EXAMPLES MIXOLYDIAN 3rds
EXAMPLE 9 As yet another variation on the arpeggio approach employed in the previous two examples, here we’re taking descending arpeggio forms up through the scale while remaining within one area of the neck.
EXAMPLE 10 Next, we see a mixture of some of the previous approaches applied within a single line. First, bar 75 starts off with a succession of descending 3rds played in an ascending sequence through the scale in the same area of the neck (vertical motion), and then concludes with a four-note descending arpeggio. This is then followed, in bar 76, by the straightforward ascent and descent of a stack of 3rds taken from within the scale (this superarpeggio shape can be viewed as A11 as it comprises 1-3-5- 9-11).