EXAMPLES MIXOLYDIAN 3rds
EXAMPLE 6 Next, we play with the order in which the notes of each triad are played, and add some rhythmic interest and vibrato. It concludes with ‘super arpeggios’ each comprising consecutive 3rds from within A Mixolydian. EXAMPLE 7 As shown in Diagram 1, if you play three consecutive 3rds, you m7b5), will produce any one of a variety of 7th arpeggios (maj7, 7, m7 or depending on the precise nature of the 3rds in any given sequence. In Bars 4950, descending arpeggios are played from within A Mixolydian in a descending sequence, while staying in the same area of the neck (vertical motion). Finally, in bar 51 ascending triads are played in one neck area in the same way as Example 3, only this time played within a different shape of the scale.
EXAMPLE 8 The first two bars of this example, represent the reverse of the principle illustrated in the first two bars of the previous one. The line concludes in bars 59 and 60 with a melody played on the second string comprising a succession of 3rd intervals linked by slides.