EX­AM­PLES MIXOLY­DIAN - 7TH IN­TER­VALS

cd track 49

Guitar Techniques - - LESSON | CREATIVE ROCK -

EX­AM­PLE 2 an­other one up a per­fect 4t0h. These first four notes are then re­peated up an oc­tave while stay­ing within the same area of the neck (ver­ti­cal mo­tion). Bars 10-11 then fea­tures some four-note mo­tifs (each formed by an as­cend­ing 7th fol­lowed by an­other one up an oc­tave) taken up through the scale along the length of the neck (lat­eral mo­tion). Fi­nally, bar 12 con­tains a se­ries of descend­ing 7ths taken up through the scale: again, by mov­ing lat­er­ally along the fret­board. In­ci­den­tally, the hy­brid pick­ing ap­proach shown in bar 9 rep­re­sents the ap­proach that I used on the au­dio ex­am­ple; how­ever, you can just use the pick if you pre­fer. EX­AM­PLE 3 In Bars 17-18 7ths are taken (lat­er­ally) down through the scale, al­ter­nat­ing be­tween as­cend­ing and descend­ing in a cas­tle-wall-style con­fig­u­ra­tion. This is fol­lowed in bar 19 by some four-note mo­tifs (each com­pris­ing a descend­ing 7th fol­lowed by an­other one down a 6th) taken up through the scale (lat­er­ally). This ex­am­ple fin­ishes with a mix­ture of descend­ing and as­cend­ing 7ths taken up through the scale (again, lat­er­ally).

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