Ex­am­ples mix­ing ma­jor and mi­nor tonal­i­ties

cd track 34

Guitar Techniques - - LESSON | CREATIVE ROCK -

Ex­am­ple 1 Straight off, this Michael Schenker-in­flu­enced line (based around CAGED shape #1 from Di­a­gram 1) fea­tures four oc­ca­sions in which the C# note (ma­jor 3rd of A) is in­tro­duced. First, the en­tire line starts off on a C#, firmly plant­ing it in Mixoly­dian ter­ri­tory. But then, at the start of beat 2, we see the in­tro­duc­tion of a C note (mi­nor 3rd), which is im­me­di­ately re­solved back to C#. There then fol­lows a straight­for­ward A mi­nor Blues scale de­scent to an­other C# on the third string in beat 3. Fi­nally, to­wards the end of the bar we scroll in­cre­men­tally through the 5, the and 4 of A mi­nor Blues scale be­fore even­tu­ally re­solv­ing on the ma­jor-sound­ing C# note. So, in the course of this one line, the tonal­ity has shifted seven times: ma­jor, mi­nor, ma­jor, mi­nor, ma­jor, mi­nor, ma­jor.

Ex­am­ple 2 The Ted Nu­gent-style start to this line, also from CAGED shape #1, fea­tures two shifts from mi­nor to ma­jor within the first 11 notes. The se­cond

m7b5 half of bar 5 fea­tures a se­quenced fu­sion-style C# arpeg­gio, which im­plies A9. Apart from the ini­tial B note, the pas­sage in bar 6 is an unadul­ter­ated two-oc­tave A dom­i­nant 7th arpeg­gio.

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