Ex­am­pleS per­mu­ta­tions of four-note units

Guitar Techniques - - LEARNING ZONE -

This line stays slav­ishly within CAGED shape #2 from Di­a­gram 1. It changes from ma­jor to mi­nor at least six times. Can you see where? As usual, your clue is a C note (mi­nor 3rd) for mi­nor and C# (ma­jor 3rd) for ma­jor (dom­i­nant).

The next three lines dwell within CAGED shaped #3. Al­though the Eb

at the end of the first beat in bar 13 could be seen as com­ing from A mi­nor Blues scale, it re­ally just forms a chro­matic bridg­ing de­vice be­tween D and E (in a chro­matic as­cent that ac­tu­ally starts from C#); so, this bar should be seen as be­ing de­rived os­ten­si­bly from A Mixoly­dian. Bar 14 sees the mi­nor 3rd

EE(C) in­tro­duced twice; first, on its way to re­solv­ing to the ma­jor 3rd (C#) and, se­condly, as a means of end­ing the en­tire line on a sour note.

The bulk of this shape #3 line uses the A mi­nor Blues scale. It’s only in the last five notes that it switches to A ma­jor Pen­ta­tonic scale (as usual, start­ing with the C# note – the fun­da­men­tal dif­fer­ence be­tween mi­nor and dom­i­nant/ma­jor tonal­ity).

Apart from the first note of beat 2 (bar 21), this fi­nal shape #3 line is en­tirely mi­nor (mainly A Do­rian blues: 1-2- 4- 5-6-

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