EXAMPLE 9 Here we have a classic example of a country-rock style line that uses a combination of chromatic bridging (see previous issues) and enclosure to link descending scale 6ths.
EXAMPLE 10 Next, we have the first of three lines that stem from CAGED shape #3. In this one, a series of four-note enclosure motifs are used to target each note of the underlying A major arpeggio (A-C#-E).
EXAMPLE 11 We’re targeting the notes of an A major arpeggio again here, only, this time, via a series of three-note enclosure motifs, creating the same ‘three-against-four’ feel featured in Examples 1 and 4.
EXAMPLE 12 In this, the last of our CAGED shape #3 lines, chromatic notes only ever come from a semitone below the target note and are always on the offbeat. Note that, in bar 46, our groupings have now grown to six notes long. This still produces rhythmic displacement, but the effect isn’t as radical or obvious as repeating groups of five.