EGBAnext, we’re now using the parental a triad as the basis for our line in CaGed shape#3 of Mixolydian. There are a couple of things to note here. First, how a tense-sounding C note (minor 3rd of a) is followed by a more ‘correct’ and resolved-sounding C# (major 3rd of a). Secondly, note from the fingering in the transcription that a quick and deft relocation of the first finger is required betw&een the third¢and first string in order to play the a triad at speed.
Here, we continue to move up through the CaGed shapes by playing a line that uses the parental a triad in shape#4 (although the range has been extended somewhat to include the high root note from the top of shape #5B). again, we need to employ the barrAé roll technique using the second finger; this time, across the 14th fret in order to play the notes on the third, fourth and fifAth strings. note that7, when descending the triad in the se7cond half of this
line, the C# note on the second string needs to be fretted quite high up the finger in order to have enough surface area left to redistribute to the a and e notes on the fourth and third strings respectively. Once more, a slight amount
notej. of palm muting will help when trying to separate the sound of each
Finally, here we see the parental a triad used as the basis for this line is shape#5 of Mixolydian. note that we stray either side of shape #5 occasionally in order to keep the note configuration physically consistent in each beat (in beat 1 of bar 21, the a note from the fourth string has been relocated to the third string; and, in beat 4 of the same bar, the e note on the second string has been relocated to the first string).
This is the first of five examples that are devoted to consecutive diatonic arpeggios (in other words, all the triads that exist within the scale
ExamplE 6 ExamplE 7