Ex­am­plEs mixoly­dian and blues scale licks

Guitar Techniques - - LEARNING ZONE -

The first dou­ble-stop in this shape 4 ex­am­ple, com­prises a 5th (e) and a bend from C to C# (mi­nor to ma­jor 3rd) re­sult­ing in two straight­for­ward chord tones (5th and 3rd). This is fol­lowed by a sense of sus­pen­sion via the 4th (F) at the end of beat 2 be­ing re­solved by a chro­matic as­cent to a C# (ma­jor 3rd) via a B and C note re­spec­tively. The fi­nal four notes are all chord tones re­lated to the un­der­ly­ing a7.

sim­i­lar prin­ci­ples are also used in this shape 4 line. note that the fi­nal four notes are taken di­rectly from the very con­so­nant-sound­ing a ma­jor Pen­ta­tonic scale.

Here, we have a line in CaGed shape 5. it starts ex­clu­sively within a Mixoly­dian (note B mi­nor triad in beat 2 of bar 49) be­fore see­ing the in­tro­duc­tion of the now fa­mil­iar tran­si­tion from a C note to a C# in beat 4 of

eb/d# the same bar. The in­tro­duc­tion of the note at the start of bar 50 could be

(a-B-C-d-eb-e-F#-G) seen as be­ing de­rived from ei­ther a do­rian Blues scale or a Ly­dian dom­i­nant (a-B-C#-d#-e-F#-G). again, like ex­am­ple 12, the fi­nal four notes are taken from the a ma­jor Pen­ta­tonic scale.

Fi­nally, we have a Blues sara­ceno line that’s based mainly around an a ma­jor triad and shifts from shape 1 to 2 to 3. The fi­nal bar makes a tran­si­tion from mi­nor (C note) to dom­i­nant via the bend to C#, to which a tapped root note is added.

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