[Bar 41 (A7 Shape #5)] Again, there are two possible perspectives for much of the activity in this final line. For example, the first three notes could be two notes of A Minor Pentatonic/Minor Blues scale resolving to the major 3rd of A Mixolydian (C#); alternatively, the same three notes could be seen as a ‘double chromatic’ approach to the chord-tone C# (3rd of A7): here, approached via a combination of notes a semitone above and below. In fact,
Ethis entire line features a lot of chromatic approaches to chord tones. Firstly, an Eb is used as a chromatic bridging note leading from the 5th (E) to the 4th (D) to set up a sense if suspension (sus4) before being resolved to a C# (3rd of A7) via a chromatic ascent from B and C. Finally, the line concludes with the same ‘double chromatic’ approach to a C# note observed at the very start of the line, only this time an octave lower.