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

[Bar 21 (A7 Shape #3)] You can see this in two dif­fer­ent ways: where scale and chro­matic notes are used to ap­proach chord tones; or where the Mi­nor Blues scale (sour) is used in con­junc­tion with Mixoly­dian (sweet). Both ap­proaches are valid, and should be con­sid­ered when learn­ing all th­ese lines. For ex­am­ple, are the first four notes of this line a bend to a C# (Mixoly­dian) fol­lowed by three notes from the Mi­nor Blues scale (4, b5, 5)? Or a chro­matic as­cent from C# (3rd of A7) to E (5th of A7)? Were I to think about it, I’d say I tend to­wards the lat­ter per­spec­tive, while still be­ing aware of the for­mer. The fol­low­ing notes all sig­nify the use of the sour Mi­nor Blues/Mi­nor

EPen­ta­tonic scale be­fore re­solv­ing to a C# note in a sim­i­lar man­ner to the open­ing part of the line for Shape #1. Fi­nally, note how the fi­nal bar con­tains notes pretty much taken from the A7 chord shape (Di­a­gram 1), apart from the C note (b3 of A), which is used as a chro­matic ap­proach to C# (3rd of the un­der­ly­ing A7 chord). [Bar 31 (A7 shape #4)] This line stays pretty much around the notes of A Mixoly­dian with, as usual, par­tic­u­lar em­pha­sis on chord tones (in this case, 1, 3, 5 and b7). The only non-scale note is, once more, a C note be­ing used as a chro­matic ap­proach to C# (see pre­vi­ous ex­am­ple).

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