In this les­son, Shaun Bax­ter moves on from us­ing three stacked 3rds to four, to cre­ate some de­li­cious fu­sion-flavoured rock gui­tar lines.

Guitar Techniques - - CONTENT -

Shaun Bax­ter be­gins a new mini-se­ries that ex­plores four-note Mixoly­dian ar­peg­gios.

In the pre­vi­ous se­ries, we looked at ways of con­struct­ing lines by arpeg­giat­ing triads from within the Mixoly­dian mode. We dis­cov­ered that be­ing se­lec­tive with your note choice, rather than al­ways play­ing ev­ery note in the scale, leads to more va­ri­ety. Whereas triads have three notes, now it’s time to turn our at­ten­tion to the most com­mon four-note en­ti­ties: 7th chords. Each 7th chord is com­posed of a root, 3rd, 5th and 7th and there are four dif­fer­ent types to be found within Mixoly­dian (and any other mode of the Ma­jor scale): Within A Mixoly­dian, we have the fol­low­ing se­ries of 7th chords (all cre­ated by com­bin­ing var­i­ous notes of the Mixoly­dian scale): Of all the above 7th chords/ ar­peg­gios, it is the parental A7 that is the most im­por­tant and you should make a habit of try­ing to un­der­stand most Mixoly­dian lines in re­la­tion to it; how­ever, al­though it is pos­si­ble to arpeg­giate any of th­ese chords within the scale, it’s the ones on the same arpeg­gio lad­der (stacked 3rds), that are the most use­ful, as they sound more set­tled than the oth­ers (be­cause they re­late to the home A7 chord). From the fol­low­ing scheme, you should be

C#m7b5, able to see that Em7 and GMaj7 rep­re­sent more ex­tended ver­sions of the orig­i­nal A7 chord (A9, A11 and A13 re­spec­tively). Learn­ing the arpeg­gio shapes: If you were to es­tab­lish the notes of each of the 7th chords shown above, within the strict con­fines of each CAGED shape for A Mixoly­dian you would ar­rive at all the ‘clas­sic’ arpeg­gio shapes on gui­tar (see Di­a­grams 1 and 2). I could pro­vide th­ese for you within this les­son; how­ever, you will learn far more by work­ing them out for your­self.

Apart from the clas­sic CAGED-based shapes, there are many other ways of ar­rang­ing the notes of any arpeg­gio on the gui­tar, and you should ex­per­i­ment with all types of dig­i­tal per­mu­ta­tions to yield new tech­ni­cal and mu­si­cal pos­si­bil­i­ties. For ex­am­ple:

2-2-2-2-2-2 (two notes on each string) 2-1-2-1-2-1 (two notes on the sixth string, one note on the fifth etc) 1-2-1-2-1-2 (one note on the sixth string, two notes on the fifth etc)

0-3-0-3-0-3 (no notes on the sixth string, three notes on the fifth etc) ...and so forth. For the pur­poses of this les­son, we are go­ing to con­fine our ap­proach to work­ing mainly up and down each CAGED shape (ver­ti­cal mo­tion), rather than along the length of the gui­tar neck (lateral mo­tion: some­thing that we’ll look at in fu­ture lessons).

Fi­nally, when con­struct­ing melodies from arpeg­gio notes there are var­i­ous ways of cre­at­ing in­ter­est, such as se­quenc­ing and adding var­i­ous forms of ar­tic­u­la­tion (eg bends, slides, vi­brato etc).

The ex­am­ples from this les­son show il­lus­tra­tions of this within A Mixoly­dian as well as show­ing how an arpeg­gio shape can be in­cor­po­rated in a more blues-rock based vo­cab­u­lary. En­joy.


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