EX­AM­PLES LAT­ERAL USE OF MIXOLY­DIAN TRI­ADS

Guitar Techniques - - LEARNING ZONE -

ex­am­ple 12 next, we have the re­verse equiv­a­lent of the pre­vi­ous ex­am­ple (now we’re mov­ing up and down each shape). again, fo­cus upon fram­ing each five-string triad shape with an up­stroke for the high­est note and a down­stroke for the low­est note.12 ex­am­ple 13 Fi­nally, we have the first of two ex­am­ples that fea­ture six-string triad shapes. This first one, played to a 16th-note count, in­volves play­ing down one shape and ascending the next. ex­am­ple 14 and here’s the re­verse: up one shape and down the next.

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