­ing over chord changes, as it re­quires you to think of the line be­long­ing to the chord on which you are play­ing, as well as the one as­so­ci­ated with the fol­low­ing chord. Fi­nally, the les­son shown in the tran­scrip­tion and demon­strated by me against the back­ing track is an ex­er­cise, not a solo: it is a tech­ni­cal study de­signed to en­cour­age scale vi­su­al­i­sa­tion and the de­vel­op­ment of shape-spe­cific mu­si­cal reper­toire. [Bar 1 (A7 shape #1)] Although the most log­i­cal scale for static dom­i­nant 7th chords, Mixoly­dian (1, 2, 3, 4, 5, 6, b7) is of­ten con­sid­ered too sweet and sani­tised - almost too ‘cor­rect’ to have any el­e­ment of dan­ger. So a bit of dirt is of­ten added in the form of the Blues scale (1, b3, 4, b5, 5, b7), which is ei­ther used as an al­ter­na­tive to, or in close con­junc­tion with, Mixoly­dian. The lat­ter ap­proach of­ten just re­sults in the two notes that are unique to the Blues scale (b3 and b5) be­ing used as pass­ing notes within Mixoly­dian. This first ex­am­ple starts with a dou­ble-stop bend whereby the 6th and b3rd in­ter­vals (ten­sion) are bent up to the chord tones b7th and ma­jor 3rd (res­o­lu­tion). Most of the fol­low­ing notes in bar 1 are taken from the Blues scale (ten­sion) only to be ‘cor­rected’ back to the ma­jor 3rd (C#) at the end of the bar. The de­scent in bar 2 can be thought ei­ther an A ma­jor triad with chro­matic bridg­ing notes be­tween the E and the C#; or an A ma­jor triad with the in­tro­duc­tion of A Blues notes be­fore re­solv­ing at C# (3rd). To make the res­o­lu­tion com­plete, the line fin­ishes with a slide up to the root note (A).

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