EXAMPLES LATERAL USE OF MIXOLYDIAN TRIADS
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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