EXAMPLES CHROMATIC BRIDGING
EXAMPLE 14 This line has been designated to shape #4; however, you might find the fingering too stretchy and complicated, so you should try relocating various notes until you find the most comfortable position. If everything ends up in CAGED shape #5, you should get to know it as a shape #5 line.
Example 15 This line starts in shape #4 but ends up in shape #5. Make sure that you maintain your visual references throughout each line; that way, you won’t get lost, and you’ll be able to apply the same line(s) in different keys.
Example 4 16 For the final two lines, we shift up to CAGED shape #5. This line features a mixture of approach notes and bridging moves comprising notes both on and off the beat as well as from both above and below the target notes. Note that the underlying theme in bar 62 is country-style 6th intervals extracted from the scale and linked together using various chromatic approach notes.
Example 17 Finally, this shape #5 line demonstrates some of the ear-bending effects that can be achieved by applying a close succession of chromatic moves. For a bluesy twist at the end, we return to the Am6 Pentatonic scale from Examples 2 and 7; note the characteristic quarter-tone blues ‘curl’ on the minor 3rd (C note).