Examples MIXOLYDIAN 3rds
EXAMPLE 3 Here, we start off with ascending 3rds taken up through the scale. This is followed, in bar 19, by ascending triads (as shown in Diagram 2, when you play two consecutive 3rds, you produce a triad) taken laterally up the neck and topped off with descending 3rds taken up along the length of the first string. Again, all two-note motifs will become rhythmically displaced when played to an eighth-note triplet rhythm.
EXAMPLE 4 Here, in Bars 27 and 28, a succession of descending triads from within A Mixolydian are played on the top two strings as the fretting hand adopts a lateral motion down the length of the guitar neck. Notice how the triads are given more vocal articulation by sliding either upwards or downwards into the first note of each triad.
EXAMPLE 5 In Bar 35 of this example, we see more descending triads from within the scale, only this time they are played in a descending sequence by staying within the same area of the neck (vertical rather than lateral motion).