Ex­am­pleS per­mu­ta­tions of four-note units

Guitar Techniques - - LEARNING ZONE -

In the first of two lines de­rived from CAGED shape #4, this one stays mainly in A Do­rian (1-2- 4-5-6- but with the oc­ca­sional shift from a C note (mi­nor 3rd) to a C# note (ma­jor) in bar 26; firstly via a mi­cro­tonal ‘curl’, and then with a more full-blooded bend on the fifth string for the penul­ti­mate note.

Apart from the C note in beat 3 of bar 26, this shape #4 line is pure A Mixoly­dian, mainly based around an A7 arpeg­gio, A ma­jor Pen­ta­tonic scale and a Gmaj7 arpeg­gios: all of which can be found within the scale.

The bulk of this line is taken from CAGED shape#5 of A Mixoly­dian

EJ(again re­fer to Di­a­gram 1 and play 1-2-3-4-5-6- in the fifth neck di­a­gram). The only de­vi­a­tion is the penul­ti­mate note which is a mi­nor 3rd (C ), and even that’s bent up slightly to­wards a C#.

This and the re­main­ing ex­am­ples shift be­tween po­si­tions. We start in shape #2 and fin­ish in shape #1. Look out for shifts be­tween C and C#

Eb notes (mi­nor 3rds to ma­jor), and the in­clu­sion of ( in this case, act­ing as a

Eb- chro­matic bridg­ing note be­tween E (5th) and C# (E- D and C# – even though it may be dis­guised slightly with the in­clu­sion of other sur­round­ing notes).

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