ExAMpLES PERMUTATIONS OF FOUR-NOTE UNITS

EXAMPLE 1 This first example is centred around CaGed shape #1 for a Mixolydian (see Diagram 1). Here, we’re ascending through the scale playing a succession of 7th arpeggios in a series. each follows a 1-2-3-4 sequence (from our 24 possible permutations) which, basically, involves ascending each one from the lowest note to the top. The thing that separates this approach from an exercise is that, rhythmically, everything is grouped in five (in this case, five 16th notes), which creates a constant shift of emphasis when played against the underlying 16th-note rhythm (four notes per beat). like most of the musical examples in this lesson, this one finishes off with a more traditional (blues-based) approach to the scale, so that you can see how diatonic 7th arpeggios can be used in the context of your ‘normal’ playing. Firstly, look out for the C (Minor 3rd) to C# (Major 3rd) note at the end of bar 2. Then, the first beat of bar three features the jazzy-sounding lydian dominant scale (like Mixolydian with a raised 4th note). and, finally, another C to C# move (ie Minor to Major) happens on the third string during the second beSathoaf

EXAMPLE 2 next, we look at an example based exclusively within CaGed shape #2 of a Mixolydian. This one features a descending series of diatonic 7th arpeggios, each following a 4-3-2-1 note-order; so, effectively, it is the reverse of example 1: it is even arranged in rhythmic groups of five to provide the same shift of emphasis (thus sustaining interest for the listener). This line concludes with a pretty straightforward descent of CaGed shape #2 of a Mixolydian featuring a chromatic bend from C (Minor third) to C# (Major third) towards the end.

EXAMPLE 3 now we shift to CaGed shape #4 of a Mixolydian. again, the arpeggios are played in series, but this time we’re using a 2-4-3-1 sequence from our list of 24 possible permutations. In beat 4 of bar 8, this line features a double chromatic approach to aG note via aG #( semi tone above) and F# (semitone below) – a practice known as ‘targeting’. and, at the end of bar 10, aG# note is used as a means of bridging chromatically

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