Ex­am­plEs mixoly­dian and blues scale licks

Guitar Techniques - - LEARNING ZONE -

This shape 3 line starts off with some coun­try-style bends th#e B#to whEexre6by C# bend is held through­out the first five notes. it starts off in aoeC (moeinooer 3nr­doe) f#oloelowe­doeby

Coe# Mixoly­dian, but the last two notes in bar 25 are a (majo&r 3rd). al­though bar 26 could be viewed as a mi­nor Blues scale fin­ish­ing on a C#, it could also be seen as the notes of a7 (a-G-e-C#) with a chro­matic bridg­ing mo­tion be­tween the e and C#. LEike&pre­vi­ous

This line is typ­i­cal of what BB King would do around CaGed shape 3. lines it shift7s fro1m0 a8Min9or (via a C note) to a Mixoly­dian via a traEn­si­tion from a C9to a C#.

sim­i­larly, make a note of all the points where mi­nor is in­ferred us­ing a C note, and where this ten­sion is re­solved to a C# note, as in this shape 3 line. Like ex­am­ple 3, this shape 4 line starts off with some rhyth­mic voeia theo­erep­e­ti­tio dis­place­ment n.of a four-note mo­tif over a three-note count. The change in rhyth­mic em­pha­sis helps to sus­tain in­ter­est. apart from the now

C#.notes, t∑he. cus­tom­ary in­ter­po­la­tion be­tween C and note that re is a bend to­wards the end be­tween d (4th), e an∑d back again be­fore – de­spite the pure Mixoly­dian start – fin­ish­ing on a dark-sound­ing mi­nor 3rd (C).

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