[General] The main exercise for this lesson involves playing a set series of one-bar triplet Mixolydian lines non-stop, over the same chord-type in different keys in all areas of the neck. These one-bar lines have been derived by editing the two-bar lines that we looked at in the previous lesson. The point now is that you have half the time on each chord, and so need to think twice as fast. [Bar 1 (A7 shape #1)] As we saw in the previous lesson, the Blues scale (1, b3, 4, b5, 5, b7) is often used as a grimier alternative or in close conjunction with Mixolydian. If taking the latter approach, the close interplay 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 3rd intervals (tension) are bent up to the chord tones b7th and maj 3rd (resolution) respectively. Note how the rest of this line is composed entirely of chord tones (relating to A7).