ExampleS MIXOLYDIAN 6THS
Exam ple 6 Next, in bars 25 and 26 we take the three-note motif of the previous two examples and inject some rhythmic variation. Then, in bar 27 we see a series of descending 6ths taken down through the scale while staying within the same area of the neck (vertical motion); this is, effectively, the opposite to the principle demonstrated in bar 4.
Exam ple 7 With these country-style 6ths each motif is followed by the same open first string (pedal note), transforming each two-note motif into a threenote one. Use the pick if you prefer it over hybrid style, but you won’t get that country ‘snap’ that comes from plucking the notes on the first string with an upward motion of the second picking hand finger.