EXAMPLES LATERAL USE OF MIXOLYDIAN TRIADS
EXAMPLE 1 This first example shifts through various inversions of the parental triad (in this case, a). It starts in Caged shape 3 of a Mixolydian and drifts through shape 2 before finishing in shape 1. note the chromatic passing notes at the start of bar 2; basically, we’ re traveling from a C# note (3 rd of a) chromatically up to an e note (5th of a) and then back to the C# again via a reverse of the same chromatic bridging movement.
EXAMPLE 2 This is the first in a series of examples devoted to diatonic triads. This one features an ascending three-note motif shifted up the neck via twostring triad shapes. note that the sequence is rhythmically displaced as we have a series of three-note groupings played to a count of 4 (16th-notes). In other words, a different note within the motif appears on the downbeat each time which helps to maintain interest. With every example, make sure that you can put what you are playing into some visual context. Here, we start in Caged shaped 3 and shift up through 4 and 5 before finishing in shape 1.