Ex­am­ples mix­ing ma­jor and mi­nor tonal­i­ties

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Guitar Techniques - - LESSON | CREATIVE ROCK -

Ex­am­ple 3 The ma­jor­ity of this Larry Carl­ton-in­flu­enced line oc­curs within CAGED shape #2. Here, C# (ma­jor 3rd of A) is ap­proached from a semi-tone below via a C note (mi­nor 3rd of A) in three sep­a­rate oc­taves: on the first string, the third string and the sixth string. Also note the in­clu­sion of a chro­matic note Bb), ( which is used as a bridg­ing note be­tween A and B on the fourth string.

Ex­am­ple 4 In this shape #3 line, the C# from the first string has been brought down to the se­cond string for phys­i­cal ease when play­ing this par­tic­u­lar line. There is the usual in­ter­play from mi­nor to ma­jor (via a C to C# note). Also,

Eb b5) al­though the ( on the first string can be seen as com­ing from A mi­nor Blues scale, it’s re­ally just part of a chro­matic as­cent from one chord tone (C#,

Eb, the ma­jor 3rd of A7) to an­other (E, the 5th of A7); in this case, C#, D, E.

Ex­am­ple 5 The same chro­matic mo­tion oc­curs in this other shape #3 line. This par­tic­u­lar one is dom­i­nated by chord tones (1, 3, 5 and b7) and, de­spite the ma­jor start, ends up with a mi­nor fin­ish cour­tesy of the A mi­nor Blues scale.

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