Guitar Techniques - - Lesson: Creative Rock -

[Gen­eral] The main ex­er­cise for this les­son in­volves play­ing a set se­ries of one-bar triplet Mixoly­dian lines non-stop, over the same chord-type in dif­fer­ent keys in all ar­eas of the neck. Th­ese one-bar lines have been de­rived by edit­ing the two-bar lines that we looked at in the pre­vi­ous les­son. The point now is that you have half the time on each chord, and so need to think twice as fast. [Bar 1 (A7 shape #1)] As we saw in the pre­vi­ous les­son, the Blues scale (1, b3, 4, b5, 5, b7) is of­ten used as a grim­ier al­ter­na­tive or in close con­junc­tion with Mixoly­dian. If tak­ing the lat­ter ap­proach, the close in­ter­play 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 3rd in­ter­vals (ten­sion) are bent up to the chord tones b7th and maj 3rd (res­o­lu­tion) re­spec­tively. Note how the rest of this line is com­posed en­tirely of chord tones (re­lat­ing to A7).

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