ExamplES mixing dominant and minor tonalitiES

(shape #5) another country-rock-style example here that starts

T'his off w3ith a held benAd7at the 16th fret ofoethe third string while adding other Peoentoeatobnoeic notes from the topAt7wo strings to form anja major triad. is followedG/A oey-r scoeale

eeoenaoeMinoeor by some typical coAun7tr oeck aj r double-stops befoGre/A

bridgjes #a finishing with paAss7age that, again, the gap betw aGn/Ada Major &(dominant). Try making a note of wjhereobr oebackthe C and C# notes occur, and

stnooef Coe# how the C note is either resolved to the down to a B note.

tw' (shape #2 to #1) Here, we havBeUtheBfiDr o examples that

dou~b~le~stoEGp isBpDromptl'y shifEt through positions. We start with an emphatic Major4sound via a comprising a 5th and major 31r2d, b14ut tBhUi(s followed by a

BcontradEicxto9r(ySmhaipneor#P5e) nntaoetonic lioene. From there, the interpolation between

throughooeut minor aEnxd9m(Sajhoarpceo#n5ti)nues (make a note of wGhe/Are a C or a C#

uEsxeoe9d) note is

to #4 to #5) although the start of thGis/Aexam roAm7aticoeno ocuoeses pleoe features ch tes, it also f on chord tones. ThGe/Afirst t

wooenotes, aoere

vedoeup e and C# the 5th and 3rd of a7. This two-note motif is then mo chromatically to G and e (12th frets of third and first strings respectively), which areHtBohlUde flbeanttdened 7th and 5th of a7. The shift from minor to major happens of1b5ar 46,1i4n which a17C note1(5minor 3rd against a7) is bent up to16C(#1(8m)a1jo7r(318rd) o15fa(178).)14