EX­AM­PLES MIXOLY­DIAN 7TH AR­PEG­GIOS

CD TRACK 80

Guitar Techniques - - LEARNING ZONE -

EX­AM­PLE 1 This is the first of six ex­am­ples that are based around arpeg­giat­ing the parental a7 chord. Here, we kick things off by us­ing the clas­sic root po­si­tion form that ex­ists with CAGED shape 1. This line starts with a de­scend­ing four-note se­quence from the top of the shape right down to the bot­tom, be­fore re­turn­ing with a straight as­cent of the same arpeg­gio shape. Gen­er­ally, through­out this and many of the fol­low­ing ex­am­ples, a ba­sic le­gato ap­proach is used whereby only the first note is picked on each string.

EX­AM­PLE 2 as another ex­am­ple of how to achieve some va­ri­ety, here we we’re as­cend­ing an a7 arpeg­gio us­ing a two-note se­quence. as usual, it’s im­por­tant GUI­TAR TECH­NIQUES 2 6 7 to put ev­ery­thing that you play in some form of vis­ual con­text. Ge­o­graph­i­cally, this line starts off in CAGED shape 5 and fin­ishes in shape 1. ev­ery­thing in this line is re­lated to the a7 arpeg­gio: in­clud­ing each note of the re­peated dou­blestop bend, which ap­proach the tar­get notes from a semi­tone be­low. even the C note is bent up slightly to­wards C# in a tra­di­tional bluesy man­ner.

EX­AM­PLE 3 Here, we see a re­turn of the de­scend­ing four-note arpeg­gio se­quence, only this time it has been rhyth­mi­cally dis­placed so that the low­est pitch in each group of four pitches lands on the down-beat (rather than the high­est pitch in each group, as in the start of ex­am­ple 1). This a7 arpeg­gio form is taken from CAGED shape 3 and, again, most of the time, we’re only pick­ing each string once.

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