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 - - CONTENTS -

Shaun Bax­ter con­tin­ues his mini-se­ries ex­plor­ing four-note Mixoly­dian arpeg­gios.

So far we’ve looked at ways of build­ing lines us­ing 7th arpeg­gios from each CAGED shape of Mixoly­dian mode. Here we’ll use in­ver­sions of each arpeg­gio to shift along the neck. To do that, we should have a re­cap on 7th-type arpeg­gios.

Each 7th chord is com­posed of a root, 3rd, 5th and 7th and there are four dif­fer­ent types found in Mixoly­dian (and the other modes):

Mixoly­dian mode in A con­tains the following se­ries of 7th chords (all cre­ated by com­bin­ing var­i­ous notes of the scale): Of all the above 7th arpeg­gios, the parental A7 is the most im­por­tant; C#m7b5, how­ever, the Em7 and Gmaj7 arpeg­gios are also use­ful as they sound more set­tled than the oth­ers, rep­re­sent­ing pro­gres­sively ex­tended ver­sions of the orig­i­nal A7 chord - A9, A11 and A13, etc). C#m7b5 |-----------------| A9: A C# E G B b7 1 3 5 9 Em7 |-----------------| A11: A C# E G B D b7 1 3 5 9 11 GMaj7 |----------------| A13: A C# E G B D F# b7 1 3 5 9 11 13 An in­ver­sion is when the same notes are stacked to­gether in a dif­fer­ent or­der: 1-3-5-b7 A7 (root po­si­tion) – [root in bass] 3-5-b7-1 A7 (first in­ver­sion) – [3rd in bass] 5-b7-1-3 A7 (sec­ond in­ver­sion) – [5th in bass] b7-1-3-5 A7 (third in­ver­sion) – [7th in bass] Us­ing the four in­ver­sions we can nav­i­gate the neck by ar­rang­ing the notes of each one in the same way. The following root po­si­tion A7 is a 1-1-2 con­fig­u­ra­tion (one note lower string, one mid­dle string, and two on the high­est string): • A (root) on 7th fret on the fourth string, • C# (3rd) on 6th fret of third string, (b7th) • E (5th) and G on 5th and 8th frets of the sec­ond string To move lat­er­ally up the neck, one could then play an equiv­a­lent of the 1-1-2 con­fig­u­ra­tion for the first in­ver­sion of the same arpeg­gio: • C# (3rd), 11th fret, fourth string, • E (5th), 9th fret, third string, •G(b7th)

and A (root), 8th and 10th frets sec­ond string Fol­lowed by the sec­ond in­ver­sion: • E (5th), 14th fret, fourth string, •G(b7th),

12th fret, third string, • A (root) and C# (3rd), 10th and 14th frets, sec­ond string

Fol­lowed by the third in­ver­sion: (b7th), •G 17th fret, fourth string, • A (root), 14th fret, third string, • C# (3rd) and E (5th), 14th and 17th frets, sec­ond string Di­a­gram 1 shows the five CAGED shapes of A Mixoly­dian; Di­a­gram 2 shows how they con­nect along the neck. It’s im­por­tant to re­fer to these as you nav­i­gate the­neck, as it will place ev­ery­thing into vis­ual con­text and help pre­vent you get­ting lost (ini­tially, at least).

Fi­nally, our ex­am­ples mostly con­clude with a bluesy Mixoly­dian and/or Mi­nor Blues phrase, just to il­lus­trate how arpeg­gios can be in­cor­po­rated into your ‘nor­mal’ play­ing.


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