EXAMPLES LATERAL USE OF MIXOLYDIAN TRIADS
EXAMPLE 8 now we start expanding things to three-string triad shapes. This example employs a descending three-note motif which, as we saw in the examples 2 and 3, becomes rhythmically displaced when played to a 16th-note count. We could have continued the same configuration (top three strings) all the way down, but, note how some vertical motion is introduced towards the end of bar 29 in order to drop things down a string so that we can finish in shape 1 rather than end up down by the nut. Being able to adapt your fingering like this is a useful skill that will help to occupy convenient areas of the neck when required. Finally, note who the double-stop bend repeated at the end of bar 30 features a C (minor 3rd) travelling up to C# (major third).
EXAMPLE 9 This time, our three-string triad shapes act as a vehicle for a descending four-note motif, which fits perfectly into a 16th-note count (the start of each motif corresponds with the first note in each beat). This example starts in shape 4, and then descends through shapes 3 and 2, before a straightforward descent of a Mixolydian in shape 1.
EXAMPLE 10 now we’re using three-string triad shapes to alternate between ascending and descending four-note motifs. Try reversing the sequence so that you start with a descending arpeggio followed by an ascending one; change the ending to suit. This example starts high in CAGED shape 1, and shifts down through the positions before ending in shape 1 an octave lower.