Guitar Techniques - - LEARNING ZONE -

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

the and no-tes.

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