EX­AM­PLES Lat­eral use of Mixoly­dian Tri­ads

Guitar Techniques - - LEARNING ZONE -

Next, we travel down the neck rather than up. Also, the four-note mo­tif in each beat is dif­fer­ent (now the note-or­der is: mid­dle, high­est, mid­dle, low­est). Fi­nally, we fin­ish with a melody de­rived from CAGED shape #2 of A Mixoly­dian mode. Our fi­nal ex­am­ple is de­voted to two-stringed triad shapes and sees us crank­ing the speed up to 16th-note triplets. Here, we’re us­ing a three­note mo­tif (note-or­der: high­est, mid­dle, low­est), which is re­peated be­fore shift­ing lat­er­ally up the neck in a mod­i­fied form to pro­duce each in­ver­sion. As with ev­ery other line, aim to re­main aware of the un­der­ly­ing scale ter­ri­tory; here, we’re start­ing in shape#1 and drift­ing up through the shapes to shape#4, be­fore fin­ish­ing high up the neck in shape#1 (an oc­tave higher from where we started). Apart from try­ing to shift this par­tic­u­lar mo­tif down the neck as well as up, you should also try rev­ers­ing the note-or­der (to low­est, mid­dle, high­est, as used by Yng­wie Malm­steen dur­ing the main arpeg­gio theme in Tril­ogy Suite from his al­bum Tril­ogy). Now we move onto sev­eral ex­am­ples (Ex4-Ex8) that use three­stringed triad shapes. This first one em­ploys a four-note mo­tif (note or­der: high­est through to low­est) played to a 16th-note count. Again, you should try to place ev­ery­thing that you play into some sort of vis­ual con­text. Here, we’re ascending the neck, start­ing from shape #1 and trav­el­ling through the var­i­ous po­si­tions un­til we ar­rive at shape #1 again (an oc­tave higher than when we started), be­fore fin­ish­ing with a bluesy phrase within that same shape. Note the use of a mi­nor 3rd (C) as a form of mi­nor ten­sion that is ‘cor­rected’ back to a ma­jor 3rd (C#) in beat 4 of bar 14.

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