ExAmpLEs

ExamplE 1

This first example in CaGed Shape #1 of a Mixolydian, features two chromatic notes in the latter half. Firstly, the C of a) at the end of bar 1 is used as a passing note towards the C# (3rd) at the start of bar 2. This is a movement we’ve viewed many times when looking at how Mixolydian can be used in conjunction with the minor Blues scale over static dominant 7th chords. Secondly, aG# note is used as a passing note( acting as achromatic bridging note) between a (root) and G in the first half of bar 2. note that examples 1-3 all feature three-note entities (triads) played to a four-note count (1G6tUh-InToAtRes, wT Eh iCchHfe Na ItQurUeEf oS urine achbeat).T his creates a constant change in rhythmic emphasis; a concept known as rhythm Sich dais upnl ac Beamxe en rt' .s

ExamplE 2

The ascending and descending ‘triad run’ at the start of this example demonstrates how three-notes-per-string modal patterns can be used to painlessly extract triads from a scale. The triads are all marked within the transcription. However, there is different way to view things: in bar 1, after the initial note, it could be said that we are simply playing the three notes on each string in a 1-3-2 order in which 1 is the lowest pitch, 2 the middle pitch and 3 the highest. Similarly, after the initial note in bar 2, we can simply think of things in terms of playing the three notes on each string in a 3-1-2 order: much easier than thinking in terms of playing the following triads: em, Bm,