[General] The main exercise involves playing a series of two-bar triplet Mixolydian lines over the same chord-type in different keys all over the neck. It’s vital to put each line into visual context, and be aware of which intervals you are using from the underlying scale pattern, and any notes that fall outside. If you just learn each line parrot-fashion without seeing how it relates to the scale, you will not truly understand it or be able to adapt it to different situations. Although written in 12/8, all the lines in this lesson could serve as eighth-note triplet lines in 4/4 at moderate tempos. Despite the fact you are not improvising at this point, this exercise is solid preparation for playing over chord changes, as it requires you to think of the line belonging to the chord on which you are playing, as well as the one associated with the following chord. Finally, the lesson shown in the transcription and demonstrated by me against the backing track is an exercise, not a solo: it is a technical study designed to encourage scale visualisation and the development of shape-specific musical repertoire. [Bar 1 (A7 shape #1)] Although the most logical scale for static dominant 7th chords, Mixolydian (1, 2, 3, 4, 5, 6, b7) is often considered too sweet and sanitised - almost too ‘correct’ to have any element of danger. So a bit of dirt is often added in the form of the Blues scale (1, b3, 4, b5, 5, b7), which is either used as an alternative to, or in close conjunction with, Mixolydian. The latter approach often just results in the two notes that are unique to the Blues scale (b3 and b5) being used as passing notes within Mixolydian. This first example starts with a double-stop bend whereby the 6th and b3rd intervals (tension) are bent up to the chord tones b7th and major 3rd (resolution). Most of the following notes in bar 1 are taken from the Blues scale (tension) only to be ‘corrected’ back to the major 3rd (C#) at the end of the bar. The descent in bar 2 can be thought either an A major triad with chromatic bridging notes between the E and the C#; or an A major triad with the introduction of A Blues notes before resolving at C# (3rd). To make the resolution complete, the line finishes with a slide up to the root note (A).