EX­AM­PLES LAT­ERAL USE OF MIXOLY­DIAN TRI­ADS

CD TRACK 76

Guitar Techniques - - LEARNING ZONE -

ex­am­ple 5 Here, ef­fec­tively, we have the re­verse equiv­a­lent of the fournote 16th-note mo­tif fea­tured in ex­am­ple 4 (the note or­der now go­ing from low­est through to high­est). In bar 17, the mo­tif is shifted up the neck and is mod­i­fied to en­com­pass the var­i­ous in­ver­sions en­coun­tered along the way. Fi­nally, al­though a down-sweep is shown in the transcription for the first three notes of each four-note mo­tif (as used on the record­ing), you may ei­ther want to use al­ter­nate pick­ing (down, up, down, up) or a com­bi­na­tion that ad­heres strictly to econ­omy pick­ing (up, down, down, up: where the pick al­ways trav­els di­rectly to each new string).

ex­am­ple 6 This ex­am­ple fea­tures a com­bi­na­tion of the two dif­fer­ent fournote mo­tifs from the pre­vi­ous two ex­am­ples. We start with the de­scend­ing mo­tif from ex­am­ple 4, and this then al­ter­nates with the ascending mo­tif from ex­am­ple 5. apart from tak­ing this scheme down the neck as well as up, you should also try rev­ers­ing the trend so that you start with the ascending fournote mo­tif first.

ex­am­ple 7 This time we’re play­ing down and up each shape in or­der to pro­duce a 16th-note triplet mo­tif that, again, is typ­i­cal of that used by Yng­wie Malm­steen (lis­ten to de­mon driver from his fifth al­bum, eclipse).

ex­am­ple 8 In this fi­nal three-string triad ex­am­ple, we see the re­verse of the mo­tif used in ex­am­ple 7. This time, we’re play­ing up and down each shape be­fore fin­ish­ing with a bluesy phrase within CaGed shape #1 (an­other one that fea­tures a shift from C nat­u­ral to a C#).

ex­am­ple 9 This is the first of two ex­am­ples fea­tur­ing four-string triad shapes. Here, we’re trav­el­ling down and back up each shape/in­ver­sion to cre­ate an eight-note mo­tif that lends it­self very well to a 16th-note count (it takes two beats to com­plete).

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