EXAMPLES MIXOLYDIAN 5THS
Exam ple 4 Here, we have three-note 3 motifs shifted down 3 the neck on the top two strings in bars 25-26. After the initial ascending 5th in bar 27, we see BU an inverted version of the figures from the previous bars taken up through the scale along the neck. In 10 bars 25-26, 14 each motif 15 comprises (17 ) a ‘low-note + (14 ) high-note + low-note’ combination with the positional-shift slides on the lower string, whereas in bar 27 each figure is composed of a ‘high-note + low-note + high-note’ sequence and each positional-shift is on the upper string. 12
Exam ple 5 The descending sequence shown in bar 35 of this example is typical of one used by Yngwie Malmsteen. As you can see, after the initial descending 5th, it features a succession of three-note motifs following a ‘low-note + high-note + low-note’ configuration; however, Yngwie probably thinks in terms of the three-note motif encapsulated within each beat (that is, a descending 5th followed by a descending slide of either a major or minor 2nd: depending on whatever interval is required to stay within the parent scale).