ExampleS permutations of four-note units

This and the following line both shift through three shapes (via symmetrical fingerings shifted through three octaves through shapes #2, #1 and #5). To add interest here, the notes have been put in groups of 10, which causes each motif outlined in the transcription to be rhythmically displaced, as the underlying pulse is in groups of four (16th-notes).

This line works on the same principle as the previous one, only this time each motif is nine notes long.

Here, we’re shifting from shapes #3 through #2 and then down to #1. The first half is entirely A minor Blues scale, whereas the second half starts off as A Dorian, but then shifts to A Mixolydian via (as usual) the transition from a minor 3rd (C) to a major 3rd (C#).

This final line starts off in shape #5 and moves up to shape #1. There is a free-flowing ambiguity between minor and major here. Again, listen out for the sour effect of the C notes compared with the more settled C#.