Ex­am­ples mixoly­dian and mi­nor blues scale licks

Guitar Techniques - - LEARNING ZONE -

The coun­try-in­flu­enced start to this line is taken ex­clu­sively from CAGED shape #1 of A Mixoly­dian (see 1-2-3-4-5-6- within Di­a­gram 1); how­ever, to­wards the end of beat 3 of bar 1, we see the in­tro­duc­tion of the first C note (mi­nor 3rd). Be­fore we know it, we’re us­ing straight A mi­nor Pen­ta­tonic scale in the fol­low­ing bar. In­ter­est­ingly, we’ve gone from con­so­nance to dis­so­nance (in other words, from mu­si­cal sta­bil­ity to mu­si­cal ten­sion).

In con­trast, this next ex­am­ple (also within shape #1 CAGED sys­tem) starts off in mi­nor in bar 5, but then goes dom­i­nant, mi­nor, dom­i­nant in the fol­low­ing bar, while fin­ish­ing on a very re­solved-sound­ing C# note. The se­cond note in bar 5 is a strange but ear-catch­ing chro­matic move (G-G#-G) us­ing the first fin­ger; this is com­monly used by bass play­ers and also em­ployed heav­ily by jazz gui­tar great Ge­orge Ben­son.

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