ExAa1mplEs mixolydian and blues scale licks
This Blues saraceno line features some rhythmic displacement
m#eansoethnaoet empoehasoeis ¡coehjanoegeoejs thoeroughoeout.oealtjhooeughoe couEnxt,2whic#h in bEaxr 92 as, from beat 2, we have a two-note motif repeated to a three-note thje
also¡injcorpojra (oeF#) woehich oe(domoe moeajoroe6toeh Mnioexooelyjdoe minor Pentatonic at the start, bar 9 tes a inoeant
(minoeojr:oea-Boe-C-de-F#-G). aoend is common to both a ian ) a dorian You don’t have to always travel from minor (tension) to dominant (resolution). Here, we have 3rd (C#) at tBhUe start of bar 10B,bUuBt on a minEor 3rd (C) at the5end of the sam5e b7ar.7
This rob5ert Cra7y-(s9ty)le5line7al7so s5tartBsUout usin5g a do7ri(a9n)(m(7i)nor), butBis then ‘corrected’ via a C# note back to a Mixolydian (the only difference between dorian and Mixolydian is that dorian has a minor 3rd, but Mixolydian h.as a major 3rd). This~li~ne~in off.with r∑ay.
CaGed shape 2 starts a stevie vaughanoestyle (eb).oeTheoebul
natioeo~n~o~oef h∑o.wever, combi bends whereby a 5th (e) is followed by a flattened 5th
m∑inor Blues scale; it oeis s#troeaightforward up∑to. 3∑rd.) k ofoethe loeine a concludes in bar 19 with a C (minor 3rd) slid a C# (major before
root (a). Bar 21 of this example, whic5h is also in shape 2, features two in5which a C note is resolved to a C#. it finishes in bar 22 by staying within a major Pentatonic scale.