GEN­ERAL play­inG tips

Guitar Techniques - - LEARNING ZONE -

all of the recorded ex­am­ples in this les­son are based on play­ing dif­fer­ent in­ver­sions of the same parental triad (a) while trav­el­ling lat­er­ally along the length of the guitar neck. Within the transcription, some pick-stroke in­di­ca­tions are given to re­flect where I used sweep pick­ing on the record­ing; how­ever, where 16th-notes are used, you may pre­fer to use al­ter­nate pick­ing in­stead. also, if fol­low­ing the pick-strokes rec­om­mended in the transcription, al­though some ex­am­ples are shown start­ing with an up­stroke, it’s of­ten more nat­u­ral to start most mu­si­cal phrases with a down-stroke. So, if you play the first note us­ing a down-stroke, that’s okay: it shouldn’t make much dif­fer­ence once you’re past that ini­tial note; just play as writ­ten from that point on­wards. Fur­ther­more, most of the mu­si­cal ex­am­ples start from CaGed shape #1 of a Mixoly­dian, but you should also try to cre­ate ideas that both as­cend and de­scend from each of the other CaGed shapes too. In the back­ing track, a bridge part was in­serted just to mix things up (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 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-rock) can be forged to­gether.

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