Ex­am­plES mix­ing dom­i­nant and mi­nor tonal­i­tiES

Guitar Techniques - - LESSON|LEARNING ZONE -

(shape #4) The first chordal frag­ments in this ex­am­ple are all taken

mnioenor­b3o­erds from a Mixoly­dian; how­ever, this open­ing is fol­lowed by a de­scend­ing line

(oeeach­n­foeea­turi­noeg sour-oe­sound­ing ‘coeurl’) fea­tur­ing some a in bar 27. (shape #4) The dou­ble-stops at the start of this line each

ex­am­ple­soeof no­toees com­prise an e note (5th of a7) and C (mi­nor 3rd against a7) bent up to a C#

beio­eng (ma­jor 3rd of a7); fur­ther­more, there are yet more C bent up to­wards C# notes via ‘curls’ (which means that they don’t quite get therEe, but oc­cupy a neb­u­lous and3mi­cro­tonal area some­where in be­tween). Fi­naElly, also note the bend fr1o0m a fourth de­gree to a flat­tened 5th and backD(sec­ond half of bar 31).1a0s stated ear­lier, the flat­tened 5th needs to be

(eb) han­dled with care, and here it re­solves to a doe note (fourth de­gree) in beat 4 of the same bar.

(shape #5) With a coun­try-rock-style open­ing pas­sage rem­i­nis­cent ex­oea~m~p~oele hoeeld toehrough­out

the‰ben­doeJat of 2, the 16th fret of the third string is the first one and a half bars of this ex­am­ple while other notes of Mixoly­dian

aoed­de­doe­from are the strings above it. The first half of this line is straight a Mixoly­dian, whereas the sec­ond half is based more around an a Mi­nor tonal­ity. note that a Mixoly­dian with a mi­nor 3rd in­stead of a ma­jor 3rd gives us a do­rian: a-B-C-d-e-F#-G

1-2- 3-4-5- 61-47

J

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