Guitar Techniques - - LEARNING ZONE | 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.

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