Guitar Techniques - - LEARNING ZONE -

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,

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