EXAMPLE 2 In the previous line, each chromatic note was on the downbeat; whereas, here, each one is on an off-beat and so won’t stick out so prominently to the listener (because all the notes on the down-beats will be consonant). This line, also stemming from shape #1 of A Mixolydian, features lateral motion (along the length of the neck) and each beat contains a scale 3rd in which we start with the lowest note, approach the highest note from a semitone below, and then return to the lowest. Finally, the second note in beat 2 of bar 5 is not shown in brackets because it is not chromatic (in other words, it exists within the scale).
EXAMPLE 3 Like the previous two examples, the chromatic notes in this shape #1 line are also used as a means of approaching a scale note from below; however, here we have a mixture of approaches whereby there are chromatic notes played on both on-beats and off-beats. Note how the second half of bar 10 finishes off with a bluesy-sounding, Hendrix-style A Minor Pentatonic idea. EXAMPLE 4 Again, another mixture of on- and off-beats. Bar 13 features some bluesy Pentatonic notes (mainly in the form the minor 3rd of A, C natural); whereas, bar 14 is based entirely around the notes of the parental A major triad; the three-note groupings providing a rhythmically engaging ‘3 against 4’ feel.
EXAMPLE 5 Here, we have more on- and off-beat chromatic approach notes played from a semitone below each target note; however, we also see the introduction of the concept of playing a chromatic approach note from a semitone above the target note (last note of beat 1 of bar 18). Generally, chromatic notes from above sound more dissonant than those from below.
EXAMPLE 6 All the chromatic approach notes used in this shape #1 line are from above and, rhythmically, all appear on an off-beat.