EXAMPLE 13 More 11-note groupings here. This time, we’re applying the principle to a three-notes-per-string pattern that spans CaGed shapes #4 and #5 and employs string skipping.
EXAMPLE 14 Finally, we finish with a line that use 12-note groupings utilising the same three-octave symmetrical fingering employed in example 11; only, this time, we’re ascending instead of descending. as with example 8, notice b3rd, how we finish with a bluesy C (adding a not found within the a dominant Pentatonic scale) but bent towards the more appropriate C# via a shallow quarter-tone bend (known as a blues ‘curl’). I hope that you enjoy these ideas and can begin to incorporate them into your day-to-day playing.