EXAMPLES Lateral use of Mixolydian Triads

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.