Here's some of my solo ideas for this. Pretty much the respective (E, A & B) mixolydian and minor (blues) pentatonic scales with passing tones and mixing the two paying special attention to phrasing sometimes with the major 3rd and others with the minor third.
These are all the same structures in the 3 different keys at different (though by no means only) positions
()= passing tones
[]= seldom used
The cool emoticons
are supposed to be 8's in parentheses
Over E
E Mixolydian
(/) Slide Up (\) Slide Down (h) Hammer On (p) Pull Off (b) Bend (r) Release (v) Vibrato
E|--------------------------------
B|--------------------------------8--
G|-------------------4--(5)--6--7-----
D|-----4--(5)--6--[7]-----------------
A|--7-----------------------------
E|--------------------------------
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E minor Pentatonic
(/) Slide Up (\) Slide Down (h) Hammer On (p) Pull Off (b) Bend (r) Release (v) Vibrato
E|-----------------------------
B|-----------------------------
G|-----------------------7--(8)--9--
D|-----5--(6)--7--(8)--9-----------
A|--7--------------------------
E|-----------------------------
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a little lick
(/) Slide Up (\) Slide Down (h) Hammer On (p) Pull Off (b) Bend (r) Release (v) Vibrato
E|--------
B|--------
G|--------
D|----7-5h6--
A|----------7
E|---------
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Over A
A Mixolydian
(/) Slide Up (\) Slide Down (h) Hammer On (p) Pull Off (b) Bend (r) Release (v) Vibrato
E|---------------------------------5--
B|--------------------5--(6)--7--8-----
G|-----4--(5)--6--[7]------------------
D|--7-----------------------------
A|--------------------------------
E|--------------------------------
http://www.guitartabcreator.com
A minor Pentatonic
(/) Slide Up (\) Slide Down (h) Hammer On (p) Pull Off (b) Bend (r) Release (v) Vibrato
E|------------------------------
B|------------------------8--(9)--10--
G|-----5--(6)--7--(8)--9------------
D|--7---------------------------
A|------------------------------
E|------------------------------
http://www.guitartabcreator.com
a little lick
(/) Slide Up (\) Slide Down (h) Hammer On (p) Pull Off (b) Bend (r) Release (v) Vibrato
E|------5-
B|-------
G|--5/6-----
D|-------
A|-------
E|-------
http://www.guitartabcreator.com
Over B
B Mixolydian
(/) Slide Up (\) Slide Down (h) Hammer On (p) Pull Off (b) Bend (r) Release (v) Vibrato
E|--------------------2--(3)--4--5--7--
B|-----2--(3)--4--[5]-----------------
G|--4-----------------------------
D|--------------------------------
A|--------------------------------
E|--------------------------------
http://www.guitartabcreator.com
B minor Pentatonic
(/) Slide Up (\) Slide Down (h) Hammer On (p) Pull Off (b) Bend (r) Release (v) Vibrato
E|------------------------5--(6)--7--
B|-----3--(4)--5--(6)--7-----------
G|--4--------------------------
D|-----------------------------
A|-----------------------------
E|-----------------------------
http://www.guitartabcreator.com
a little lick
(/) Slide Up (\) Slide Down (h) Hammer On (p) Pull Off (b) Bend (r) Release (v) Vibrato
E|--10/11------
B|---------12--
G|-------------
D|-------------
A|-------------
E|-------------
http://www.guitartabcreator.com
I'll often play the minor pentatonic position but with a hammer on or pull up of the flat 3rd to the major third.
I'll also exclude the 4th ([]) somewhat in the mixolydian.
The biggest thing is merging the 2 approaches, the most obvious being using the major third in the minor pentatonic scale and the minor third in the mixolidian scale.
What I'm designating as passing tones are also part of chromatic run options.
A chromatic run is sometimes a nice bridge to a chord change.
I'll sometimes slip back into E over the 2nd 4 beat portion of the B chord.
Bending a half step is something I often do, sometimes releasing at a chord change to a note that's part of the chord makeup I'm transitioning to.
One very important thing to note is that if you look closely you'll see that between the 2 scale approaches w/ passing tones, all but one note (the flat 2nd?) are being used within an octave. To me this highlights how much 'space' and possibility exists for phrasing.
Internalizing intervals is really important for creating purposeful phrasing that may buck standard scalular ideas within a broad octave based structure.
Does that make sense? hehe