EX­AM­PLES LAT­ERAL USE OF MIXOLY­DIAN TRI­ADS

cd track 75

Guitar Techniques - - LEARNING ZONE -

EX­AM­PLE 3 This ex­am­ple fea­tures a de­scend­ing equiv­a­lent of the three-note, two-string mo­tif used in the pre­vi­ous ex­am­ple. We’re start­ing in CAGED shape 1 be­fore shift­ing up through shapes 2, 3 and 4 be­fore fin­ish­ing in shape 5. In

case, pre­vi­ous lessons, we’ve seen how it’s cus­tom­ary to add a bluesy mi­nor 3rd

this (in C) into pro­ceed­ings when us­ing the Mixoly­dian mode. Here, a C is played three times: twice in the seven-note pick-up (lead­ing to the more cor­rect C# note each time), and once in the end where it is bent slightly sharp – oc­cu­py­ing the no-man’s land be­tween C and C#.

EX­AM­PLE 4 Con­tin­u­ing with two-string triad shapes, here we’re play­ing a re­peated de­scend­ing three-note mo­tif to a sex­tu­plet count (six notes per beat). This line starts in a po­si­tion that strad­dles CAGED shapes 1 and 5, and then shifts down through the po­si­tions be­fore fin­ish­ing in shape 2. EX­AM­PLE 5 shapes. Us­ing tap­ping, it’s also pos­si­ble to em­ploy one-string triad three-note Here, we see mo­tif (note-or­der: high­est note, low­est note, mid­dle note) also played to a sex­tu­plet count. each mo­tif is so spread out that it oc­cu­pies two CAGED shapes at the same time. Try to

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