GENERAL Playing tiPs

When working through the examples, refer to the diagram below which contains the five CaGed shapes of a Mixolydian. We are going to stay within one area of the neck (within one scale shape), although later on in this series we’ll look at shifting laterally along the neck. In the backing track, a bridge part was inserted just to make it less monotonous. The chord names may look a bit scary (Gmaj7 [no 5th]/e5-F#m7 (no 5th)/e5-dmaj7 (no 5th)/e5-C#m7 (no 5th)/ e5]; however, every note of these four bridge chords is to be found within a Mixolydian, so you can continue to play a Mixolydian throughout. Finally, all of the examples have been given a bluesy ending, just to give you an idea of how the two approaches (triads and blues) can be forged together.