example 8 You are not obliged to take a string-pair cell through all three octaves. Here, we’re covering two octaves only, and each octave is treated differently. note that this cell is a previously-unused inversion of the A11 hexatonic scale employed in many of the earlier examples. exa3mple 9 Another example that just spans two octaves, this one is based arou3nd the same string-pair cell used in Examples 2, 3 and 4.
eEaxch8oeoctave exa3mple 10 Here, the string-pair cell used over is obscured somewhat due to the melodic overlap between each octave. Refer to Diagram 1, which will help you to visually isolate each shape. Again, strictly speaking, this example only employs the cell in two octaves and is based on an inversion of the A minor Blues scale cell that formed the basis of Ex5. example 11 This final example features more instances of melodic overlap between each shape (hard to place a box around each of the lower two octaves); so again refer to Diagram 1 to help with the shape visualisation. Here, the Blues scale is arranged in the same 2-4 note configuration on each string-pair. And, melodically, each octave is treated differently.