GENERAL Playing tips
When working through the examples it’s important that you refer to diagram 1, which contains the five CaGed scale-shapes of a Mixolydian. In this lesson we are going to stay within one scale position or shape. later on in this series on triads, we’ll be looking at ways of shifting laterally along the neck. In the backing track, a bridge part was inserted just to mix things up and make it less monotonous. The polychord (ie chord on chord) names may look a bit scary [Gmaj7 (no 5th)/e5 F#m7 (no 5th)/e5, dmaj7 (no 5th)/e5 and C#m7 (no 5th)/e5]; however, every note of each of these four bridge chords are to be found within a Mixolydian, so you’ll be able to continue to play a Mixolydian throughout. Finally, all of the examples have been‘trimmed off’with a bluesy ending, just to give you an idea of how the two approaches (triads and blues) can be forged together.