ExamplEs mixolydian and blues scale licks
This shape 3 line starts off with some country-style bends th#e B#to whEexre6by C# bend is held throughout the first five notes. it starts off in aoeC (moeinooer 3nrdoe) f#oloelowedoeby
Coe# Mixolydian, but the last two notes in bar 25 are a (majo&r 3rd). although bar 26 could be viewed as a minor Blues scale finishing on a C#, it could also be seen as the notes of a7 (a-G-e-C#) with a chromatic bridging motion between the e and C#. LEike&previous
This line is typical of what BB King would do around CaGed shape 3. lines it shift7s fro1m0 a8Min9or (via a C note) to a Mixolydian via a traEnsition from a C9to a C#.
similarly, make a note of all the points where minor is inferred using a C note, and where this tension is resolved to a C# note, as in this shape 3 line. Like example 3, this shape 4 line starts off with some rhythmic voeia theoerepetitio displacement n.of a four-note motif over a three-note count. The change in rhythmic emphasis helps to sustain interest. apart from the now
C#.notes, t∑he. customary interpolation between C and note that re is a bend towards the end between d (4th), e an∑d back again before – despite the pure Mixolydian start – finishing on a dark-sounding minor 3rd (C).