When using harmonized thirds from the mixolydian scale for fills, I commonly find that the 3-5 double stop is played as b3-5 with a microtonal bend placed on the b3 to bring it closer to the major 3.

In the key of E this would be G-B curled to G#-B, visualised as the b3 and 5 within an Am shape chord on the B and e strings.

It certainly sounds right and adds blues tension.

Is this the only explanation necessary?

Any other examples of similar ideas or tricks?

Cheers,

Chris