Ex­am­plE8 MA­JOR VARI­A­TIONS: MIXOLY­DIAN V2 PART 2

Guitar Techniques - - THEORY & TECHNIQUE -

In a Ma­jor, this gives us a-B-C#-e and G. It’s sim­i­lar in char­ac­ter to some of the Mixoly­dian pat­terns, but the in­clu­sion of the 2nd (in this case B) gives it a slightly dif­fer­ent fo­cus. What would be a clas­sic ‘trap’ for more stan­dard Pentatonic rooted play­ers be­comes much more melodic and less lin­ear. re­mem­ber to keep prac­tis­ing th­ese ideas – it takes time to de­velop new habits, but they will em­bed and soon be­come sec­ond na­ture.

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