cd track 51
Our final shape #1 line features an equal mixture of on- and off-beat chromatic notes approaching both from above and below.
Next, we move things up to CAGED shape #2. We’ve learned that chromatic notes played on on-beats are more dissonant that those played on offbeats. Here, we take it a step further by playing each chromatic note twice. The resultant effects (again, based around the A Major triad) are quite striking.
And here’s a shape #2 example that uses approach notes from a semitone above only: each one played on the off-beat.
This line is the first of three examples stemming from CAGED shape #3 of A Mixolydian and features a mixture of approaches. Bar 38 demonstrates the use of chromatic approach notes from a semitone below each target note. Each chromatic note is on the off-beat and all of the target notes are from the parental A triad (A-C#-E). Next, in bar 39, we have a 3rd-based scheme whereby, in each beat, the lowest note is followed by a note a semitone below which leads back to the original note, and the fourth note in the beat is a scale 3rd above the first note. The final note in bar 39 is a semitone above the following note at the start of bar 40. That bar features some approach notes from below, all of which are played on an off-beat. Finally, note the bluesy minor 3rd at the end of bar 40.