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NOT,t.XNIOUTilI

IXOTYDIAN THEORT
--e Mixolydian mode is a tonal areathat is used in playingand composing --s c. lt is most easilyunderstood a scale.A scaleis a group of notes as 3-3nged in alphabetical order.The arrangement scaletones combineto of soundor tonal center. For instance. here is a scalebeqin:-eate a particular - ^g on the note C.

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As you will soon discover, the Mixolydian mode is derivedfrom the major scale. Scales categorized are according their arrangement whole steps to of and half steps.A whole step is equalto the distancebetweenC and D, or any two notes that are two frets apart on the guitar.A half step is equal to the distancebetweenC and Db,or any two notesthat are one fret apart.The arrangement whole steps and half steps comprisea formula that proof duces the unique characteristics each scale.For instance, of the scale in Examples and 2 is a maiorscalebecause formulais: 1 its

\r/ \-/

and W: wholesteP and H = half step

C Major Scale

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v' W
D 2nd

\,/
W
H

\r/
W

\r/ W

\--l H

Note: Scale degree:

c
root

E 3rd

F 4th

G 5th

A 6th

B 7th

c
root

MIXOLYDIAN THEORY

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abbreviations. b a :aole of interval

-minorZnd, - major2d;i

'ryf,: trffi; rnajor


d?k min;i

= minor, * 6sjqg3rd,=='] Yo- 'nay have noticedthat some intervals, such as the dim5 (Gb) and the When two differentnotes are played a-o.l (Ff)have the same fret distance. :,- :re samefret, and havethe samepitch,they are saidto be enharmonic.

John Lennon. Histune, "Norwegian Wood," a Beatle is classic, based on a Mixolydian melody.

MIXOLYDIAN THEORY

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X E O I { N U I U I l O X T I ^ Ix i l I

The M:xolydianmode begins on the fifth scale degree of the major scale, thic*' is anotherway of definingthe Mixolydian mode. Likethe majorscale spg nningon C, there are no sharps flats in the Mixolydian or mode begin-'rg on G. lt has a uniquesoundand characteristic of intervals set because t oegins on a different note and therefore follows a different pattern of r-o e steps and half steps.ln this perspective, C Major scalecan be the ca eC the "parent"scaleof the G Mixolvdian mode.

2-Octave C

Scale (parentscale)

G Mixolydian Scale

to has a lowered,or flatted,seventhscaledegree relative The Mixolydian scaledegree mode seventh the majorscale.In other words,the Mixolydian is a half step or one fret lower than the major scaleseventhdegree.The Mixolydian scale,therefore,is said to have a minor 7th intervalfrom the root numberingsystemfor often use a convenient to the 7th degree.Musicians how differThis is a quick way of communicating various scales. identifying The numbersreferto the and modescompareto the majorscale. ent scales or distancefrom the root, of each note. For instance: scaledegree, Themajorscale = T h e M i x o l y d i a n m o d e= 1 1 2 2 3 3 4 4 5 5 6 6 7 b7 (1) (1)

mode is a majorscalewith a the Mixolydian Thiscallsfor anotherdefinition: loweredseventhscaledegree.

MODE ON THREE PERSPECTIVES THE MIXOLYDIAN

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AIIINE T H E M I X O T Y T I I A N O T I E M GOME TIUEON TIIE EUITAR A


we h tt- s section, are going to gradually build up from the three note major rrc :o the full sevennote Mixolydian mode scale. This is a good approach ,eaming you will learnthe chordalskeleton m the mode because first,and !'"- f;il in with the lessweighty scaletones.

A :nad is a three note chord.A chord is a verticalarrangement notesfrom of a scale. Since the Mixolydian mode is a majorscale, is important havea it to : ear understanding the majortriadswhichwill form its chordalskeleton of c. the guitarfingerboard.

STT,qFJT*T
Vajor triads are built with major 3rd and perfect 5th intervals above the
'ooI.

root Guitarists usuallyplay more than three notes when playing chords.Most often,we play at leastfour notesat a time and we will often play five or six n o t e c h o r d s .W e a r r i v e a t t h e s e b i g g e r c h o r d s b y s i m p l y d o u b l i n g , o r repeating,notes from the triads.lt is typicalto play chordswith the root doubledor eventripled.The 5th is often doubled,too. Any type of first positionE chord is home base on the guitar.Because the of way they are tuned, guitarsresonate these chords.The E chord along to with the A, D, G, and C chordsmakeup the firstposition triadsthat relateto the Mixolydianmode. All other major chord fingeringsare derivatives of "type." these,so we can considereach of them to represent major chord a Theseare also referredto as "voicings."lt makessensethen to baseourfurther exploration the fingerboardon these chords. of

MAKINGTHE MIXOLYDIAN MODE COME ALIVEON THE GUITAR

11

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E lajor triads up the neck


ill[s -portant to see how the triads interlock.Try to memorizea visual iF'ge of the triads on the neck of the guitar.This kind of visualization is Fco'tant for mastering the fingerboard. Notice the locationof the roots. r-se are your guides through the maze of stringsand frets when you play tl.ese chordsup the neck and in variouskevs.
D Type ^\ ") \\, A Type
v

E Type

< . \
^
A

^ : l

I
C Type

,,--/
VN

x
G Type

+
XV

XII

-et's expandour chord boxesto includeevery repetitionof each note in the :.iad in each of the five positions. will play these notes in succession We as arpeggios ratherthan all togetheras blockchords.

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Hereare E Majortriad arpeggios fillingout eachof the five positions the of originalmajor chord types. Remember, you keep track of the root locaif you cantranspose tionsin thesearpeggios, them to any key.
3 1 1 4 2 3 2 1 4 1 4 3 1 2 4 2 2 3 1 3 4 2 4 3 1 1 2 3 4 2 1 4 4 3 2 2

VI

Str. = stretch

MWWW
Hereis whatthey look likeall togetheron the guitarfingerboard.
2ndposition
t

6th position

1 1 t hp o s i t i o n

^
v

4th position

VII

gthposition

XII

XV

M A K I N G H EM I X O L Y D I A N O D EC O M EA L I V E N T H EG U I T A R T M O

13

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\od, irat you have a working knowledge of major triads on the neck, we and get to the meat of this book: dominantsev:a- add the minor seventh Adding the 7th scaledegreeto the majortriad creates the e.: arpeggios. ':ant seventhchord and qivesus four notes in each octave. oc-

E7 Arpeggio

@E@

minT

2nd position
v v

6th position

position 11th ^
v v v

^ ^
XII
v

v
A

VII

XV

4th position

9th position

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To prepare playtheseas arpeggios let'slook at everynote in eachposition. to ,
3 1 4 1 4 3 2 4 3 1 4 2 4 3 1 4 1 2 4 1 4 1 4 3 3 1 3 1 4 2 4 3 1 4 1 1 4 2 4

IV

Str. : stretch

MAKINGTHE MIXOLYDIAN MODE COME ALIVEON THE GUITAR

15

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Ftor et's complete the Mixolydianmode and look at it in five positionson me'eck. Firstwe will look at them separately.

FAFIU*II
Yo, get a good picturehere of how the whole neck is fairlyevenlydivided.
2nd Position
!t

-n--(9v

r=
v

..!t

{3-Str }v

VII

IX

XII

XV

4th Position
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A

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XII

XV

6th Position
2
-q,
f !t

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v v

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IX

XII

XV

9th Position
!t

ar
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f

v A

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XII

ru

VT

IX

xv

11th Position

MAKINGTHE MIXOLYDIAN MODE COME ALIVEON THE GUITAR

17

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pnAGTIEtNE T T H E M I X O T Y T I I AM O I I E N
=.st play up and down eachpositionlikeyou did in the lastsection. are We --ot usingopen stringsbecause want everynote in each positionto be we to :a'',sposable other keys. such as Example22. When stretching, rrr'ork your stretchesin situations out havea choicebetweenthe fourth and firstfingers.lt is best to use the ,o"-g"r that is not playing any of the adjacentnotes ratherthan using the when you haveone fingerslidingup This is because -.ne fingerrepeatedly. :' down a stringthe tendencyis toward hand movementratherthan finger - r o v e m e n t Y o u s h o u l d m a x i m i z e i n g e r m o v e m e n ta n d m i n i m i z e a n d . h f - r o v e m e n t .T h e r e a r e t w o r e a s o n s o r t h i s . F i r s t ,h a n d m o v e m e n tt e n d s f you can Second, position,leadingto mistakes. shiftingof :owardaccidental Try than your hands. playingfour adjacent ciay muchfasterwith your fingers ^oteswith one finger.Now with four fingers. Whichis faster?

Jeff Beck. One of Beck's most enduring compositions, "Freeway Jam," is a Mixolydian c/assic.

MODE THE MIXOLYDIAN PRACTICING

19

tco|/\l Nvtc^toxrl^l IHl_9NDrllvud

r.{}ll uorlrsod

{;;en1ua^a no1 ,{e1,{.rene srrl}op o} luean ur llrM '>lf,au ere alqeuo}Luol no{ erlua eLl]umoppue dn 6urr{e;d lr}unsrq}efr}3erd 'uor]f,auuotr s1e,r1 ,{ueu,r MoLl}oaleMea8 Llf,ea sonourpueq rnor{(suor}|sod) le

WT

'uol1rso6 ouo dn :ue;p{;ox;y1 lxeN eql u/noc 3 'uolllsodyeu aqr dn ,{e;6 'uo os pue '1xeueq] uMopr(e;dpue 'u!r.ls 'tllxrsaq] o] 6ut.rls uMop ,{e;dpue uorltsod}xau eq} ol >paueL1} ]srj aq] uJor+ or1] uorlrsodauo dn ,ie;d 'ZZ ald dn grqs 'nno5'6ur.r1s eq] o1 r.1]xrs uror+ ]sJU -uJex3 'ulor1] 6urpeuuor &1 'uorlrsod qeeaur alqeuollror loaj no{ erug ul

ilr4gest doing this with a metronomeat a slow tempo. The metronomewill This is very tre{e ro, to practiceevenly,giving each note equal emphasis. later mistakes gaps in your learninglead to inexplicable Lmnpc':ant because your learnhelpsquantify @ la: can be hardto trace.Also,the metronome This rrg so you can have a senseof exactlywhat you have accomplished. becc'nesmore and more importantover time. tra!, egato, letting each note ring right up until the next is struck.This is rcortant for developingspeed.Your fingershave little memory banks in or whetheryou are playingcorrectly not. This :e"r and are alwayslearning s rue everytime you pick up your guitar.Striveto play cleanlywith as few * s:akes possible those littleguysdon't haveto unlearn eachexample so as it cejore relearning correctly.

- position practicingwe work acrossthe neck. When practicingon one .-.jn9 we work up and down the neck.Trypracticing G Mixolydian mode the on the first string only.Sinceit is not possibleto startwith the root note, just on c ay all the notesfrom the mode that are available that string.ln the folyou will play G Mixolydian, beginningon E, up to F and owing exercise You must about positionshifts. cack to E. lt is importantto be disciplined between hand motion rhink ahead and be keenlyawareof the difference make your hand positionshifts and finger motion. Playlegatoand striveto Avoid soundingchoppy when sound as smooth as your finger movement. positions. shifting

weffidE#t
modes on the E string.Playevery note on Playthrough all the Mixolydian Be the string in each key beginningwith the lowestnote possible. sureto singthe root of the key in whichyou are playing.
shift
shift

VII

IX

XII

XV

MODE THE MIXOLYDIAN PRACTICING

21

rcor Nvrc^tox[ ]HI9NDtrfvud

aq} ,,'squnoj1o e;cr{o,, no1 pallel sl slrll 'uede gunol e ele s{e1 esaq} aneq,{eu.r }o lle }eqr paf,r}ou 'g pue (XJ)19 'lV'1f '19 :s{e16urmo;1o1oLl} esrf,roxo enur}uol 'lC rl}lM srq} !

elecsuerpA;oxly! C

'llaMse 's6ur.r1spue V 'C 'g 'g eq] o] per;ddeeq uef,srLll 'sryrqs pueq oMl ,{;uoq+rrvr 6ur.r}s euo dn plnoqsno1'uor}our pupLl urnur elers a^epo euo e {e;d o} alqe eq sr{enn;e }o -rurure pue uorlour.re6ur1 ulnurxeul e rol pera6url ore osaL{} }eq} o}oN lo

ffiffi

Applying three fingersto a stringtends to take the hand acrossand up and dorln the neck. For example,try startingon G on the fifth string,tenth fret. F,ayup the scale,three notes per string.You begin in the tenth positionand snoutdend in the twelfth positionon the G note two octavesabove.

Ptaying this way is easyfor the fingers,and thereforegood for speed scales areason oevelopment.lt is also good for working out in-between-position :Jle neck.The five positionswe are learningare a good startingpoint but, in 'ealiry there are as many positionsas there are frets on the guitar.Eventualy, you will know everyscalein everyposition.

THE MIXOLYDIANMODE PRACTICING

23

ANOk\UVHNVlCAlOXll,l

tz

z x L0

Le

Le

Le

L9

'6ur,ie1d de6 ploqr lno{ pue 6urrieldelou a;6urs:no{ ueennlaq eq] sasoll sttll 'ureql rano 6utstnoldtut uaL{Msauo} Ploqtr lel}uesso aq} aas 's6utrton o1 Jetseast ]t ]eL{}st s6utcton}no Pauultl} 6utsn o} a6eluenPeauo s6utrton uanos }ueululoP flseq oM} orP eloH ]no pauuttll aal!l ,{q penno11o1

'ProqtreL1] Lll/ loulul ]o 'Protlf, aql otjl s! I o1 g pue 'protlr oql ,to qrg rceyed eql s! C o] I 'o Prt ']oo.l eql Luol+sleruolul oql aJnseaLus,lal 'Plot4tr rofer.u eq] s! o] g uJoll q1/ ]ueurulop otl] estldt-uor ]eq1 oPou.l otll tllol' souo] Protll aql salPlls -uoulep eJnseoul puo)as aL1l 'sPltql ul salou ot{} PatrloAaneLlat',t'a;dtlexa stq] ul 'plorlf, aq] jo butcton eql eq ol Ples sr {;;erryen sa}ou oseq} aEuele eln {er'a aqf 'alers uerp{;oxry1D a^e}f,o ouo e ul so}ou aq} lle a^eq aM oraH

'Moleq 97 e;duuex3 raqlo ,tana lo 'sPrlt{} ul sa}ou lo arnseaLulsit+ eLll ut se oletrs eq] jo alou 'otlll} aules aq} }e per{e1doJe salou ,{ueur oql lf,els ol aq plnom {enn eug 'a6ed aql ssone r{11e1 ]eLll os fi;;erryan pe6ue.ue aq ue3 ole]s e lenarvro;1 r(ueul -uozuoLi 'de1s ,{q dels ,{;;eriuenbessolefs eOuelle e11 's{ervr}uala1+lP 'selef,s rllor+ aulof, sPloql ur pe$uele aq uef, Pue seale leuol ele salef,S '(q) alou lool oql enoqe Lll/loulul oql o1slalal ,,L,, aql pue looJ 3 oql o1tsjalej ,f , eqf ,,'Ll,, loqrur{sploqo oq} eas }q6ru no^'PloL]f, / }ueu! -Lriop e reno astno:dut o1 st opot! uerpr{;oxry\1 Jo} osn uoLuLuof}sotu aql aq}

INOTTUUII NUIEIlOXT

nock and blues Mixolydian chord lick


--'3 27. possible forthis ideawhichis basedon Example are manyvariations

e I

3
a .

1
l

Mixolydianturnaround
-ris is is a commonbluesturnaround. turnaround the final part of a chord A of c'ogression a song that propelsit backto the beginning the form. This to "RainyDayWomen." for s alsothe basis Bob Dylan's

t',_l}' / l

4
z

3 1

2
1

1 1 2
I

in scalearranged 3rds,let'sfocuson the Lookingagainat our G Mixolydian They add top three notes of the chord. These are called upper extensions. colorto the chordtones.

HARMONY MIXOLYDIAN

25

NOI,lUVHNVlCAlOXlhl

9Z

et9

6e

60

'uraql,to ro l eq] llera^o e;ersuerpr(loxrl {e;d ueono1'zzef uorsnl'dod '1un1ur punoj I;uourr.r.ror alou a^rj pue rnorr. ]sotu ele l.eql s6urf,ron lln,taie sproqtrasaqf 'uorsualxe reddn lseq6rqsll ^q parrreu{;uourr,uor proL.p sr V

'qlua^as pue prlr1laq] ^lleraua6 r*o;aq sauot proq) arour ro auo ,{q payoddns e.re 'poo6 spunos suorsualxa raddn 'sa;durexa 6urlao;;o1 u! aas aql llrMnor{sy "'aruo 'sred pasn eq ,{euu suors ur .ro '{;.re;n6urs leql ^eM {ue }e aarq} ;;ero '{;a1eunyo1 'uer{} ol dn peal -uelxa raddp 'ftessaeau s,1! ]ou }eq} sauo} aq} asaql e^eq leq] sProrlf, eql af,ro^ol llnlr#rP aq Plno^ 1l lle qltM suorsuelxe

Lllef=gletr+a^Ppo

qlll=td+o^Blco

q16=Z[Pru+a^e1cg

'spre u!poouErJe olscsuBrplloxll le

>

sauol proqc

'a^e]3oue snld ql9 e sr qlt aq] pue 'enelcoue ! snld qry e sr qlll aLF'e^elf,o sn;d puze {;;eelsr q}6 eq}'ees uef,nor{sy ue

FunkyMixolydian chord lick


ais lickis basedon the second9th chordin Example 31.

1 _ 1 1 -

1 _ 1 1 _ 1 1 - ' l

Bluesprogression
to has This versionof a blues progression upper extensions make it sound jazzier.
G13 G13

wslr

HARMONY MIXOLYDIAN

NOI^IUVH NVIC IOXIhI

8Z

pJoql por|sturuflc................ .!!n Pror{l lueuluroo'..........-.... LA sproql roull l'.........!^!!! !! sprot{Jro[ey1.............. I N

sA]) UOrVW UOI WSISAS ]'lV ftNotvto 3HI

'/uru aLll oql lo uotltppe Llll^ pjoqc luputuroc* paqsrutu.ilp lour,u "!lA
I A

*lofeu
A

ro[Bru Al

louil.lj !!!

Jourur

loleu

:{Jlue1 plor.lC

'ploLl) aql ]oor orl] o^oqe q]/ lourLlle Jto +o uotllppeeql ,{q pazr -re]f,ereLll (/A) plorll sl ]ueurulopeql totllee peuleel nor{sy .r1}g po}}el}pue prt rourur e urorjpunosslr sle6 proql peqsrurrurp pue'proql oL{}}oprlrJ} aq] eql ,iq pourlopsr sprorltr roururpue .rofeur lo ,i1r;enb oq] eq1 ',ie1roleur e ur rnf,f,o sedr{lpror.ll trrseq asaq}}oeorq}llv'poqsrurrurp o}ef,rpur pesnuauo o} 'PoLisluluJlP oslesl Jo loulu-l alef lPulslelau.lnu ,o, lleLUs esef, raMol 'ploqtr V roleur e elef,rpur sleraulnuueu.rou esec.reddp .sproqf, or.l],o ,r(1r;enb ,edr{1 ro aLil o] ralor slejeurnuueurouaset reMol pue jeddn at11 xe>1 ,{ue ur pesn leloulnuueuloun

'aer6epelets qteo lo] euo ,sprot1t uenas olefslofeu.r ur or.l]+o selou eq] sa6ue.Le Molaq e;duexe aL{I 'ale3s.ro[er.u ]e eq] )ool pue peq o6 o] peou enn'epou uerpr{;oxr141 esn ot Mor..1 oq} pue}sropun }seq oI 'sapourotl] jo alers eqr ,,]uored,, se elets rofer,leL1] o] ra]or uauo ann ,{qnn }eqr ,{e1e;ecsrofeureqt 1o ued s! sr 'arolaleq]'epoul uelp{;oxry1 .aej6epalels qul} s}l eq1 uo un6eq st ele3s .ro[eue uarims]lnsalepotr.t uerpr{;oxry1 ,,r{e1eq} u!LlllM,, eq1 sueouJ f,tuoletC

-:'e is an examplein the key of E major.Eventually, shouldwork this you : -: n everykey.

FTm ii

Gfm iii

C{m vi

mode is simplya majorscalebeginningon the fifth 3ecause Mixolydian the majorscalecan be saidto be the parentkey of the Mixolydian regree,the -ode. So, all of the chordsfrom the majordiatonicsystemare also Mixolyc , a nc h o r d s . The next logicalstep is to learnto recognize diatonicchord progressions with typicalchord progressions ,vhenwe see them, and to becomefamiliar mode improvisation. :hat lend themselves Mixolydian to This is easierthan it sounds.lf you have memorized the diatonicsystemas 'llustrated Examples and 35, all you need to do is follow the thought in 34 describedbelow. orocess chordsand ask When you see a dominantchord, look at the surrounding yourself followingquestions: the

1. Wl*atchord&*beine gyted uthe root

in this progression?

s M o s t p r o g r e s s i o nw i l l s t a r t a n d e n d o n t h e s a m e c h o r d , a n d g r a v i t a t e towardsthat chord throuqhout.We will think of the root of this chord as being the key center.

2. ffiat are tf&"clrqft$f ttra prgglreesior{, o*rl3 do they fit into **}d erri@dat in ffi##rst gue-tion? diatonac*ysamF; ttrr fu W
what type of chordsthey are To answer this questionyou need to consider ( m a j o r , i n o r ,d o m i n a n to r d i m i n i s h e da n d h o w t h e i r r o o t s r e l a t et o t h e m ) dominantchord. Here is chart that shows how every chord in the diatonic systemrelatesto the dominantchord.

MIXOLYDIAN HARMONY

29

ANOIAUVH NVICAIOXIt/\

0s

Lu!ur3

LQ

]q6tru ,,'6uo1
prorll srL{1 lauorl o] relrurssl uorssar6ord ;1y,,6uos r1qporTdod s,arqclrg

ffisgflr.-ws
'lloMse 'ueqr aLllolur s]r]|. rlf,rq/v\ 'o^oqe 'proLlf, ueqo /C aLj]a^oqe pu7 roleru e proLirrourur e sr /ur..lJ]aqf aLll )ruolerCeq] u! umoL1s sdrqsuorle;ar jo oLrosr qrrqm'(16) sdrqsuorlelau Molaq pu7 rofeu e 'pror.]froleu e sr plot{f,I aql 'sa1 pror.p]ueururopor.1] 1'1re\) aqt olu! tlj wewLuop aql 5wpunouns sprot/t aqt ]o uonou toot eqt sao1 'Z 'prol1f, ]ueurLlJop t{llMspua pue surOeq uotsser6ord srq}'so1 otjl q]/ agl punore pael,ua) uotsset1otd s/ 'L ipoLp tueuuop aL# 'e^oqe Paulllnossololo 'asn 01alef,s ]eqmMou) ol paeu aM pue rqbnoqraqr q6norqto6 ol paou oM ur ol eM esrnordurr truem ef,urs'Lululj pue I '1q ate99 a;duuexf spJoqraql 'esrnordurr aq} o] apour uerp{;oxr61 asn 'ueqf, eLl] ur paquf,sepsdrqsuorle;or 1t1 eql ot1] uorssa.r6ord ur sproql aql +l a ^ o q e9 " " " " " " " " " ' a ^ o q e t d " " " " " " " " r o r e u r " " " " " " " " I a ^ o q eV " " " " " " " ' a ^ o q e t f e u " " " ' p e q s r u r u r p " " " " " "" ! ! n

"^"_t*... o^oq"':

...;#;

,l

M o l a q2 " " " " " " " ' M o l a q Z t e w "" " " " " " " r o [ e u " " " " " " " n ; M o l a qt " " " " " " " ' M o l a q t u l L u " " " " " " " " r o u r u r " " " " " " " ' ! ! l M o l a q " " " " " " " " " ' M o l o qt d " " " " " " " " r o u r 1 . u " " " " " " " 'l ! s M o l o qL " " " " " " " " " ' M o l a q 9 d " " " " " " " " r o [ e u r " " " " " " " " 1 Pror]l /n urorj

pror,ll/n

Sc"retimes dominantchorddoes not containthe 7th, which leaves the only :-e majortriad.This is particularly true in rock.You must know the diatonic : - o r d o r d e r w e l l e n o u g h t o r e c o g n i z eh e p r o g r e s s i o n v e n w i t h o u t t h e t e 3'esence a 7th in the dominantchoro. of

t5?ffiEr*il
-ow can the two chordsin this examplefit into the DiatonicRelationships :'rart?The only place two major chordsare separatedby a major 2nd is cetvveen lV and V chords, the dominantchord must be the G chord, the so :ne higherof the two majorchords. Thismeansyou would usea G Mixolydian scale playover both the G and F chords. to
GI F7

G7

F7

George Eenson. Bensonplays Charlie Parker's vintage Mixolydian "Billy's blues tune, Bounce."

MIXOLYDIAN HARMONY

31

gNtOtOS lcoti! Nvtc^]oxtl r 3H1Hl_tM

0urpuecsy

paller sr ourr Llf,ea alou luare#lpe uo 6uryels]nq ,,,)no7 ,,'6urcuenbas,, .alels o.ll uMop sdotp dn,, se qlns selou 1o uleped e Ourleadeu ,,aaJql d n ' l n o 1 u M o C , , ' a l e 3 a L l ld n s q u l l f , , , o o l q ]u m o p l n o l d n , , l t s s e l r a q 1 s 'osle 'unno rnox,o otuos qlrrnrr ourof,o] ^{ 'seaprMa} e oJeoroH .suorlesrnordur dn rno{.ro1 s>llolq 6urplrnq uuo} d;eq ;;rr* aq} su.ra}}ed or66ed.re ale)s6ur{e16 ro

-xtI0N STUITUXTN I I N U silu xr,I.ud I i l U I E T I O X I I A tilI il.I,ll't 5ilI0r0 I

@EEg
"up four, down three" tends to take you acrossthe neck. This S.ecrencing so exarnpleis a three-notearpeggiofragmentthat movesstep-wise, it takes -r3uUp and down the neck. Ascending

Descending

etc...

mffiffiffi
Try together(3rdsand 2nds). to Here's and scales one for mixingarpeggios you are outlining when playing the 3rds. be awareof the diatonicchord
G7 AminT BminT

'

l
etc.

I ,t

MODE WITHTHE MIXOLYDIAN SOLOING

33

lcot^l Nvtc^toxlt 3Hl_ H]lM 9Ntolos

rs

'serpnls lnoq6norq]lnf,f,oeloleloql pue leruelur Xe1 e urLi]rr* {e}s o} ,tessecauare asaq}se qrns se6ueqr lerua}ul'6urra6ur1 .rnor{ qf,rLl/'^ tofeul ole slerualul pue lrage llrM}r esnefoq lourL! ore slerua}ur qr!qM+o >l)er] deel 'e;ecs eqr 6ur,ie;d uaq6 'ql9 roleu e ere (rl o1y) salou gUnol pue prril orl] alrqML1]9 rourl! e ere (3 o1 $g) selou puof,aspue lsrg aq] ]eqi ef rloN 'zzefo1r!]unor uuorl'se;r{1s ,{ueuu punossrLl} ur reoq uef,no1

sqrg u! ele)Suegp{;o4141 3

gulru

gletu

gulur

gfpul 9[prr

:aur1 0urr1g pueC aql ssorcv I 'st1]t ]lofad ur peunl are slos 6url1s luerelpe ror.llooLl1lle pue 'yede p.rg.rofeur,rpaun] are s6ur.rls e oM] aseql osnef,aq sl slr.ll ']! ssorf,nor{ ueqnn eoueqt sedeqs le^lalurrno,{1o llV ,,'aull6uu}s eg '.re1rn6 jo >peu aql uo )ool st.l19 eLll MoLlsr aroH I pue D,, aq] jo aJeMe

#ffi
'pouels no,{ 'sq}/ le6 o} sL{}tpue sq}g}e )ool g}ol 'srllt pue sq]9 'sr.119 'splt ul a;e:s uerpxloxtl aq] uMoppue dn ,{e;duer no1

^ s e x a m p l es h o w sa m o r e m e l o d i cw a y o f p l a y i n g6 t h s . l t a l s o d e m o n s:-ateshow sixthslay on the fifth and third strings.

the give a nice open, modern sound that tends to take you across Fourths neck.

M W S O L O I N G I T HT H EM I X O L Y D I A N O D E

35

tcot/\ Nvtc^toxty\ lHl- HltMcNtotos

'aPou) uerpfi1oxr61 aql uo Peseq s, ,,sar)s eql LuoU dn,, tlH 'xuPueHtuJtr

'ruoq]jo os lle ]no-)fer.lf, punosltlsualleleqf, u/!\os]r seq qtef 'sr.iil pue 'sq]g 'spJt o] sotpnls 1o edril oues oLl],{;ddeuer no{ 1nqane}foaL1} leruo}ur ur ,{lane sosrf,Joxe 6url;M s}!q!qord ro} ered5 1no

yone vd g :eur-1 6uugg pueC alllssolcv

yOne p6ne

vd

.slalj oM] ,,'aul;6url1sg pue C,, aq],to oleMe og ,iq peleredos ere sLllt polueur6ne pue ]arj e ,{q paleredes ere sq}t ,aroH

IEIIS, IIIEAS ANII E PRAGTIGE XAMPLES


-'e a.e some musicalexamplesto summarize, reviewand expand upon : 3?Cticeexamples. Bl'ues lick
1

ffil?ffiffiM
1

Rocklick
1 +
I I

ffiilI

ffiSifdWSW

_/

EXAMPLES AND PRACTICE LICKS, IDEAS

srrdr vxl lf tlf,vudcNV svlct 's)l|l

8S

L0

--.

--J

^
I

e I

zlr

zlr

T--lllf iiil

;;;165i#iFeui t;ou t,ii

in A..ornp"nit"nt " L"tingroou"

EEEEI!

on bas.d 7th, Ne*Aselick

ESSEEIII

on lick A rock/shuffle based 6ths


1

f,SSEEfEl

;/^-

-.L/^\-/-\-/-v

2-2

EXAMPLES IDEASAND PRACTICE LICKS,

slldNVXI lfttlvud cNV svScl's)fn

ill

,? ? =r?r?

\ |

\ \

ffi

srll? uo Peseq v l)!l

ffi

,,esJql u/nop Jno, dn,, uo peseq )p!l V

ffi

>;r;;6u ;.r1s-rad-elou-eer qI

A lick based on 6ths

ffi

J-

2 3

2 3

1 3

ne progression the next examplemay be familiarto you, sinceit was in " S p i n n i n ' W h e e l . "t i s l - s e d b y B l o o d ,S w e a ta n d T e a r si n t h e i r h i t s o n g , o - s e d i n t u r n a r o u n da n d i n t h e b r i d g eo r m i d d l es e c t i o n f m a n yt u n e s .l t s y w . v o u l db e a g o o d i d e a t o f a m i l i a r i z e o u r s e l f i t h t h i s c h o r d p r o g r e s s i o n f a t t e m p t i n g h e s o l o . l f y o u h a v e t h e t a p e t h a t i s a v a i l a b l eo r t h i s t cefore twice cook, you can play along.The examplegoes throughthe progression give you plentyof ideasfor improvisation. ro it's No matter what you are practicing, a good idea to break it down into p t s s m a l l ,e a s i l yd i g e s t i b l e i e c e s .P r a c t i c eh e s es m a l ls e g m e n t s e q u e n t i a l l y a over a period of time. A week is generally good amountof time to spend goalsfor eachday.A stringof Try segment. to set obtainable on a practice Havefunl eventually adds up to a big success. smallsuccesses

EXAMPLES IDEAS AND PRACTICE LICKS,

41

sltdy\vxl lltl-f,vud cNV svlct 's)f|l

I
v l L

olos pue uorssal6o.r6 uerp{1ox;y1 leerd{1

Example Continued) 58

1 C7

2 t

I
--

AND PRACTICE EMMPLES LICKS, IDEAS

43

f tsnncvlu ol-A oH

j1

'uouumueqlremolone]ro ue spunos.relrn6 uorlelouprepuels + aql ul I

'#els aql ^^oloqpue e^oqe

qrlrd elerrpuro] pesn are ]eLl]sourlore asaql

e
-

jell g aql 6urs1-1 +:sMollojse ore selou eL1]

',,9,, polletroq aurl aq] seltrJ3ualolt D eLl],o llnf, eptsut aql .Jtoll lll^^r.lllrl^^ Jeltng 'sluoL!nllsul ]uela#lp lol posn aJe slalf lualoj I ut ueutrM st trtsnL.u -jlc 'afeos ro ourl relnfrued e q]!/il ap|]uro) solou Llt!r.li!\ salef,rpur+ell oLlj

tapro le]|loqeLldleur secedspue sautl oL1] ua]lu/!({;e1euje1;e sa}oN uo ere 'ttsnur 1o 6ullunnoq] ut pasn st seteds lno+ pue seutl a^t, 6urureluoe#els v

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E U T U 0I [,10R

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staff is divided by verticallinescalled bar lines. The space between (bar)is an equalunit of time. :.'.,o linesis a measure.Eachmeasure oar

( )ouble barlines f

) m a r kt h e e n d o f a p i e c e .

ffi
at that tell us how to count Everypieceof musichasnumbers the beginning thetime. Examples:

4 4

3 4

6 8

the number of beats or counts per measure. The top number represents t T h e b o t t o m n u m b e r r e p r e s e n t s h e t y p e o f n o t e r e c e i v i n go n e c o u n t . : quarternote 8 : eighthnote Example:{ Sometimes C is writtenin placeof 4/4 time. Thisis calledcommontime. a

A whole note A halfnote A quarternote An eighthnote A sixteenthnote

four beats

I I
b

two beats
,/\

a
a

one beat 1/2 beat 1/4 beat

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a

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b b
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a '

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HOW TO READMUSIC

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just like in standard llanrmer-onsand pull-offs are indicatedwith slur marks, -,otation. Our TAB alsoincludes "H" for hammer-ons a "P" for pulland an TAB. ct. Theseare found iust abovethe

/^\

/^\

/^.

Upwardbends are markedwith upwardarrows. Downwardarrowsare used how A to show a bend being released. numberabove the arrow indicates that the (1 = a whole step,1/2 = a half step, etc.). Remember far to bend TAB will showthe fret numberon whichyour fingershouldbe placed. The with the fret shown in the TAB. In the followstandardnotationcorresponds ing exampleyou will alsofind a tap [f) and a slide (S and z). Also, notice that if more than one note are playedwith one bend,they appearin parenby thesesin the TAB. Some notes are actuallyrepresented the arrowsthemas selves, in the secondnote of the tripletin this example.
t

In the followingexampleyou will find severalmore symbols. The sign for vibrato (,rnr.rr,), and the signsfor picking down (Fl ) and the sign for picki n gu p ( V ) .
V V l l V - V I I

n Fl F n v \/ \/ \/ fl \/ F \/ Fl ,\_/^v-\_rv

TABLATURE

47