EX­AM­PLES LAT­ERAL USE OF MIXOLY­DIAN TRI­ADS

Guitar Techniques - - LEARNING ZONE -

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.

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