EX­AM­PLES LAT­ERAL USE OF MIXOLY­DIAN TRI­ADS

Guitar Techniques - - LEARNING ZONE -

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.

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