ExAa1m­plEs mixoly­dian and blues scale licks

Guitar Techniques - - LEARNING ZONE -

This Blues sara­ceno line fea­tures some rhyth­mic dis­place­ment

m#ean­soeth­naoet em­poe­ha­soeis ¡co­eh­ja­noe­geoejs tho­er­oughoe­out.oealtjhooeughoe couEnxt,2whic#h in bEaxr 92 as, from beat 2, we have a two-note mo­tif re­peated to a three-note thje

also¡in­j­cor­po­jra (oeF#) woe­hich oe(do­moe moea­joroe6­toeh Mnioex­ooe­lyj­doe mi­nor Pen­ta­tonic at the start, bar 9 tes a in­oeant

(mi­noeojr:oea-Boe-C-de-F#-G). aoend is com­mon to both a ian ) a do­rian You don’t have to al­ways travel from mi­nor (ten­sion) to dom­i­nant (res­o­lu­tion). Here, we have 3rd (C#) at tBhUe start of bar 10B,bUuBt on a minEor 3rd (C) at the5end of the sam5e b7ar.7

This rob5ert Cra7y-(s9ty)le5­line7al7so s5­tartBsUout usin5g a do7ri(a9n)(m(7i)nor), butBis then ‘cor­rected’ via a C# note back to a Mixoly­dian (the only dif­fer­ence be­tween do­rian and Mixoly­dian is that do­rian has a mi­nor 3rd, but Mixoly­dian h.as a ma­jor 3rd). This~li~ne~in off.with r∑ay.

CaGed shape 2 starts a ste­vie vaugh­a­noestyle (eb).oeTheoe­bul

na­tioeo~n~o~oef h∑o.wever, combi bends whereby a 5th (e) is fol­lowed by a flat­tened 5th

m∑inor Blues scale; it oeis s#troeaight­for­ward up∑to. 3∑rd.) k ofoethe loeine a con­cludes in bar 19 with a C (mi­nor 3rd) slid a C# (ma­jor be­fore

root (a). Bar 21 of this ex­am­ple, whic5h is also in shape 2, fea­tures two in­5which a C note is re­solved to a C#. it fin­ishes in bar 22 by stay­ing within a ma­jor Pen­ta­tonic scale.

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