ExamplEs mixolydian and blues scale licks
The first double-stop in this shape 4 example, comprises a 5th (e) and a bend from C to C# (minor to major 3rd) resulting in two straightforward chord tones (5th and 3rd). This is followed by a sense of suspension via the 4th (F) at the end of beat 2 being resolved by a chromatic ascent to a C# (major 3rd) via a B and C note respectively. The final four notes are all chord tones related to the underlying a7.
similar principles are also used in this shape 4 line. note that the final four notes are taken directly from the very consonant-sounding a major Pentatonic scale.
Here, we have a line in CaGed shape 5. it starts exclusively within a Mixolydian (note B minor triad in beat 2 of bar 49) before seeing the introduction of the now familiar transition from a C note to a C# in beat 4 of
eb/d# the same bar. The introduction of the note at the start of bar 50 could be
(a-B-C-d-eb-e-F#-G) seen as being derived from either a dorian Blues scale or a Lydian dominant (a-B-C#-d#-e-F#-G). again, like example 12, the final four notes are taken from the a major Pentatonic scale.
Finally, we have a Blues saraceno line that’s based mainly around an a major triad and shifts from shape 1 to 2 to 3. The final bar makes a transition from minor (C note) to dominant via the bend to C#, to which a tapped root note is added.