EXAMPLES MIXOLYDIAN 7TH ARPEGGIOS
CD TRACK 80
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.