ExEAMpLES PERMUTATIONS OF FOUR-NOTE UNITS
EXAMPLE 4 Moving on, we get to CaGed shape #5. This features a mixture of 4-3-2-1 and 1-2-3-4 note-order permutations.
EXAMPLE 5 The previous examples all featured diatonic 7th arpeggios played in series from within the scale (ie shifting up or down by 2nd intervals); however, this line, which is based around CaGed shape #1, sees a 4-2-1-3 permutation applied to arpeggios that are each down a 4th from each other. note that it finishes off with an ascent of the a Major Blues scale, before finishing in bar 19 using the notes of a conclusive-sounding a Major chord: a BC C# e F# a major blues scale - 12 356 EXAMPLE 6 This example is also based around CaGed shape #1; however, this time, the arpeggios (all following a 1-2-3-4 note-order) ascend in 3rd intervals; coEnsequently, it is possible to view1t2his same line as being constructed from one large extended arpeggio shape (sometime referred to as a super arpeggio – iDn this case, a13): note that the second half of this line (the blues-rock bit) features the same chromatic C to C# (Minor to Major) move in two different octaves. EXAMPLE 7 We’re back to CaGed shape #1 for this next line, which features 7th arpeggios being played a scale 6th lower each time. It starts off with the a Minor Blues scale. b a minor blues scale ... before being ‘corrected’ back to a Mixolydian via our now customary shift from C (Minor third) to C# (Major third).