ExamplES mixing dominant and minor tonalitiES

(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

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