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NOT,t.XNIOUTilI

I X O T Y D I A NT H E O R T

--e Mixolydian mode is a tonal area that is used in playing and composing--s c. l t is most easily understood as a scale. A scale is a group of notes3-3nged in alphabetical order. The arrangement of scale tones combine to:-eate a part icular sound or tonal center. For instance. here is a scale beqin-- ^g on the note C.

ffiil

cA

HWWWH

D

Ww

I

c G

As you wil l soon discover, the Mixolydian mode is derived from the majorscale. Scales are categorized according to their arrangement of whole stepsand half steps. A whole step is equal to the distance between C and D, orany two notes that are two frets apart on the guitar. A half step is equal tothe distance between C and Db, or any two notes that are one fret apart. Thearrangement of whole steps and half steps comprise a formula that pro-duces the unique characterist ics of each scale. For instance, the scale inExamples 1 and 2 is a maior scale because its formula is:

C Major Scale

\r/ and W: whole steP\-/ and H = half step

ffi

\,/ \r/W WW

€> v'W H

\r/ \--lW H

Note:

Scale degree:

croot

D

2nd

E

3rd

B

7th

G

5th

F

4th

A

6th

croot

MIXOLYDIAN THEORY

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I

ffi:'h b a :aole of interval abbreviations.

-minorZnd,

- major2d;i

= minor,

* 6sjqg3rd,==']

Yo- 'nay have noticed that some intervals, such as the dim5 (Gb) and thea-o.l (Ff) have the same fret distance. When two different notes are played:,- :re same fret, and have the same pitch, they are said to be enharmonic.

John Lennon.His tune,"Norwegian

Wood," a Beatleclassic, is basedon a Mixolydianmelody.

'ryf,: rnajor trffi;d?k min;i

MIXOLYDIAN THEORY

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The M:xolydian mode begins on the fifth scale degree of the major scale,thic*' is another way of defining the Mixolydian mode. Like the major scalespg nning on C, there are no sharps or f lats in the Mixolydian mode begin-- 'rg on G. l t has a unique sound and characterist ic set of intervals becauset oegins on a different note and therefore follows a different pattern ofr-o e steps and half steps. ln this perspective, the C Major scale can beca eC the "parent" scale of the G Mixolvdian mode.

I

2-Octave C Scale (parent scale)

The Mixolydian has a lowered, or f latted, seventh scale degree relative to

the major scale. In other words, the Mixolydian mode seventh scale degreeis a half step or one fret lower than the major scale seventh degree. TheMixolydian scale, therefore, is said to have a minor 7th interval from the rootto the 7th degree. Musicians often use a convenient numbering system foridentifying various scales. This is a quick way of communicating how differ-ent scales and modes compare to the major scale. The numbers refer to thescale degree, or distance from the root, of each note. For instance:

Thema jo rsca le = 1 2 3 4 5 6 7 (1 )

TheMixo l yd ianmode = 1 2 3 4 5 6 b7 (1 )

This cal ls for another definit ion: the Mixolydian mode is a major scale with a

lowered seventh scale degree.

G Mixolydian Scale

THREE PERSPECTIVES ON THE MIXOLYDIAN MODE

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AI I I N EG O M E

T H E M I X O T Y T I I A N M O T I EA T I U E O N T I I E E U I T A R

h tt- s section, we are going to gradually build up from the three note majorrrc :o the ful l seven note Mixolydian mode scale. This is a good approachm ,eaming the mode because you wil l learn the chordal skeleton f irst, and!'"€- f;il in with the less weighty scale tones.

A :nad is a three note chord. A chord is a vertical arrangement of notes froma scale. Since the Mixolydian mode is a major scale, i t is important to have a: ear understanding of the major tr iads which wil l form its chordal skeletonc. the guitar f ingerboard.

STT,qFJT*TVajor tr iads are buil t with major 3rd and perfect 5th intervals above the'ooI.

Guitarists usually play more than three notes when playing chords. Mostoften, we play at least four notes at a t ime and we wil l often play f ive or sixnote chords. We arr ive at these b igger chords by s imply doubl ing, orrepeating, notes from the tr iads. l t is typical to play chords with the rootdoubled or even tr ipled. The 5th is often doubled, too.

Any type of first position E chord is home base on the guitar. Because of theway they are tuned, guitars resonate to these chords. The E chord alongwith the A, D, G, and C chords make up the f irst posit ion tr iads that relate tothe Mixolydian mode. All other major chord f ingerings are derivatives ofthese, so we can consider each of them to represent a major chord "type."

These are also referred to as "voicings." lt makes sense then to base ourfur-ther exploration of the fingerboard on these chords.

root

MAKING THE MIXOLYDIAN MODE COME ALIVE ON THE GUITAR 1 1

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E lajor triads up the neck

i l l [ s -portant to see how the tr iads interlock. Try to memorize a visualiF€'ge of the tr iads on the neck of the guitar. This kind of visualization isFco'tant for mastering the f ingerboard. Notice the location of the roots.r-€se are your guides through the maze of strings and frets when you playtl.ese chords up the neck and in various kevs.

D Type A Type E Type

C Type G Type

-et's expand our chord boxes to include every repetition of each note in the:. iad in each of the f ive posit ions. We wil l play these notes in succession asarpeggios rather than al l together as block chords.

XIIxVN XV

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< . \^\ \- v^

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: l A \ , - +I ,,--/Y

Here are E Major tr iad arpeggios f i l l ing out each of the f ive posit ions of theoriginal major chord types. Remember, i f you keep track of the root loca-t ions in these arpeggios, you can transpose them to any key.

3 1

Str. = stretch

12 4 4 3 2 2

1 1 1 1 24 2 3 2 4 4 3 1 2 4 2 2 3 3 4 2 4 3 1 1 3 4

VIw

MWWWHere is what they look l ike al l together on the guitar f ingerboard.

2nd position 6th position 11th posi t ion

v4th position

VII XIIx XVgth position

t ^ v^^

v- A-

MAKING THE MIXOLYDIAN MODE COME ALIVE ON THE GUITAR 1 3

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\od, irat you have a working knowledge of major triads on the neck, we:a- add the minor seventh and get to the meat of this book: dominant sev-e.: arpeggios. Adding the 7th scale degree to the major tr iad creates theoc- ':ant seventh chord and qives us four notes in each octave.

E7 Arpeggio @E@

minT

2nd position 6th position 11th position

4th positionXIIxVII XV

9th position

Wffi

v v ^ v-^

v

v- vA

v ^ v

^

To prepare to play these as arpeggios , let's look at every note in each position.

1 1 2 1 2 1 1 1 1 1 1 2 1 1 23 4 4 3 4 3 4 4 3 4 2 4 4 4 3 3 3 4

IV4 3 4 1 4 4

Str. : stretch

MAKING THE MIXOLYDIAN MODE COME ALIVE ON THE GUITAR 1 5

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Ftor et's complete the Mixolydian mode and look at it in five positions onme'eck. First we will look at them separately.

FAFIU*II

!t-n- r=

v v--(9-

..!t v {3 }--Str- v

Yo, get a good picture here of how the whole neck is fairly evenly divided.

2nd Position

V

4th Position

VII

6th Position2

VII IX

9th Position

XII

XVXIIIX

VIIilI XIIx XV

XV

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11th Position

MAKING THE MIXOLYDIAN MODE COME ALIVE ON THE GUITAR 1 7

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p n A G T I E t N ET T H E M I X O T Y T I I A N M O I I E

=.st play up and down each posit ion l ike you did in the lastsection. We are--ot using open str ings because we want every note in each posit ion to be:a'',sposable to other keys.

rrr'ork out your stretches in situations such as Example 22. When stretching,,o- have a choice between the fourth and f irst f ingers. l t is best to use the"-g"r that is not playing any of the adjacent notes rather than using the-.ne f inger repeatedly. This is because when you have one f inger sl iding up:' down a str ing the tendency is toward hand movement rather than f inger- rovemen t . You shou ld max im ize f i nge r movemen t and m in im ize hand-rovement . There are two reasons for th is . F i rs t , hand movement tends:oward accidental shift ing of posit ion, leading to mistakes. Second, you canciay much faster with your f ingers than your hands. Try playing four adjacent^otes with one f inger. Now with four f ingers. Which is faster?

Jeff Beck.One of Beck'smost enduringcompositions,"Freeway Jam,"is a Mixolydian

c/assic.

PRACTICING THE MIXOLYDIAN MODE 1 9

tco|/\l Nvtc^toxrl^l IHl_ 9NDrllvud

uorlrsod r.{}ll

,{e1 ,{.rene ur srrl} op o} luean {;;en1ua^a llrM no1'>lf,au erlua eLl] umop pue dn 6urr{e;d alqeuo}Luol ere no{ lr}un srq} efr}3erd'uor]f,auuotr Llf,ea le sonour pueq rnor{ (suor}|sod) s1e,r1 ,{ueu,r MoLl}o aleMe a8

WTlxeN eql u/noc 'uol1rso6 ouo dn :ue;p{;ox;y1 3

'uo os pue '1xeu eq] uMop r(e;d pue 'u!r.ls 'uolllsod yeu aqr dn ,{e;6'tllxrs aq] o] 6ut.rls ]srj aq] uJor+ uMop ,{e;d pue uorltsod }xau eq} ol >pau eL1}dn grqs 'nno5 '6ur.r1s ]sJU eq] o1 r.1]xrs or1] uror+ uorlrsod auo dn ,ie;d 'ZZ ald-uJex3 ul 'ulor1] 6urpeuuor &1 'uorlrsod qeea ur alqeuollror loaj no{ erug

ilr4gest doing this with a metronome at a slow tempo. The metronome willtre{e ro, to practice evenly, giving each note equal emphasis. This is veryLmnpc':ant because gaps in your learning lead to inexplicable mistakes later@ la: can be hard to trace. Also, the metronome helps quantify your learn-rrg so you can have a sense of exactly what you have accomplished. Thisbecc'nes more and more important over time.

tra!, egato, letting each note ring right up until the next is struck. This isrcortant for developing speed. Your f ingers have l i t t le memory banks in:e"r and are always learning whether you are playing correctly or not. Thiss rue every time you pick up your guitar. Strive to play cleanly with as few* s:akes as possible so those l i t t le guys don't have to unlearn each examplecejore relearning it correctly.

- posit ion practicing we work across the neck. When practicing on one.-. jn9 we work up and down the neck. Try practicing the G Mixolydian modeon the first string only. Since it is not possible to start with the root note, just

c ay al l the notes from the mode that are available on that str ing. ln the fol-owing exercise you wil l play G Mixolydian, beginning on E, up to F andcack to E. l t is important to be discipl ined about posit ion shifts. You mustrhink ahead and be keenly aware of the difference between hand motionand f inger motion. Play legato and str ive to make your hand posit ion shiftssound as smooth as your f inger movement. Avoid sounding choppy whenshift ing posit ions.

weffidE#tPlay through al l the Mixolydian modes on the E str ing. Play every note onthe str ing in each key beginning with the lowest note possible. Be sure tosing the root of the key in which you are playing.

shift

VII XII

shift

XVIXu

PRACTICING THE MIXOLYDIAN MODE 21

rcor Nvrc^tox[ ]HI9NDtrfvud

,,'squnoj 1o e;cr{o,, aq}pallel sl slrll 'uede gunol e ele s{e1 esaq} }o lle }eqr paf,r}ou aneq ,{eu.r no1'g pue (XJ)19 'lC 'lV'1f '19

! :s{e1 6urmo;1o1oLl} rl}lM esrf,roxo srq} enur}uol

'llaM se 's6ur.r1s V pue

'C 'g 'g eq] o] per;dde eq uef, srLll 'sryrqs pueq oMl ,{;uo q+rrvr 6ur.r}s euo dnelers a^epo euo e {e;d o} alqe eq sr{enn;e plnoqs no1'uor}our pupLl }o urnur-rurur e pue uorlour .re6ur1 lo ulnurxeul e rol pera6url ore osaL{} }eq} o}oN

elecs uerpA;oxly! C

ffiffi

Applying three fingers to a string tends to take the hand across and up anddorln the neck. For example, try starting on G on the fifth string, tenth fret.F,ay up the scale, three notes per string. You begin in the tenth position andsnoutd end in the twelfth position on the G note two octaves above.

Ptaying scales this way is easy for the fingers, and therefore good for speedoevelopment. lt is also good for working out in-between-position areas on:Jle neck. The five positions we are learning are a good starting point but, in'ealiry there are as many positions as there are frets on the guitar. Eventual-y, you will know every scale in every position.

PRACTICING THE MIXOLYDIAN MODE 23

ANOk\UVH NVlCAlOXll,ltz

XTXX

Le

zx

L0Le

'6ur,ie1d ploqr lno{ pue 6urrield elou a;6urs:no{ ueennlaq de6

eq] sasoll sttll 'ureql rano 6utstnoldtut uaL{M sauo} Ploqtr lel}uesso aq} aas

o1 Jetsea st ]t ]eL{} st s6utcton }no Pauultl} 6utsn o} a6eluenPe auo 's6utrton

]no pauuttll aal!l ,{q penno11o1 s6utrton uanos }ueululoP flseq oM} orP eloH

L9 Le

'Proqtr eL1] ]o Lll/ loulul

otjl s! I o1 g pue 'protlr oql ,to qrg rceyed eql s! C o] I 'Protlf, aql 'o Prt

rofer.u eq] s! € o] g uJoll ']oo.l eql Luol+ sleruolul oql aJnseaLu s,lal 'Plot4tr

q1/ ]ueurulop otl] estldt-uor ]eq1 oPou.l otll tllol' souo] Protll aql salPlls

-uoulep eJnseoul puo)as aL1l 'sPltql ul salou ot{} PatrloA aneLl at',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{;oxry1 D a^e}f,o ouo e ul so}ou aq} lle a^eq aM oraH

'Moleq 97 e;duuex3

lo arnseaLu lsit+ eLll ut se oletrs eq] jo alou raqlo ,tana lo 'sPrlt{} ul sa}ou

oql lf,els ol aq plnom {enn eug 'otlll} aules aq} }e per{e1d oJe salou ,{ueur

]eLll os fi;;erryan pe6ue.ue aq ue3 ole]s e lenarvro;1 'a6ed aql ssone r{11e1

-uozuoLi 'de1s ,{q dels ,{;;eriuenbes solefs eOuelle e11 's{ervr }uala1+lP r(ueul

ur pe$uele aq uef, Pue seale leuol ele salef,S 'selef,s rllor+ aulof, sPloql

'(q) 3 alou lool oql enoqe Lll/loulul oql o1slalal ,,L,, aql pue looJ

oql o1tsjalej ,f , eqf ,,'Ll,, loqrur{s ploqo oq} eas }q6ru no^'PloL]f, / }ueu!-Lriop e reno astno:dut o1 st opot! uerpr{;oxry\1 aq} Jo} osn uoLuLuof }sotu aql

INOTTUUIINUIEIlOXT

nock and blues Mixolydian chord lick--€'3

are many variat ions possible forthis idea which is based on Example 27.

2 3 3 1a . l

Mixolydian turnaround W

eI

-r is is a common blues turnaround. A turnaround is the f inal part of a chord

c'ogression to a song that propels i t back to the beginning of the form. Thiss also the basis for Bob Dylan's "Rainy Day Women."

Looking again at our G Mixolydian scale arranged in 3rds, let 's focus on thetop three notes of the chord. These are called upper extensions. They addcolor to the chord tones.

4z31

42

1

11

1 2I

t',_l}'/ l

MIXOLYDIAN HARMONY 25

NOI,lUVH NVlCAlOXlhl9Z

8Z

et9

'uraql,to lle ra^o e;ers uerpr(loxrl l eq] {e;d ueo no1'zzef ro uorsnl'dod

'1un1 ur punoj I;uourr.r.ror ]sotu ele l.eql s6urf,ron alou a^rj pue rnorr. lln,t aiesproqtr asaqf 'uorsualxe reddn lseq6rq sll ̂q parrreu {;uourr,uor sr proL.p V

60

e

6e

Lllef=gletr+a^Ppo

'qlua^as

pue prlr1l aq] ̂lleraua6 r*o;aq sauot proq) arour ro auo ,{q payoddns e.resuorsualxa raddn 'sa;durexa 6urlao;;o1 aql u! aas llrM nor{ sy 'poo6 spunosleql ^eM {ue "'aruo }e aarq} ;;e ro 'sred ur .ro '{;.re;n6urs pasn eq ,{euu suors-uelxa raddp 'ftessaeau ]ou s,1! '{;a1eunyo1 'uer{} ol dn peal }eq} sauo} aq}

lle qltM suorsuelxe asaql e^eq leq] sProrlf, eql af,ro^ ol llnlr#rP aq Plno^ 1l

qlll=td+o^Blcoq16=Z[Pru+a^e1cg'spre u! poouErJe

olscs uBrplloxll l e

€>sauol proqc

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

Funky Mixolydian chord lick

ais l ick is based on the second 9th chord in Example 31.

Blues progression wslr

1 _ 1 _ 11 - 1 _ 11 - 1 - ' l

This version of a blues progression has upper extensions to make it soundjazzier.

G 1 3 G 1 3

MIXOLYDIAN HARMONY

NOI^IUVH NVIC IOXIhI8Z

pJoql por|sturuflc................ .!!n

Pror{l lueuluroo'..........-.... LA

sproql roull l'.........!^ !!! !!

sprot{J ro[ey1.............. N I

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

'/uru aLll lo uotltppe oql Llll^ pjoqc luputuroc*paqsrutu.ilp

"!lA

lour,u *lofeuIAA

ro[Bru

Al

louil.lj

!!!

Jourur loleu :{Jlue1 plor.lC

'ploLl) aql Jto ]oor orl] o^oqe q]/ lourLll e +o uotllppe eql ,{q pazr-re]f,ereLll sl (/A) plorll ]ueurulop eql totllee peuleel nor{ sy .r1}g po}}el} pueprt rourur e urorj punos slr sle6 proql peqsrurrurp aq] pue'proql oL{}}o prlrJ}eql ,iq pourlop sr sprorltr rourur pue .rofeur oq] lo ,i1r;enb eq1 ',ie1 roleur e urrnf,f,o sedr{l pror.ll trrseq asaq}}o eorq} llv'poqsrurrurp o}ef,rpur o} pesn uauoosle sl ,o, lleLUs V

'PoLisluluJlP Jo loulu-l alef lPul slelau.lnu esef, raMol 'ploqtrroleur e elef,rpur sleraulnu ueu.rou esec .reddp .sproqf, or.l],o ,r(1r;enb ro ,edr{1aLil o] ralor slejeurnu ueurou aset reMol pue jeddn at11 xe>1 ,{ue ur pesn

leloulnu ueulou n

'aer6ep elets qteo lo] euo ,sprot1t uenas ur olefs lofeu.ror.l] +o selou eq] sa6ue.Le Molaq e;duexe aL{I 'ale3s .ro[er.u eq] ]e )ool puepeq o6 o] peou enn 'epou uerpr{;oxr141 oq} esn ot Mor..1 pue}sropun }seq oI

'sapour otl] jo alers ,,]uored,, eqrse elets rofer,l eL1] o] ra]or uauo ann ,{qnn s! }eqr ,{e1 e;ecs rofeur eqt 1o uedsr 'arolaleq] 'epoul uelp{;oxry1 eq1 .aej6ep alels qul} s}l uo un6eq st ele3s.ro[eu e uarim s]lnsal epotr.t uerpr{;oxry1 eq1 ,, r{e1 eq} u!LlllM,, sueouJ f,tuoletC

-: 'e is an example in the key of E major. Eventually, you should work this: -: n every key.

FTm

i i

Gfm

i i i

C{m

vi

3ecause the Mixolydian mode is simply a major scale beginning on the f i f thregree, the major scale can be said to be the parent key of the Mixolydian-ode. So, al l of the chords from the major diatonic system are also Mixoly-c ,an chords.

The next logical step is to learn to recognize diatonic chord progressions,vhen we see them, and to become famil iar with typical chord progressions:hat lend themselves to Mixolydian mode improvisation.

This is easier than it sounds. l f you have memorized the diatonic system as' l lustrated in Examples 34 and 35, al l you need to do is fol low the thoughtorocess described below.

When you see a dominant chord, look at the surrounding chords and askyourself the fol lowing questions:

1. Wl*at chord&* beine gyted uthe root

Most progress ions wi l l s tar t and end on thetowards that chord throuqhout. We wil l think

in this progression?

same chord, and grav i ta teof the root of this chord as

being the key center.

2. ffiat are tf&"clrqft$f ttra prgglreesior{, **}d o*rl3 do they fit intofu diatonac*ysam F; ttrr

W erri@d at in ffi##rst gue-tion?

To answer this question you need to consider what type of chords they are(major , minor , dominant or d imin ished) and how thei r roots re la te to thedominant chord.

Here is chart that shows how every chord in the diatonic system relates tothe dominant chord.

MIXOLYDIAN HARMONY 29

ANOIAUVH NVICAIOXIt/\0s

Lu! ur 3

;1y,, 6uos r1q porTdod s,arqclrg lauorl o] relrurs sl

LQ

,,'6uo1 ]q6truuorssar6ord prorll srL{1

ffisgflr.-ws'lloM se 'ueqr aLll olur s]r]|. rlf,rq/v\

'proLlf, /C aLj] a^oqe pu7 roleru e proLir rourur e sr /ur..lJ] aqf 'o^oqe ueqo

sdrqsuorlelau )ruolerC eq] u! umoL1s sdrqsuorle;ar aLll jo oLro sr qrrqm '(16)

pror.p ]ueururop or.1] Molaq pu7 rofeu e 'pror.]f roleu e sr plot{f, I aql 'sa1

1'1re\)aqt olu! tlj wewLuop aql 5wpunouns sprot/t aqt ]o uonou toot eqt sao1 'Z

'prol1f, q]/ ]ueurLlJop otjl t{llM spua pue surOeq uotsser6ord srq}'so1

ipoLp tueuuop aL# punore pael,ua) uotsset1otd agl s/ 'L

'e^oqe Paulllno ssololo

rqbnoqr aqr q6norqt o6 ol paou oM 'asn 01 alef,s ]eqm Mou) ol paeu aM pueesrnordurr ol truem eM ef,urs 'Lululj pue I '1q ate 99 a;duuexf ur spJoqr aql

'esrnordurr o] apour uerp{;oxr61 aq} asn'ueqf, eLl] ur paquf,sep sdrqsuorle;or ot1] 1t1 uorssa.r6ord eql ur sproql aql +l

a^oqe 9"""""""""' a^oqe td""""""""roreur"""""""" I

a^oqe V"""""""'a^oqe tfeu"""' peqsrururp"""""" "!!n

"^"_t*... o^oq"': ...;#; ,l

Molaq 2" " " " " " "' Molaq Ztew"

" " " "" "" ro[eu"" " " " " " n;

Molaq t"""""""' Molaq tulLu""""""""rourur"""""""'!!l

Molaq s"""""""""' Moloq td""""""""rour1.u"""""""' l!

Moloq L" " " " " " "" "' Molaq 9d"""""""" ro[eur"""""""" 1

Pror]l /n urorjpror,ll /n

Sc"retimes the dominant chord does not contain the 7th, which leaves only:-e major tr iad. This is part icularly true in rock. You must know the diatonic: -ord order wel l enough to recognize the progress ion even wi thout the3'esence of a 7th in the dominant choro.

t5?ffiEr*il

F 7G 7F 7G I

-ow can the two chords in this example f i t into the Diatonic Relationships: 'rart? The only place two major chords are separated by a major 2nd iscetvveen the lV and V chords, so the dominant chord must be the G chord,:ne higher of the two major chords. This means you would use a G Mixolydi-an scale to play over both the G and F chords.

George Eenson.Benson playsCharlie Parker'svintage Mixolydianblues tune, "Billy's

Bounce."

MIXOLYDIAN HARMONY 31

lcoti! Nvtc^]oxtl r 3H1Hl_tM gNtOtOS

zLtzt

0urpuecsy

,,'6urcuenbas,, paller sr ourr Llf,ea alou luare#lp e uo 6uryels ]nq ,,,)no7dn,, se qlns selou 1o uleped e Ourleadeu .alels o.ll uMop sdotp ,,aaJqldn'lno1 uMoC,,'ale3s aLll dn squllf,,,oolq] umop lnol dn,, ltsselr aq1

'osle'unno rnox,o otuos qlrrnrr dn ourof, o] ̂{ 'seapr Ma} e oJe oroH .suorlesrnordurrno{.ro1 s>llolq 6urplrnq aq} uuo} d;eq ;;rr* su.ra}}ed or66ed.re ro ale)s 6ur{e16

STUITUXTNI IINUilUIETIOXIIAI

silu xr,I.ud -xtI0NtilI il.I,ll't 5ilI0r0

@EEgS.ecrencing "up four, down three" tends to take you across the neck. Thisexarnple is a three-note arpeggio fragment that moves step-wise, so it takes

-r3u Up and down the neck.

Ascending

Descending

etc...

mffiffiffiHere's one for mixing arpeggios and scales together (3rds and 2nds). Try tobe aware of the diatonic chord you are outl ining when playing the 3rds.

G 7 A m i n T B m i n T

2 1 4 2 1 4 2 2 4 2 1 4

d l r ' - - letc.

I,t

E

2 1 4 2 1 4 2 1 4 2 1 4

SOLOING WITH THE MIXOLYDIAN MODE 33

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

'serpnls leruelur lnoq6norq] lnf,f,o eloleloql pue

Xe1 e urLi]rr* {e}s o} ,tessecau are asaq} se qrns se6ueqr lerua}ul '6urra6ur1

.rnor{ lrage llrM }r esnefoq lourL! ore slerua}ur qf,rLl/'^ pue tofeul ole slerualulqr!qM +o >l)er] deel 'e;ecs eqr 6ur,ie;d uaq6 'ql9 roleu e ere (rl o1 y) salougUnol pue prril orl] alrqM L1]9 rourl! e ere (3 o1 $g) selou puof,as pue lsrgaq] ]eqi ef rloN 'zzef o1r!]unor uuorl 'se;r{1s ,{ueuu ur punos srLl} reoq uef, no1

Wsqrg u! ele)S uegp{;o4141 3

gulru gletu gulur gfpul

:aur1 0urr1g I pue C aql ssorcv'st1]t ]lofad ur peunl are slos 6url1s luerelpe

ror.llo oLl1 lle pue 'yede p.rg .rofeur,r e paun] are s6ur.rls oM] aseql osnef,aqsl slr.ll ']! ssorf, nor{ ueqnn eoueqt sedeqs le^lalur rno,{ 1o llV ,,'aull 6uu}s

I pue D,, aq] jo aJeMe eg '.re1rn6 eLll jo >peu aql uo )ool st.l19 MoLl sr aroH

9[prr

#ffi

'pouels no,{ le6 o} sL{}t pue sq}g }e )ool g}ol 'sq}/

pue sq]9 'sr.119 'srllt 'splt ul a;e:s uerpxloxtl aq] uMop pue dn ,{e;d uer no1

^ s example shows a more melodic way of p lay ing 6ths. l t a lso demon-s:-ates how sixths lay on the fifth and third strings.

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

35SOLOING WITH THE MIXOLYDIAN MODE

tcot/\ Nvtc^toxty\ lHl- HltM cNtotos

'aPou)

uerpfi1oxr61 aqluo Peseq s, ,,sar)seql LuoU dn,, tlH

'xuPueH tuJtr

'ruoq] jo lle ]no-)fer.lf, os punos ltlsualleleqf,u/!\o s]r seq qtef 'sr.iil pue 'sq]g 'spJt o] sotpnls 1o edril oues oLl] ,{;dde uerno{ 1nq ane}fo aL1} ur leruo}ur ,{lane ro} sosrf,Joxe 1no 6url;M s}!q!qord ered5

yone vd p6ne vd:eur-1 6uugg g pue C alll ssolcv

,,'aul; 6url1s g pue C,, aq],to oleMe og .slalj oM],iq peleredos ere sLllt polueur6ne pue ]arj e ,{q paleredes ere sq}t ,aroH

yOne

I E I I S , I I I E A S A N I IP R A G T I G E E X A M P L E S

-€'e a.e some musical examples to summarize, review and expand upon

:€ 3?Ctice examples.

Bl'ues lick ffil?ffiffiM1

1

ffiilIRock lick ffiSifdWSW

1+II

_/

1

1

LICKS, IDEAS AND PRACTICE EXAMPLES

srrdr vxl lf tlf,vud cNV svlct 's)l|l8S

L0

, --. --J e

t/^/9zlr II

I

zlr

T--lllf iiil ;;;165i#iFeui t,ii t;ou

A..ornp"nit"nt in " L"tin groou" EEEEI!

Ne* Ase lick bas.d on 7th, ESSEEIII

2 4 3 1 2 4 1 4

A rock/shuffle lick based on 6ths f,SSEEfEl1

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

2 - 2 1

LICKS, IDEAS AND PRACTICE EXAMPLES

slldNVXI lfttlvud cNV svScl 's)fn

aill,? ? =r?r?\ | \\

ffisrll? uo Peseq l)!l v

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

13 1 4

2 1 4 2 23 3

J - J

ne progression in the next example may be famil iar to you, since it was-sed by Blood, Sweat and Tears in the i r h i t song, "Spinnin 'Wheel . " l t is-sed in turnarounds and in the br idge or middle sect ion of many tunes. l t.vould be a good idea to fami l iar ize yoursel f wi th th is chord progress ioncefore at tempt ing the so lo. l f you have the tape that is avai lab le for th iscook, you can play along. The example goes through the progression twicero give you plenty of ideas for improvisation.

No matter what you are practicing, i t 's a good idea to break it down intosmal l , eas i ly d igest ib le p ieces. Pract ice these smal l segments sequent ia l lyover a period of t ime. A week is general ly a good amount of t ime to spendon a practice segment. Try to set obtainable goals for each day. A str ing ofsmall successes eventually adds up to a big success. Have funl

LICKS, IDEAS AND PRACTICE EXAMPLES 41

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

zizrezre

I

vlL

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

Example 58 Continued)

1 2 3 4 3 2 1 1 4 1 3 2 4 4 3 1 4 3

1 4 2 1 1 2 3 4

C 7

t1

--

II

LICKS, IDEAS AND PRACTICE EMMPLES 43

f tsnn cvlu ol- A oHj1

'uouum ueql remol one]ro ue spunos.relrn6 aql uorlelou prepuels ul +

-

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

',,9,, polletr oq lll^^ r.lllrl^^ aurl aq] seltrJ3ualolt D eLl],o llnf, eptsut aql .Jtoll

I ut ueutrM st trtsnL.u Jeltng 'sluoL!nllsul ]uela#lp lol posn aJe slalf lualoj

-jlc 'afeos ro ourl relnfrued e q]!/il ap|]uro) solou Llt!r.li!\ salef,rpur +ell oLlj

I

'#els aql ̂^oloq pue e^oqe qrlrd elerrpur o] pesn are ]eLl] sourl ore asaql

e e

tapro le]|loqeLldle ur seceds pue sautl oL1] uo ua]lu/!( {;e1euje1;e ere sa}oN'ttsnur

1o 6ullunn oq] ut pasn st seteds lno+ pue seutl a^t, 6urureluoe #els v

'arllof,oq llt,v\ }tletsea

eq] '6urpeor errlcerd no{ erou eqI illelad seleuu ef r}trero }eLl} JaqurouJeu'sf,tseq 6utpeet f,tsnul jo uotssntstp e st sMollo+ ]eqM .suet3tsnul Jaqlotllyvt ,{;rsee oroLu o}ef,runurujof o} elqe eq lllM nor{ esneceq ,oo} ,uerfrsnLu

ro]]aq e no,{ a)eul lltM }l .s)ooq leuot}tnr}sul pel}lv pue doqslroM rettnc

leuorleN .rnor{ 1o }no }sour eql le6 o1 no{ d;eq ;1ran trsnuJ peor ol ourureel

XISnn t 10I [,10R EUTU

--e staff is divided by vert ical l ines called bar l ines. The space between

:. ' . ,o oar l ines is a measure. Each measure (bar) is an equal unit of t ime.

)ouble bar l ines ( f ) mark the end of a p iece.

ffi

, / \ ,,, \

Every piece of music has numbers at the beginning that tel l us how to countthe t ime.

Examples: 4 3 64 4 8

The top number represents the number of beats or counts per measure.The bot tom number represents the type of note receiv ing one count .Example: { : quarter note 8 : eighth note

Sometimes a C is writ ten in place of 4/4 t ime. This is cal led common t ime.

o

IaIab

a

Na '

A whole note

A half note

A quarter note

An eighth note

A sixteenth note

four beats

two beats

one beat

1/2 beat

1/4 beat

Ji l | )a a

NNNNa a ' a ' a '

I| ) h

a a

NNNNa t ' a ' a '

)

| ) | )a a

NNNNa u ,a ,a '

)

b ba a

NNNNa a ' a ' a '

HOW TO READ MUSIC

lctn9 3unt_\n8v1.n

'sesaqlualed ur alou patl aq] 6urre;d {q gvt ut pe}eftput st trtsnul orl} u! all v

.]oll

uiunol aqr s{e;d .ra6ur1 gunol aq} pue '}ar} pr!r{} eqr sr{e1d ra6ur1 prq} ueql'14.11 puoces aLl] uo.ra6ur1 puof,as aql qll/vl per{e;d st e}ou }xau aqf .lel} }sl}eql uo .ra6ur1 lsrU aql qrlm par{e;d sr e}ou }srU aq} ,e;durexa 6urano;;o1 aq} ul

'te6ur1{1urd lo Lluno} Uolrno{ seleerpul ,,1,, y 'ra6url xeputJo }slt} ga;rno{ sa}e)rpur ,1,, V

.eurl uro}-loq aql rapun 1sn[ r-ueq] pul] lllm no1 .gvt ut pepnlf,ut uouo ate s6ug.ra6ug3

'uado 6uu1s ]eq1^eld ' ,0,, ue sr aJaql ,tl .sleJ, olef,rpur o1s6ur.r1s aq1

uo paceld are srequnN '6uu1s 3 /v\ol aql sr eull ruolloq aq+ pue (roou et1}

ol Fasolf, ourJls eq]) 6uuls I q6lq aql st eu;; do1 eqg ..relrn6 aq] jo s6ur.rlsxts eql alef,tput o] pasn are sautl xts 'uotlelou plepuels aql ol lalol ola^eq llt/!{ nor( '1eql JoJ 'polelou lou sr urqilq.r ,lsour ur se ,uralsr{s gvJ- lno ul'6urr{e;d re1rn6 ur sor}tlrqrssod ,(ueur oq} 6ur}ef,runururo).ro1 u.re1s{s a1e;duoe

lsoul oLl] saprnotd 'uor1e1ou Jsnul plepuels qllM pautqulof, uaqM ,alnlelqel

XUn.[UIEUI d0il5ilU0llll r_rUU.[IN9 TUI{OIIUN O.I. XEINg V

llanrmer-ons and pull-offs are indicated with slur marks, just like in standard-,otation. Our TAB also includes an "H" for hammer-ons and a "P" for pull-

ct. These are found iust above the TAB.

P P P/^\ /^\ /^.

Upward bends are marked with upward arrows. Downward arrows are usedto show a bend being released. A number above the arrow indicates howfar to bend (1 = a whole step, 1/2 = a half step, etc.). Remember that theTAB wil l show the fret number on which your f inger should be placed. The

standard notation corresponds with the fret shown in the TAB. In the follow-ing example you wil l also f ind a tap [f) and a sl ide (S and z). Also, noticethat i f more than one note are played with one bend, they appear in paren-theses in the TAB. Some notes are actually represented by the arrows them-selves, as in the second note of the tr iplet in this example.

1

it

1

In the fol lowing example you wil l f ind several more symbols. The sign forvibrato (,rnr.rr,), and the signs for picking down (Fl ) and the sign for pick-i n g u p ( V ) .

V V l l V - V I I

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

TABLATURE 47