Lat­eral Use Of Mixoly­dian Tri­ads Pt 4 Triad Pairs And Stacked Tri­ads

Shaun Bax­ter con­cludes this se­ries on us­ing tri­ads to cre­ate fu­sion-like so­phis­ti­ca­tion in your play­ing by stack­ing them, one on top of the other.

Guitar Techniques - - LESSON -

In this re­cent se­ries, we’ve looked at ways of de­riv­ing tri­ads from A Mixoly­dian in or­der to use them as the ba­sis for new mu­si­cal lines. Tri­ads can help to in­tro­duce har­monic propul­sion into your sin­gle-note lines by im­ply­ing chord mo­tion; pro­duc­ing re­sults that sound both ear-catch­ing and pow­er­ful. In the pre­vi­ous lessons, we’ve looked at dif­fer­ent ways of cre­at­ing lines by ex­tract­ing di­a­tonic tri­ads and triad pairs from the scale and shift­ing them lat­er­ally along the gui­tar neck. In this fi­nal in­stal­ment on lat­eral mo­tion, we are go­ing to con­clude our study of triad pairs as well as mov­ing on to stacked tri­ads. Stacked tri­ads oc­cur when tri­ads are placed (vis­ually) on top of each other within the same area of the neck.

Di­a­gram 1 shows the var­i­ous CAGED shapes of A Mixoly­dian with the dark notes rep­re­sent­ing the parental A triad notes within each shape (A-C#-E). Of all the dif­fer­ent tri­ads that ex­ist within the scale, this is the strong­est and many of your lines should hinge on these notes in par­tic­u­lar.

Di­a­gram 2 shows how all the CAGED shapes link to­gether along the neck, so that you can see how ev­ery­thing is con­nected. It’s im­por­tant to note that many ideas, es­pe­cially lat­eral ones, will strad­dle two or more dif­fer­ent CAGED shapes at the same time, and it’s im­por­tant to be able to vi­su­alise this: if you don’t, you risk get­ting lost, and not be­ing able to reap­ply the same ideas to dif­fer­ent keys.

Re­mem­ber, your aim, through for­mal ex­per­i­men­ta­tion with stacked triad ideas, is to es­tab­lish a se­ries of friendly flex­i­ble shapes (rather than the­o­ret­i­cal con­cepts) that ex­ist within each par­tic­u­lar scale pat­tern; al­low­ing you to use the in­for­ma­tion in an in­stinc­tive and in­tu­itive way.

Ini­tially, you should try to es­tab­lish some stacked triad-based vo­cab­u­lary in each of the five CAGED shapes of A Mixoly­dian. Next, try tak­ing the prin­ci­ples that you have learned and es­tab­lish equiv­a­lent ideas in the var­i­ous po­si­tions of all the other scales that you know. Fi­nally, as in pre­vi­ous lessons, when ex­per­i­ment­ing, re­mem­ber to work at cre­at­ing ideas that have some form of rhyth­mic in­ter­est, as this is a great way help to make tri­ads more mu­si­cal and less me­chan­i­cal.

Within the tran­scrip­tion, some pick-stroke in­di­ca­tions are given to re­flect where I used sweep pick­ing on the record­ing; how­ever, where 16th-notes are used, you may pre­fer to use al­ter­nate pick­ing in­stead, as the tempo isn’t that high at only 120 bpm. Fi­nally, all of the ex­am­ples have been in­te­grated within stan­dard rock-blues vo­cab­u­lary just to give you an idea of how the two ap­proaches can be forged to­gether.

it’s im­por­tant to note that many lat­eral ideas will strad­dle two or more dif­fer­ent caged shapes at once

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