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are you ready to ‘Mix It up’ and tackle our cover fea­ture, all about the Mixoly­dian mode? Play any 7th chord then play its re­spec­tive Mixoly­dian scale – G Mixoly­dian for G7, etc - and you’ll find that they’re the per­fect fit. The match­ing Ma­jor 3rd and flat­tened 7th are what make it so ‘right’. But un­like some scales that seem only suited for cer­tain things, the Mixoly­dian is great in any genre that uses dom­i­nant chords – 7th, 9th, 11th, 13th, etc. Hence you’ll find it equally at home in blues, jazz, R&B, coun­try, pop, soul, and all man­ner of styles. Jon Bishop has 10 bril­liant ex­am­ples of the Mixoly­dian in ac­tion, so nip to p14 and grab a whole new lick­bag.

There are few peo­ple that don’t like The Bea­tles. What they achieved over such a short time is more than any band in his­tory, prob­a­bly. Some of their most-beloved tracks were pow­ered by acous­tic gui­tar; all three Bea­tle pick­ers played and wrote on acous­tic, whether it’s Paul and songs like Yes­ter­day and Black­bird, John with the lovely Ju­lia, or Ge­orge with Here Comes The Sun. These are the tunes we all know, but hid­den gems in­clude Paul’s I Will, John’s I’m Only Sleep­ing, and Ge­orge’s An­thol­ogy ver­sion of While My Gui­tar Gen­tly Weeps. Stu­art ryan looks at these three in­di­vid­ual leg­ends’ markedly dif­fer­ent acous­tic styles and as­serts that, yes, these boys weren’t half bad! It’s the last of Brett Garsed’s video mas­ter­classes this month. Brett is a stag­ger­ing player and, even if what he does is be­yond you (it is me!), you’ll def­i­nitely learn a cool thing or two to add to your ar­se­nal. It’s been an hon­our to have him in GT; so many thanks to Brett for his gen­eros­ity, and to Ja­son Sid­well for writ­ing and record­ing the great back­ing tracks. En­joy the is­sue and I’ll see you again next month.

Neville Marten, Edi­tor neville.marten@fu­turenet.com

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