cd track 51
This line, also in shape #4, demonstrates the same concept as the previous example, only here our diatonic triads are taken up through the scale (in other words, ascending, rather than descending).
This shape #4 example employs chromatic notes a semitone below each target note and utilises a mixture of on- and off-beat approaches.
Our final shape #4 line features a mixture of on- and off-beat chromatic notes approaching target notes from both a semitone above and below. The target notes in bar 63 are all notes of the parental A major triad (A-C#-E).
Here’s the first of two examples stemming from CAGED shape #5 of A Mixolydian. Bar 66 comprises a succession of descending triads. An on-beat chromatic note is used to approach the lowest note in each triad from below.
Finally, this shape #5 example features a healthy mixture of onand off-beat chromatic approach notes from both a semitone above and below various target notes. It starts in shape #5, but finishes up in shape #1.