Example2 Dominant and Diminished over 7#9

Here we echo the same transitional ideas seen in Example 1, although in this instance we’re adding a major 3rd to our Pentatonic/blues ideas to create more of a Mixolydian flavour (R-2-3-4-5-6- The fingering for the Half-Whole scale

Eis symmetrical, so any pattern, lick or melody that you play can be repositioned and effectively transposed to a different location in the scale by shifting up or down in three-fret leaps.