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Transcript of Rws Book Web
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DVD 1
The Chromatic Scale, Accidentals and the Fretboard 4
The Minor Pentatonic Scale 7
The Major Pentatonic Scale 15
The Hybrid Scale 16
Using the Blue Note and the Blues Scale 18
DVD 2
The Diatonic/Major Scale and Basic Music Theory 20The Relationship Between Major and Minor Scales 23
DVD 3
Soloing Over Pop Songs 31
Soloing Over Blues Songs 40
DVD 4
Soloing Over Rock & Roll Songs 46
Soloing Over Metal Songs 50
DVD 5
Soloing Over Illogical Songs 55
Minor Pentatonic Shapes/Positions 58
Major Pentatonic Shapes/Positions 60
Hybrid Scale (in A) 62
Blues Scale Positions (in A) 62Major Diatonic Scale Positions (in G - Spread Fingering) 65
Progress Tracker 69
Table Of Contents
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Moderate
= 100.
Ex.1
The Chroma�c Scale, Accidentals, and the Fretboard
Music, as it is commonly known, has a total of 12 notes. These sequence of notes is called the chroma�c scale. We can think
about the chroma�c scale as the dic�onary or alphabet containing all the notes used in music. In order for us to visualize whatthe chroma�c scale is, we can use the piano keyboard as a reference:
If you look into the piano keyboard, it has a bunch of white notes and black notes, going all the way from C un�l the sequence
goes back to C (what we call an octave). First, we want to learn what those white keys are and what are their names. The white
keys represent notes that are named from A to G. Remember that there are no notes named H (unless you're German!), P, L, etc.
in music. As guitar players, we want to learn where those are on the guitar. To be able to iden�fy those notes is to go into the first
step of knowing how to iden�fy all 12 notes of the chroma�c scale on the guitar. We can call A, B, C, D, E, F and G as " naturals"
(because these white key notes are the ones you would naturally find and try to press first on a piano keyboard!)
A, B, C, D, E, F, and G amount to only 7 notes, and thus we lack 5 more notes for a set of 12 in the chroma�c scale. We can find
those 5 notes in the black keys of the piano keyboard. We will call these black key notes "accidentals". For instance, if we find
the note "C" on the piano keyboard, we will also find a black key to its right. We will call this black key C-sharp (C ). In reality,
C and C are really independent notes that just share the concept of "C" but are really not related at all. We can then move to D
and find the black keynext to it as D
.
If every white key or natural has a black key next to it, we'll end up with 14 notes. However, in music we only have 12 notes.
This brings us to the fact that in a couple of spaces on the piano keyboard, there are no black keys in between two white keys.
We need to focus on these. Remember that every note has a sharp except for B and E (BE = no sharp, unless you play something
like a violin or trombone, which is a very different topic from the guitar).
⁄
œ œ œ œ œ œ œ œ œ
œ œ
œ
3 4 5 62 3 4 5
1 2 3 4
1
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4
A standard piano keyboard has 88 keys. However, this doesn't mean that it has 88 dis�nct notes. The 12 notes of the
chroma�c scale just repeat themselves over and over across the piano keyboard or the guitar's fretboard. Once we go
from, say for example, a C to a C at a higher or lower register, this distance is what we call an octave. When we pluck our
open 6th string, for us guitarists it is an E. If we go up 12 frets (the fret with two dots), this is also an E but at a higher
register. This also means that we get the same sequence of notes on the upper half of the fretboard.
It is very important for us to memorize all of those notes on the 6th string. Knowing the fact that our open 6th string is an
E, we can logically deduce with our knowledge of the chroma�c scale that the note at the 1st fret is an F (being that E does
not have a sharp), the note at the 2nd fret is a F
, the one at the 3rd fret is a G, etc.
One of the most common problems encountered during the memoriza�on of the notes of the 6th string and others is that
there is a tendency for a student to count frets to arrive at a desired note. This is an inefficient prac�ce when trying to
memorize notes on the fretboard. The more efficient way of doing is so is through learning first what is the note on the 1st fret
and then learn what are the notes on the dots of the fretboard: By doing so, we can easily find note which note comes next
without a lot of memory work.
STEPS:
1. Learn the notes on the 1st, 3rd, 5th, 7th, and 9th frets (F, G, A, B, C ). Try quizzing on these notes with a friend e.g. "What
note is on 3?", "1?", etc. Just ask the numbers and gradually speed up.
2. To easily memorize where C and D are on the 6th string, think that those notes surround the dot at the 9th fret.
3. The next E is at the 12th fret (the fret with two dots)
4. Try quizzing on where the note is, e.g. "Where is B?", etc. and answer with a fret number.
5. Once you know what are the notes on the dots, you can deduce (using fretboard/music theory knowledge) what are the
notes on the other frets.
⁄
œ
œ œ
œ œ
œ œ
œ
œ œ
œ œ
w
5 4 3 2 15 4 3 2
6 5 4 3
1
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Ex.28
Ex.39
In many instances, we guitar players usually refer to accidentals as sharps. But every now and then, we would encounter
other musicians like clarinet and horn players that usually refer to some accidentals as "flats". What's a flat anyway?
For many reasons, we also need to be able to think about accidentals in terms of flats (b). F is at the 2nd fret while Gb
is at the 2nd fret as well. This means that F and Gbare the same note or enharmonic (two names for the same note).
Think of a flat as going down a half-step (flat �re). On a guitar fretboard, a flat is one fret lower. For example,
if G is at the 6th string 3rd fret then G
is at the 2nd fret.
⁄
Generally speaking, each sharp has an enharmonic flat e.g. G = Ab, D = Eb, A = Bb etc.
The general idea behind all of this is for us to get something usable, especially for soloing and improvisa�on, rather than
geng into music theory. While learning music theory is very important, Steve has another course for such a discussion.
We are just taking some music theory knowledge that is immediately usable for geng oriented with the fretboard and
being able to solo or improvise.
Now, we started out memorizing the notes of the 6th string. In a standard tuned guitar, we get a freebie. Since the 1st
string is tuned to the same pitch (albeit two octaves higher) as the 6th string, by memorizing the notes of the 6th string
we can precisely iden�fy the notes of the 1st string.
Let's now move to memorizing the notes on the 5th string. Remember to work on memorizing the notes on the fretboard
one string at a �me. Only try memorizing the notes of the 5th string when you have memorized the notes of the 6th string.
DON'T TRY TO MOVE TOO FAST. Take the �me to absorb and internalize the idea you are trying to learn before moving on
to the next one.
Now, the first thing about the 5th string is that it is tuned to A. To effec�vely memorize the other notes, use the same premise
as in the 6th string: learn the notes rela�ve to frets 1, 3, 5, 7, and 9. On the 1st fret, we get an A . Since an accidental kind
of throws a wrench into the system of learning our A to G straight without the accidentals, let's take into account that the
2nd fret note is a B. Following our rule regarding B and E, we find that the 3rd fret note is a C, the 5th fret note is D, and the
7th fret note is E. For F and G, let's just say that they're on each side of the 9th fret:
⁄
˙ ˙
3 2
œ
œ
œ
œ
œ
œ
œ
0 2 3 5 7 8 10
3
1
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Ex.410
The Minor Pentatonic Scale
In many instances, we guitar players usually refer to accidentals as sharps. But every now and then, we would encounter
other musicians like clarinet and horn players that usually refer to some accidentals as "flats". What's a flat anyway?
For many reasons, we also need to be able to think about accidentals in terms of flats (b). F is at the 2nd fret while Gb
is at the 2nd fret as well. This means that F and Gbare the same note or enharmonic (two names for the same note).
Think of a flat as going down a half-step (flat �re). On a guitar fretboard, a flat is one fret lower. For example,
if G is at the 6th string 3rd fret then G
is at the 2nd fret.
It is great to be able to play the first posi�on of A minor pentatonic, but the tendency is that most people will be limited
to just playing this and nothing more. We don't want to limit ourselves into playing in just one spot. We need to be able to
play all over the fretboard in order to maximize the use of the guitar. In this course, we are going to eliminate this limita�on
by looking into different ways regarding how we play the scale and how we apply it in a more musical sense.
Before we go further, memorize the first posi�on of A minor pentatonic. More than just memorizing it, try to visualize the
scale. Once you are able to visualize it, you can start playing it. You can choose to play the scale using a pure downpicking
technique or alternate picking. In either case, you want to become very comfortable with your flow so that you can learn
how to play it effec�vely. Play the scale over and over. Once you become used to playing it, meander or move around inside
the scale as shown in the next example:
Using the same premise as learning the notes on the 6th and 5th strings, we can learn the notes of the other strings as long as we
know for certain the tuning of the open strings.
Here are more things we can prac�ce to further improve our understanding:
1. Focus first on learning the 6th string. Once accomplished move to the 5th then 4th, etc.
2. Another sugges�on is to use memorize the 6th string then the 5th string and then compare between the 6th and 5th string.
For instance, look for G at the 6th string. It would be at the 3rd fret. Now try to look for G on the 5th string (10th fret). Take note
of their similari�es and differences regarding the pitch or register, sound, etc. Aer working your way through, try workin g on
comparisons between the 5th and 4th strings, 6th and 4th strings, etc. Not only will you be able to memorize the notes, you will
become capable of seeing rela�onships across the fretboard! In a realis�c situa�on, this is more useful for prac�cal applica�ons.
The next thing we need to do is apply the concept of learning the notes on one string to an octave above. For example, we have
learned the notes of the 6th string from 0 through 12. We can therefore realize that those notes are repatedin the octave from
the 12th fret up e.g. notes of the open string and the 12th fret are the same (except an octave higher), 1 and 13, 2 and 14,
3 and 15, 4 and 16, etc.
⁄
œ
œ
œ
œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ
œ
œ
œ ˙
5 85 7
5 75 7
5 85 8 8 5
8 57 5
7 57 5
8 5
4
1
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Ex.512
Ex.613
E
A
D
G
B
E
5 7 9
There is actually no rhyme or reason to playing the scale in the manner shown in Ex. 5. The point is that you should become
comfortable in being able to flow or move back and forth between notes within the scale. This is because we don't want to
just learn how to play the scale up and down (a method that doesn't have a lot of musical sense, plus it is not very crea�ve).
We want to be able to play side-to-side, move in and out and do all kinds of different things with the scale.
For now, focus on learning how to play the scale up and down. Once this has been achieved, take a second to look at the scale.
A minor pentatonic has A, C, D, E, and G. Obviously, you can find those notes below and above the box where you find the
first posi�on of A minor pentatonic. We want to learn where those notes are, so think about this: We can look at a guitar as a
set of six pianos (one string is one piano in this analogy) lined up together, each having a different star�ng note. These six
pianos (or strings), because of their different tunings, turns out to be that they're off center from each other rather than
straight. What we need to do right now is to learn how to play one of the strings across direc�ons so tha t we can move any
way we want to. To start, take the notes of the A minor pentatonic and place them all on the 6th string like you would in a
piano i.e. play the en�re scale on a single string. Play these notes star�ng on the 5th fret upwards un�l you run out of frets
then learn the notes going downwards to the open E:
⁄
⁄
1st posi�on - A minor pentatonic
œ
œ
œ
œ
œ
œ
œ
œ
5 75 7 5
7 57
œ œ œ œ œ œ œ œ œ œ œ œ œ
œ
œ
5 8 10 12 15 17 20 17 15 12 10 8 5 3 0
5
1
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E
A
D
G
B
E
5 7 9
Ex.715
E
A
D
G
B
E
5 7 9
E
A
D
G
B
E
7 916
On each one of those notes on the 6th string, we can build our way down the pianos or strings, playing the same notes, A, C, D, E
and G over and over. When you're on the first posi�on (6th string, 5th fret), that's really the only �me you can start on the A
un�l you reach the octave. From here, you can move up from the 5th fret to the 8th fret on the 6th string for the second posi�on
of A minor pentatonic. Now, let's start breaking apart our A minor pentatonic (first posi�on) into two halves:
To build our second posi�on, we start that by taking the half of the first posi�on that is on the higher frets (the ones with black
dots on the diagram) and then add in addi�onal notes to come up with a paern as shown in Ex. 7:
Despite star�ng at a different note and u�lizing different frets, you will no�ce that both posi�ons sound similar by virtue of
being the same scale. Compare and contrast both scale diagrams (roots are represented as white circles):
⁄
1st posi�on 2nd posi�on
⁄
œ
œ
œ
œ
œ
œ
œ
œ
8 107 10
7 107 9
œ œ œ œ œ œ œ œ
8 108 10 8
10 89
6
1
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17
Ex.8
18
21
23
ÍÍÍÍÍÍÍÍÍÍÍÍ
⁄
ÍÍÍÍÍÍÍÍÍÍÍÍ
1st posi�on2nd posi�on
ÍÍÍÍÍÍÍÍÍÍÍÍÍ
1st posi�on
ÍÍÍÍÍÍÍÍ
Ex. 8 compares and contrasts the first and second posi�ons of the A minor pentatonic scale:
⁄
ÍÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍ
2nd posi�on 1st posi�on
⁄
2nd posi�on
⁄
œ
œ
œ
œ
œ
œ
œ
710 7
10 710 8
œ
œ
œ
œ
˙
œ
œ
œ
œ
˙
œ
œ
œ
œ
œ
œ
œ
‰
5 85 7
5
5 8 107 10
5 85 7
5 75
œ
œ
œ
œ
œ
œ
œ
‰
œ
œ
œ
œ
œ
œ
œ
œ
5 8 107 10
7 10
5 85 7
5 75 7
œ œ œ œ ˙
œ
œ
œ
œ
œ
œ
œ
œ
œ œ œ œ ˙
5 85 8
5 8 107 10
7 107 9
8 108
7
1
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Ex.926
Ex.1028
1st posi�on 2nd posi�on
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
ÍÍÍÍÍÍÍÍÍÍÍÍ
As you will be able to observe, the A at the 4th string 7th fret serves well as a pivot point for both the first and second
posi�ons. In this way, you can move into the second posi�on with ease and expand your range because you will be ableto reach at least three notes more at the 1st string.
Observe the following lick shown in Ex. 10. This is an example of how you can expand the A minor pentatonic scale:
When trying to learn the first and second posi�ons (or any other posi�ons for that maer) of the A minor pentatonic,
it is very important to be able to see how they are connected together. Seeing these connec�ons enables us to move
from one posi�on to the next in the most comprehensive way possible. Being able to do so expands crea�ve possibili�es.
More oen than not, students oen take on the first posi�on well, start soloing with it, dabble with the second posi�on
and then move back. While you can do great things with it, you would want to be able to dominate the second posi�on(along with others) rather than just dabble with it for a short �me.
To establish connec�ons between the two posi�ons, let's take a look into where the roots are in both posi�ons:
⁄
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
ÍÍÍÍÍÍÍÍÍÍÍÍ
⁄
œ
œ
˙
œ
˙
™
5
7
5
7
10
œ
œ
œ
œ
œ
œ
œ
œ œ
11 10 8
108 10
1010 8
10
8
1
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Ex.1129
30
E
A
D
G
B
E
9 12Ex.1232
Having good knowledge of both first and second posi�ons of the A minor pentatonic will allow you to weave back and forth
posi�ons using techniques like sliding:
⁄
Because of the variety of places where the notes exist using both posi�ons, you will be able to sound differently just
because you have different ways of moving in between notes, something that is a lot limited in exclusively using the first
posi�on.
The third posi�on of A minor pentatonic starts at the 6th string 10th fret (D), and then moves all the way down. Because
of the placement of the roots in this posi�on, it is Steve's favorite posi�on, allowing him to do many things with it:
⁄
3rd posi�on
⁄
œ
œ
™
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
8 108
10 8 5 8 5 87 9 7
107
10
œ
œ
œ
œ
œ
œ
œ
œ
˙
œ
œ
œ
œ
œ
œ
œ
œ ˙
7 57 5 7
5 7 10 710
710 7
10 710
7
œ
œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ
œ
10 1210 12
10 129 12
10 1310 12 12 10
13 1012 9
12 1012 10
12 10
9
1
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E
A
D
G
B
E
12
Ex.1335
E
A
D
G
B
E
3 5
Ex.1438
4th posi�on
IMPORTANT TIP: While it is good (from a technical standpoint) that you can play your pentatonic scale paerns up and
down against the beat of the metronome, it is beer if you are capable of playing your scales in a non-linear
fashion. Learn how to move and play around the notes of the scale since this is beer from a crea�ve standpoint. You can
come up with more melodic ideas this way rather than playing all of your scales in a linear, sequen�al fashion.
Ex. 13 shows the A minor pentatonic scale in the fourth posi�on:
⁄
5th posi�on
”
Ex. 14 shows the fih posi�on of A minor pentatonic. While we can start the 5th posi�on at the 6th string 15th fret, we can
also use the same scale shape star�ng at the 6th string, 3rd fret
⁄
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ œ œ œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
12 1512 15
12 1412 14
13 1512 15 15 12
15 1314 12
14 1215 12
15 12
œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ
15 1715 17
14 1714 17
15 1715 17 17 15
17 1517 14
17 1417 15
17 15
1
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E
A
D
G
B
E
2 3
1 4
1 4
1 3
2 4
2 4
7 9
Ex.1541
4 1 3
2nd posi�on
1 3 ÍÍ
1 3 1 3 1 3 1
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
FINGERING: One dilemma a guitar player would eventually be faced with is is fingering. What fingers of the freng hand should
be used to play the scale? It is usually a ques�on of what is logical versus what is comfortable.
What we call "logical" fingering involves the use of one unique finger per fret. We can see this as placing all four fingers
on four frets that are beside each other e.g. index finger on 5th fret, middle finger on 6th fret, ring finger on 7th, and
pinkie on 8th. During prac�ce and learning sessions, Steve would typically use logical fingering to reinforce good habits anddevelop technique. Let's take the 2nd posi�on of A minor pentatonic as an example. Logical fingering labels are present on
the diagram below:
Ideally speaking, logical fingering should be used. However, in a jamming or playing situa�on, there are �mes when logical
fingering is just imprac�cal or uncomfortable to u�lize properly. It is where the more comfortable fingering is used. This isbecause when improvising, a player doesn't really know for certain where he/she is coming from and where he/she is headed to.
Ex. 15 demonstrates an example of comfortable fingering rather than logical (fingering is indicated in the numbers above the
notes on the staff:
Observe the slide from fret 7 to 10 on the 4th string where the 3rd finger of the freng hand lands on 10. In the next bar,
Steve has no problems switching between frets 7 and 10, comple�ng the passage with just those two fingers. This does
not follow the four-fingers-over-four-frets logical fingering rule, but it is just as useful under any playing situa�on.
When it comes to fingering, the point is that all of these things will get beer, but it is important to be aware of what you are doing
and why you are doing it. It's not just a maer of using recommended fingerings and that is it. You need to learn how to feel your
way around the fretboard! Learn how to see, go in and out and then back and forth all of these scale posi�ons. Aer learning all
five posi�ons of the minor pentatonic, we can then proceed to look into the major pentatonic scale.
⁄
ÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
œ
œ
œ
œ
œ
j
œ
™
œ
œ
œ
œ
œ
œ
œ ˙
8 5 7 57 10 7 10 7
107
10 7
1
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Ex.1643
E
A
D
G
B
E
3 5
E
A
D
G
B
E
5 7
E
A
D
G
B
E
7 9
E
A
D
G
B
E
9 12
E
A
D
G
B
E
12
Going back to our A minor pentatonic scale, learning all of its five posi�ons enables us to also play the C major pentatonic
scale in all posi�ons because C major pentatonic and A minor pentatonic share the same set of notes but have different notes
emphasized as roots. One easy way to remember how to do this is if you assume a minor pentatonic scale in the first posi�on,
if your start the scale at the note stopped by your index finger then it is minor. If you start out with your pinkie, you get the same
scale but major.
What just happened here is that we played the minor pentatonic scale three frets down from A minor pentatonic to come
up with its parallel major scale (A major is parallel major of A minor). Therefore, just shiing our five posi�ons of the minor
pentatonic three frets back will get us our parallel major pentatonic version.
We can also say then that this scale, F minor pentatonic, is the same as A major pentatonic (A major is rela�ve major of
F minor). For many people, such as Steve himself, in terms of the pentatonic scales, it is easier to imagine the minor
pentatonic (given the fact that minor pentatonic is usually taught first). So, it is very much feasible to think of major
pentatonic scales as their rela�ve minors first BUT with emphasis on the root note of the rela�ve major. In this case,
we can think about playing the A major pentatonic by visualizing and playing them F minor pentatonic because they share
the same notes BUT with emphasis on A as the root so that it will sound like a major pentatonic scale rather than minor.
The next step then is to visualize and learn all five posi�ons of the major pentatonic posi�ons. As stated before, these are
exactly the same as the five minor posi�ons but shied down three frets. Root notes are labeled as white circles:
Let's say we're playing in the key of A major rather than minor, we would opt to use the major pentatonic scale. As a point of
reference, we can start learning the major pentatonic scale using the minor version as a point of reference. Assume the first
note of the first posi�on of A minor pentatonic using the pinkie of your freng hand. Now, con�nue playing by playing the
first posi�on minor pentatonic from that reference point to end up playing the major pentatonic scale. A transcrip�on of thisis found in Ex. 16:
The Major Pentatonic Scale
⁄
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ œ
5 2 4
2 42 4
2 52 5 5 2
5 24 2
4 2
4 2 5
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46
49
Ex.1752
1st string - minor 1st string - major 2nd string - minor
Steve once had a teacher that taught him how to solo in a 12-bar blues this way: use minor pentatonic over I and V, use major
pentatonic over IV. It seemed very cool and it seemed like it was all there is to playing the blues. However, there actually
is more than that.
Being able to play in a "bluesy" way involves a peculiar combina�on of minor and major pentatonic scales all in one song.This leads us to the concept called a "hybrid scale". Many of the blues greats would combine both pentatonic scales in a
certain way that would immediately lead to people think that that is blues. We would visualize superimposing the first
posi�on of minor pentatonic over the second posi�on of major pentatonic to come up with the hybrid scale. It does not
mean, however, that playing the hybrid scale will automa�cally sound bluesy already. It requires that a guitar player be
crea�ve with the movement of the notes to get the hybrid scale to sound like the blues masters. The goal is to be able
to add everything to gether BUT play the notes selec�vely. To do this we need to understand where the "minor" and
"major" por�ons are per string in the hybrid scale. We will iden�fy these in components in our first three strings.
These are labeled accordingly in the tab below:
The Hybrid Scale
⁄
2nd string - major 3rd string - minor 3rd string - major
⁄
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
While we can actually play the hybrid scale over the first three strings, it sounds beer if we selec�vely play each note
in a way that is nonlinear and more idioma�c of the blues genre as seen in the example below:
⁄
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
˙
˙ ˙ ˙ ˙ ˙
8 5 7 58 5
˙ ˙ ˙ ˙ ˙ ˙
7 55 7 4 6
œ
œ œ œ œ œ
œ
œ œ
J
˙ ™
‰
5 75 8 5
7 55 6
7
13
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Ex.1854
Ex.1955
Ex.2057
ÍÍÍÍÍÍÍÍÍ
In the hybrid scale, we come across a chroma�c sequence of notes over the third string. Rather than playing the chroma�cs
in a linear fashion, we will avoid doing so to come up with a more bluesy or jazz-blues lick as seen in Ex. 18. Again, the reason
why we play the notes in such a way is to come up with something more musical:
⁄
ÍÍÍÍÍÍÍÍÍ
For the 4th, 5th and 6th strings, we can also do the same sort of experimenta�on with they hybrid scale. Here is
another example:
⁄
ÍÍÍÍ
ÍÍÍÍ
Ex. 20 shows how we can cover all six strings with the hybrid scale. Again, the key to using the hybrid scale effec�vely
is to be crea�ve with it by exploring the scale in a nonlinear fashion.
⁄
ÍÍÍÍ
œ œ œ œ œJ œ
™
7 4 5 65
5
œ
œ
œ
œ
œ œ
œ
œ
œ
œ
Œ Ó
54 7
5 7 7 57 4
5
œ
œ
œ
œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ
œ
œ
j
œ
™
54 7
5 75 6
5 75 8 8 5
7 56 5
7 57 4
5
14
1
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Ex.2160
Ex.2262
64
Blue Note Blue Note
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
Using the Blue Note and the Blues ScaleWhat makes a blues scale sound unique is the use of a "blue" note. The blue note is a flaed 5th added to a minor
pentatonic scale to create the blues scale. Check out Ex. 21 and you will find where the blue note is when we turn
an A minor pentatonic scale into a blues scale:
⁄
Blue Note Blue Note
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
Blue NoteBlue Note
When we play a blue note along with the root, we get an interval called a diminished 5th, probably the most dissonant
sounding interval in music (it was even called the "devil in music" in the past!). To make a blue note sound good in a
musical context, we use it as a passing note. It o�en adds emphasis or "drama" to the note that follows it.
⁄
Blue Note
Blue Note
Blue NoteBlue Note
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
⁄
Blue Note
Blue Note
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
œ
œ
œ
œ œ œ œ
œ
œ
j
œ
™
˙
5 85 6 7 7 6 5
8 5
œ
œ
œ
œ œ
œ
œ
œ
œ
œ œ
œ
œ
œ œ
œ
5 85 6 7
5 75 7 8
5 85 8 8 5
œ œ œ œ œ œ œ
œ œ
œ
œ
œ ˙
8 58 7 5
7 57 6 5
8 5
15
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Ex.2366
68
Ex.24 Ex.2569
Ex. 23 shows an interes�ng lick that u�lizes blue notes well:
⁄
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
Always remember that a blue note is used as a passing note. We do not emphasize the blue note simply because it will
sound nasty as an emphasis note. Rather, we use the blue note in passing to enhance a melody.
⁄
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
ÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍ
If we were to turn a major pentatonic scale into a blues scale, since we concluded earlier that the minor pentatonic
and its rela�ve major equivalent are the same scale that only differ in what's considered the root note, we will find the
blue note in the exact same spot. It is a minor 3rd from the root note of the major pentatonic scale. In the next few
examples, you will find out that the blue note featured in Ex. 24 (F minor pentatonic) is the same as the blue note in
Ex. 25 (A major pentatonic).
⁄
ÍÍÍÍÍÍÍÍÍÍÍ
ÍÍÍÍÍÍÍÍ
œ œ œ
œ
œ œ œ œ œ œ œ œ œ œ
œ
œ
7 85 8 5 5
8 7 57
5 7 85 8 5
œ œ
œ
œ ˙
58 7 5 5
œ
œ
œ
œ ˙
œ
œ
œ œ
œ œ œ
œ œ
œ
˙
™
2 52 3 4
52 3 4
2 4 24 3 2
5
16
1
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Ex.2672
C D E F G A B C
Ex.2774
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
Ex. 26 is an interes�ng lick that sounds almost like a diminished arpeggio with notes added in between. Such a lick can
be useful as a song ending or something that could spice up a solo. It is one of the ways in which we can effec�vely
use blue notes to enhance the musical quality of a melody:
Anything that has a rock & roll/blues influence would come from the idea of a blue note. Music can be logical or illogical.Case in point, pung a minor pentatonic and a major pentatonic and blue notes together seems like a recipe for disaster
because from a music theory perspec�ve they don't make logical sense. Rock & roll is a seemingly illogical thing in
music because of that. However, when all of these seemingly illogical combina�ons are played together correctly,
it sounds great. This is what Steve calls the "theory of rock & roll": playing things that don't make any theore�cal sense
but sound awesome together.
⁄
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
While the chroma�c scale has 12 notes and the pentatonic scale has 5, the diatonic scale has 7. This is the sort of
scale commonly associated with the syllables do, re, mi, fa, so, la, and �, each of which represents a scale degree
from "do" being the 1st/root/prime to "�" being the 7th. This scale is also what refer to as a major scale. We start
out by looking at the C major scale (all white keys of the piano keyboard, no accidentals):
The Diatonic/Major Scale and Basic Music Theory
⁄
œ œ œ œ œ œ
œ
œ œ
J
œ
™
˙
8 57
8 7 57
5 67
œ
œ
œ œ œ œ œ œ
8 10 128 10 12
9 10
17
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1 2 3 4 5 6 7 8va
75
Ex.2876
77
3
W W H W W W H
The importance of knowing the exact order of intervals between the notes of the scale is that these intervals determine
how the scale will sound like. If you alter the sequence of these intervals and you will come up with a different scale.
While it certainly is not bad to memorize the WWHWWWH sequence to come up with your major scale, the easier way
to memorize this is that half-step intervals are found in between 3 and 4 in between 7 and 8va. Everything else is separated
by whole steps.
To facilitate learning how to play the diatonic scale on the guitar well, we will use a paern called spread fingering. In spread
fingering, we play a diatonic scale using three fingers/notes per string. Spread fingering allows us to easier navigate our way
through the fretboard as compared to the usual "box" paern. This is because spread fingering is symmetrical and simpler to
play. In the previous examples when we were explaining the diatonic scale, the tablature shows the scale in a spread fingering
format. Here is the C major scale from the 6th to the 1st string in spread fingering:
There are certain specifics about the diatonic scale that makes it unique. First of all, it is in the diatonic scale where
we have all the leer names of notes (A to G only). For instance, in the key of C we have the notes C, D, E, F, G, A,
and B before going back to C. These are the seven notes we have selected from the chroma�c scale (which has 12).
The diatonic scale is also the basis for labeling our scale degrees by numbers (1 through 7), which has also become the
basis for the names of intervals between notes.
Now, the ques�on is how were we able to select those notes from the chroma�c scale? This is where we talk about theterm diatonic. The term just means that it is a scale with both whole-step (2-frets) and half-step (1-fret) intervals:
⁄
⁄
⁄
œ
œ
œ
œ
œ
œ
œ
œ
8 10 12
8 10 129 10
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
8 10 128 10 12
9 10 129 10 12
10 12 1310
œ œ œ œ œ œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ ˙
™
12 13 13 12 1013 12 10
12 10 912 10 9
12 10 812 10 8
18
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E
A
D
G
B
E
9 12
79
E
A
D
G
B
E
3 5 7Ex.2982
3
Shape A Shape B Shape C
The apparent thing you can observe about spread fingering is symmetry. Because of its inherent symmetry, each of
the seven posi�ons of major scale using spread fingering make use of a combina�on of just these three shapes. This
can make it easy for us to learn all seven posi�ons of the diatonic scale.
Let's say we want to play in the key of G. The same rules would s�ll apply regarding how to form a G major scale. We need
to keep the proper order of intervals (half steps between 3 & 4 and between 7 & 8, whole steps the rest) star�ng at the note
G.
As far as picking is concerned, it is recommeded that the diatonic scale (and any other scale for that maer) be
prac�ced using an alternate picking technique. Alternate picking allows us to play faster and more efficiently.
Just as if we were prac�cing strumming, an alternate picking technique could care less about whether to use
an upstroke or downstroke.
A spread fingering paern typically uses three shapes or paerns as shown in the diagrams below:
⁄
HH
HH
⁄
œ
œ
œ
œ
œ
œ
œ œ œ œ œ œ œ œ œ œ œ œ
8 10 128 10 12
9 10 129 10 12
10 12 1310 12 13
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ œ œ œ œ œ œ
3 5 73 5 7
4 5 74 5 7
5 7 85
19
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83
E
A
D
G
B
E
7 9
E
A
D
G
B
E
12
H HH H
The Rela�onship Between Major and Minor Scales
By being able to iden�fy that common point or note in both scales, you now have a fast way of knowing where the rela�ve major
of a par�cular minor scale would be.
For many guitarists (and other musicians in general), it is oen easier to figure out what key a song is in. The problem is that
some�mes when we can iden�fy that a certain song is in a minor key, say A minor, some of us might only be proficient in the
use of major scales but don't know what minor scales are. The thing is that a minor scale (natural) is nothing more than a
rela�ve major scale started at the (or emphasizing the) 6th of that major scale.
Let's say we were in the key of G major. If we're looking for it's rela�ve minor, it's E minor. Try playing your E minor pentatonic
over your G major song and more or less it will fit as long as you emphasize the note G.
Let's say in another instance that we're playing a song in the key of B minor and we plan on playing B minor pentatonic scale
at the first posi�on. Our first finger therefore goes over the note B (6th string, 7th fret). Following the single-finger-per-fret rule,
if we place the pinkie finger of our freng hand over the 10th fret, we get the note D, the root note for D major. If we play the
minor pentatonic shape star�ng from D, then we are essen�ally playing a D major scale.
If we are to spell out a diatonic scale star�ng at G in leers and without accidentals, we should be able to come up first with
G-A-B-C-D-E-F-G. However, this is incorrect given the fact that from F (7th) to G (8va) is a whole step. We said earlier that in a
major scale we need just a half step from the 7th note of the scale to the octave. For us to hear and write down the G major
scale correctly, we need to spell it out as G-A-B-C-D-E-F -G. The ques�on now is that why do we have F instead of F? F to G
is a half step. Consequently, this also corrects the half-step interval between E and F and becomes a whole step instead.
This is the reason why we have one sharp in the key of G. Another thing is that we are now using accidentals inorder to correctly spell out major scales in keys other than C.
In a later sec�on of this book, there are charts that show the major scale in all 12 keys and in 7 posi�ons for your reference.
⁄
B minor pentatonic
Common Point
D major
˙ ™
7 8 7 58 7 5
7 5 47 5 4
7 5 37 5 3
20
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Ex.3085
86
Ex.3188
As we have learned from the previous paragraph, minor scales are nothing more than their rela�ve major counterparts.
So, taking our example from the previous paragraph, we could then instead play our D using the first finger, and then
play our major scale in the first posi�on using the spread fingering we had previously discussed about:
⁄
⁄
Let's now say that you're going to play a song in the key of C minor, you could go over the 6th string 8th fret and then play
pentatonic no problem. But the cool part about having that knowledge of the rela�ve major is that you could play the rela�ve
major of C minor bt just placing your pinkie three frets away from C (from 8th to 11th fret) and play the major scale from there.
Ex. 31 demonstrates this plus the fact that you are playing the scale in both minor and major. This is given the fact that C
minor is the same as E major as we have previously learned in the sec�on about pentatonic scales.
⁄
10 12 1410 12 14
11 12 1411 12 14
12 14 1512
˙
™
14 15 14 1215 14 12
14 12 1114 12 11
14 12 1014 12 10
™
11 13 1511 13 15
1215 13 11
15 13 11 8
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Ex.3289
Ex.3391
ÍÍÍÍÍÍÍÍ
In comparison, the big thing that dis�nguishes diatonic from pentatonic is the fact that diatonic has half steps while
pentatonic does not have any. This fact has big melodic implica�ons. Diatonic scales simply sound more melodic than
pentatonic just because of this fact.
One tendency is to immediately go into minor pentatonic when confronted with a song in a minor key. There are �mes,
however, when we want to go diatonic instead because it just sounds more melodic. How do we go about going away
from that pentatonic tendency and start going for a diatonic scale in a minor key? Let's use an example. Say we want to
play a song that is in G minor. Now, let's establish that we know we have a G minor pentatonic scale star�ng at the
6th string 3rd fret and that we can solo using that. To move from a pentatonic tendency to a diatonic one, we can just
go to the rela�ve major three frets away (B , where we usually place our pinkie when playing the minor pentatonic
equivalent)
⁄
ÍÍÍÍÍÍÍÍ
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
When confronted with a minor key, we now have two op�ons for soloing: minor pentatonic and minor diatonic. At this
point, the way we find out the minor diatonic is through the following steps:
1. Find the rela�ve major from a minor pentatonic scale.
2. Play or create the major diatonic from that common point.
3. Emphasize the root note of the rela�ve minor key rather than the rela�ve major's root.
Here is one of Steve's exercises that you can try working on to test your understanding of rela�ve major-minor
rela�onships in the context of soloing using the guitar:
1. If we were in the key of A major, there are two scales you can play at this point: A major pentatonic and A major
diatonic. Can you see these scales on your fretboard?
2. Let's say we were in the key of B minor. How do you shi from minor pentatonic to minor diatonic?
While we can use that rela�ve major, the big difference between the rela�ve major and
minor is the root note being emphasized. Since we are trying to play in G minor, we need
to find our Gs within the rela�ve major scale to make it sound minor:
⁄
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
™ ˙ ™
6 8 106
7 8
8 107 8 7
10 8 610
8 610 8 6
™
˙
6 8 106 8 10
22
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Ex.3492
G Major Diatonic - 1st Posi�on Paern a.k.a. G Ionian mode
Because the diatonic scale is one of the cornerstones of music theory as we know it today, usage of the diatonic scales
in music is considered to be logical. The "illogical" way to solo or improvixe over a song uses things like blues and hybrid
scales.
It is also important for us to know about the chords that are formed out of the major scale since the diatonic scale has
always been the basis for all the chords we use in music. Since we have seven notes in a major diatonic scale, we also
get seven chords. Always remember that within the major scale, the I, IV and V are always major (hence beingrepresented in uppercase leers), the ii, iii and vi are always minor (lowercase), and the vii is always diminished.
Also take note that in rock and pop, the vii (diminished) is rarely used. In those rare instances that the vii is used, it is
usually used in an "illogical" way (a way that doesn't make sense in common prac�ce music theory). In terms of
major-minor rela�oships, the vi is the rela�ve minor of any major diatonic scale. Whenever we generically talk about
a song being in minor, we talk about the vi chord.
Also remember that even if you shi to other keys, the half steps and whole steps of the major diatonic scale always
remain in the same configura�on or order. In a prac�cal sense, this means that if you shi from one par�cular key to
another, all you have to do is move that en�re paern across the fretboard without changing it.
Generally speaking, playing a major diatonic scale (or playing in a major key) is no different than playing in a minor key.
However, there are two significant differences:
1. When playing in a minor key, you are emphasizing a minor chord versus a major chord.
2. When playing in minor scale over a song in a minor key, you are all the notes of a major key but you are emphasizing the
sixth scale degree instead of the first. For example, whenever you are playing a song in A minor (rela�ve to C major), you are
emphasizing all the A's while you con�nue playing what is essen�ally a C major scale.
What's the impact of these differences in a par�cular song? From a musical perspec�ve, shiing the emphasis from major
to it's rela�ve minor provides a radically different quality to a piece of music. This is because minor keys tend to sound darker,
more serious, sadder, or more melancholic than major keys.
In Ex. 34, we see the G major scale using a spread fingering paern in its first posi�on. The ques�on is are there other
posi�ons of the major diatonic scale? The answer is yes. As a review, let's take a look at the G major scale in the first
posi�on:
⁄
ÍÍ
˙
™
‰
3 5 73 5 7
4 5 74 5 7
5 7 85 7 8
2
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94
Ex.3596
98
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
⁄
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
G Major Diatonic - 2nd Posi�on Paern a.k.a. A Dorian mode
The next few examples shows the same G major diatonic scale played in the rest of the different available posi�ons over
the fretboard:
⁄
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
⁄
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
˙
™
‰
8 7 58 7 5
7 5 47 5 4
7 5 37 5 3
˙
‰ Œ
5 7 85 7 9
5 7 9
5 7 97 8 10
7 8 10
˙
‰ Œ
10 8 710 8 7
9 7 59 7 5
9 7 58 7 5
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Ex.36
100
102
Ex.37
104
106
G Major Diatonic - 3rd Posi�on Paern a.k.a. B Phrygian mode
⁄
⁄
G Major Diatonic - 4th Posi�on Paern a.k.a. C Lydian mode
⁄
⁄
˙
‰ Œ
7 8 107 9 10
7 9 107 9 11
8 10 128 10 12
˙
‰ Œ
12 10 812 10 8
11 9 710 9 7
10 9 710 8 7
˙
™
‰
8 10 129 10 12
9 10 129 11 12
10 12 1310 12 14
˙
™
‰
14 12 1013 12 10
12 11 912 10 9
12 10 912 10 8
25
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Ex.38108
110
Ex.39
112
114
G Major Diatonic - 5th Posi�on Paern a.k.a. G Mixoydian mode
⁄
⁄
G Major Diatonic - 6th Posi�on Paern a.k.a. A Natural Minor/Aeolian Mode
⁄
ÍÍÍÍÍÍÍÍÍÍÍÍ
⁄
ÍÍÍÍÍÍÍÍÍÍÍÍ
˙
™
‰
10 12 1410 12 14
10 12 1411 12 14
12 13 1512 14 15
˙
™
‰
15 14 1215 13 12
14 12 1114 12 10
14 12 1014 12 10
˙
™
‰
12 14 1512 14 15
12 14 1612 14 16
13 15 1714 15 17
˙
™
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17 15 1417 15 13
16 14 1216 14 12
15 14 1215 14 12
26
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Ex.40
116
118
G Major Diatonic - 7th Posi�on Paern a.k.a. B Locrian mode
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27
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A‹
Moderately Fast Pop/Rock = 120
Ex.41
120
ÍÍÍÍÍÍÍ
Music theory-wise, pop songs tend to be logical, hence they will sound either really major or really minor in sound.
Pop songs typically use diatonic scales as a melodic founda�on although pentatonic scales would fit in quite nicely
when soloing over them. Here we have our first example of soloing over a pop song.
What is it that goes on exactly in the head of a guitar player who is about to solo over a par�cular chord progression?
Here are some ini�al guidelines:
1. Think of the key signature.
2. Think of the chord progression. Take the I-IV-V and think about how those chords can be rearranged in a I-IV-V fashion.
3. Iden�fy other chords in the song outside of the I-IV-V.
4. Decide on which scale to use over the chord progression.
5. Think about movement (rhythm, melody, paerns, licks, phrases, etc.)
6. Visualize the fretboard and start learning how to meander around the song. Meandering means learning to move
around rhythmically and making up anything without any rhyme or reason to note choices, etc.
7. Get the guitar tone a bit more solo friendly (usually high-gain distor�on, some emphasis on treble frequencies, a lile bit
of reverb and delay.
Soloing Over Pop Songs
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28
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F
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In Ex. 41, no�ce that Steve chose to use a pentatonic scale (A minor or C major). He also used a couple of expressivetechniques such as bending, sliding, and vibrato. There's also a lot of rhythmic playing involved while trying to get around
the fretboard.
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The next step into figuring out how to solo is plo�ng points. This means that during the solo, we are going to follow the
root notes of all the chords. Since we have a C-G-Am-F chord progression in this par�cular example, first we are going to
look for all the C's. In the first posi�on of the A minor pentatonic scale, we will find the C's in par�cular loca�ons as ploed
below (white dots):
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29
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E
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5 7 9130
E
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131
As the G in the song comes into play, we need to become aware of where the G's are in the scale in order to place
emphasis on the root note of the chord.
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As we approach Am, it is easy to find where the roots are given that we are already using the A minor pentatonic scale for
this improvisa�on:
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30
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E
A
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G
B
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9 12132
A‹
Ex.42133
F137
Going along the chord progression, we encounter F. The thing about the A minor pentatonic is that it doesn't have any
F's in it. The ques�on is where are we going to find an F to use for our solo? It is at this point we now use our C major
diatonic scale.
So far, what we have done to be able to solo is:
1. Establish the key signature.
2. Choosing the appropriate scale to use (visualizing the scale across the fretboard, etc.)
3. Learning to move around the fretboard with the par�cular chosen scale (meandering).
The fourth step is plong points. A basic example of how to plot points is at Ex. 42, following the same chord progression
we have previously encountered. Take note that in the next examples, whenever Steve encounters an F chord, he uses a
diatonic scale over it because these is no F in a C major pentatonic (or A minor pentatonic). Since pop/rock songs usually
follow a logical framework, using pentatonic and diatonic scales on different sec�ons or chords of the song generates
greater melodic interest.
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31
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A‹ F140
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32
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A‹
Ex.43151
F A‹154
ÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍ
What we have done so far is:
1. Establish the key signature.
2. Choosing the appropriate scale to use (visualizing the scale across the fretboard, etc.)
3. Learning to move around the fretboard with the par�cular chosen scale (meandering).
4. Plot points across the fretboard depending on chord progression.
Other than plong points, Steve was trying to play something that would sound fun or interes�ng as he was improvising.
Using the principles of knowing the scale and plong points, you can start moving all over the fretboard.
Since we have been improvising over what could be considered a logical chord progression, we are stuck trying to play
something that sounds melodic. In this case, we could call it being slave to the melody, requiring us to think more,
understand the fretboard more. This results in nice, melodic solos, as opposed to just moving around.
Whenever we try to solo chord progression, it is important that we keep points plped inside our minds and then try and
follow those points to a certain degree.
However, this doesn't always happen. We can go off tangent occasionally. As Steve explains about his process, once he hits
a a really good and likable lick or a repe��ve ide, he can bypass the melody for a while while crea�ng that new idea.
Things such as licks, mo�fs or os�natos occur every now and then, and these can be fun to play around with as well.
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33
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F158
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34
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A‹
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35
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F182
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Etc...
At the end of this example, we have accomplished:
1. Establishing the key signature.
2. Choosing the appropriate scale to use (visualizing the scale across the fretboard, etc.)
3. Moving around the fretboard with the par�cular chosen scale (meandering).
4. Plot points (root note of chords) across the fretboard depending on chord progression.
5. Use os�natos (repe��ve paerns), licks, riffs and phrases. These os�natos, licks, riffs and phrases provide a beer sense
of melody and familiarity plus they add interest and excitement to the music.
6. Phrasing - Always remember that you want space. Incorporate rests into your solos to get good phrasing.
These six items are the basic things you can do to develop your solos in any song. Try working out other pop/rock songs
using these steps in crea�ng solos.
This approach will work well for pop, rock, folk songs, or any kind of music that follows a logical music theory framework.
Another �p you need to consider is the frequency of chord changes. The faster the chord changes are, the more accurate
you must be in plo�ng out points (roots of every chord). In this regard, when you are playing songs that have fast chord
changes, your note choices and opportuni�es for explora�on/meandering become limited. This is the reason why it is
easier (and most of the �me much more fun) to meander over passages that have slow chord changes rather than ones
that change chords along the progression fast.
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36
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Blues Swing/Shuffle = 120
Ex.44
187
ÍÍÍÍ
Soloing Over Blues Songs
If we consider our pop songs to follow a logical framework, a blues songs do not. Blues is an illogical style of music. Why?
There are two reasons:
1. Even though Blues is based on a I-IV-V major chord progression, we typically solo using minor pentatonic scales over it.
2. The I-IV-V progression in Blues is actually a series of dominant 7th chords, so they are actually I7-IV7-V7. If you think in
terms of the diatonic scale, such a chord progression will not fit and will not make any sense.
These two reasons form the basis for what we can call the theory for blues and rock & roll music. Because of these
peculiari�es, we make use of pentatonic, blues, and hybrid scales to solo over the Blues. Therefore, we are not following
the chords around as much in a melodic sense. While it doesn't say that we don't follow around the roots of the chords,
this "freedom" from tradi�onal music theory allows us to create licks and riffs that are common or idioma�c to Blues and
Rock & Roll, giving it a more aggressive edge so to speak.
To effec�vely solo over the Blues, we need to know a few characteris�cs about the music itself:
1. The typical rhythm in blues is a swing or shuffle feel. In typical swing or shuffle, instead of eighth notes dividing the beatinto equal halves (a.k.a. straight rhythm), the first eighth note is longer and the second eighth note is shorter, giving the
beat that swing feel. If we were to divide the beat into straight triplets, swing would be fing a quarter note and a triplet
eighth note into a single beat. Swing is usually applied for eighth notes but can also be applied for sixteenth notes and
smaller note values.
2. In terms of form, the blues chorus is the basic unit for any tradi�onal blues song. A blues chorus consisits of 12 bars
running a series of I7-IV7-V7 chords. The first four bars typically is I7, the second sec�on has 2 bars of IV7 then 2 bars of I7,
and the last sec�on outlines four bars as V7, IV7, I7, and then V7 before repea�ng itself all over again.
3. The blue note in the blues scale is what makes the Blues unique from a melodic standpoint. While the use of the blue
note (or flat 5th) is limited in tradi�onal music theory (because of its dissonant nature from a harmonic standpoint), it can
be liberally used in the Blues, giving the melody a more vocal quality.
Ex. 44 is a transcrip�on of Steve's solo over a typical blues chord progression:
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37
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7190
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38
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7
Blues Swing/Shuffle = 120
Ex.45
199
7202
7
204
E minor pentatonic used over I chord
In Ex. 44, Steve uses the minor pentatonic with the hybrid scale added in. While using a major pentatonic over the IV
chord would work perfectly (as Steve's story about his prior blues style suggests), it is not a hard and fast rule. In blues,
you can use pentatonic scales (minor and major) along with the hybrid scale just fine as long as long as it is done
"tastefully".
Again, there is no rhyme or reason to the theory of blues but as you con�nue to prac�ce and play along various blues
songs, you will no�ce that some things seem to work beer than others (hence usage of different scales should be in atasteful manner).
The next example shows using major pentatonic over the IV and then going back to minor over the I:
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E major pentatonic used over IV chord
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E minor pentatonic used over I chord
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B7206
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In the laer bars aer the transcribed example, Steve even goes on to using major pentatonic over the V in order to play
something different. It also happes to sound fine. Not only can you go use major pentatonic over the IV, you can use it on
the V or even the I. Another thing is that you can absolutely isolate minor pentatonic over one sec�on and then major
pentatonic over another without any regard whether it's I, IV or V.
IMPORTANT NOTES:
1. Before you move from minor pentatonic to major (and vice versa), it is best that you establish yourself first on either one
of those scales and develop an idea along the chord progression rather than mix them all up all throughout the blues song.
For example, you can go minor over the first sec�on (I chord), go major over second sec�on (IV, I). and then go minor for
the last sec�on except for the 12th bar where you can switch to a major pentatonic just before going back to minor again.
In this way your solo will sound coherent and will catch the listener's aen�on rather than a jumble of major and minor all
over the place.
2. The diatonic scales will NOT work well over blues songs. It just sounds wrong because the diatonic scale can effec�vely
eliminate characteris�cs (aggression, grit, etc.) that one finds in a blues scale or melody.
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I7211
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7
Blues Swing/Shuffle = 120
Ex.46
223
7 7226
As a review, the tradi�onal blues song has this 12-bar structure as a basic unit:
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Two characteris�cs of tradi�onal Blues:
1. It is generally based on the 12-bar sequence illustrated above. Some rock songs can be blues-based or bluesy in nature
but not 12-bar blues.
2. Swing/shuffle rhythm. An excep�on to this characteris�c is that some blues songs have a straight rhythm but s�ll follow
the tradi�onal 12-bar blues chorus or sequence.
To place some melodic sense into the blues, players can s�ll follow the chords when crea�ng solos, emphasizing the root
note of each chord as seen in this example:
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B7
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7 7 B7232
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Ex. 46 is a very good example of how we can follow along the chords within the context of blues. The great part about
playing blues songs is that we don't have to follow chords around as much as in pop songs. There is a lot of room in blues
for any guitar player to go off explore before going back to following chords. Again, following the chords around in blues
creates a sense of melody. But the fact remains that in blues (as well as in some rock& roll songs), we need to place more
importance on the overall feel and then add a melody somewhere. Melody in blues is in a lower hierarchal ranking (if
there's any) when compared to the overall blues feel.
In some examples of blues (e.g Texas blues) where it is quite fast, we tend to play rhythmically over it rather than
melodically speaking. The overall feel s�ll trumps out melody.
In another variant of blues such as funk blues, the minor key feel is evident. Upon first listen, the minor feel is so
compelling that you don't have much of a choice but to s�ck to a minor pentatonic or a blues scale. However, somewhere
in between the lead lines, the possibility of inser�ng some major-sounding notes through the hybrid scale is possible. It's
all a maer of a tasteful selec�on of notes to play.
The botom line with everything you learn how to do on guitar is " salesmanship". This sort of "salesmanship" consists of:
1. Trying to figure out what makes the most sense and then u�lizing it.
2. Trying to figure out what can you sell.
It's all a maer of figuring out what would actually work. While a logical approach would certainly work, it doesn't mean
that "illogical" things wouldn't in the context of music. For example, you might try to "sell" a major pentatonic feel while
your band is playing some funk blues in a minor key. It can work. It just depends on how you "sell" it to the listener. Now,
how do you "sell" it. It relies on using some principles in soloing like phrasing, following chords, playing notes in the scale
via a nonlinear fashion, using the 3rd of the scale as passing notes, etc. In the case of that minor funk blues, Steve feels it is
best to use a minor pentatonic scale over it with some hybrid scale ideas thrown here and there. Use your ears and try to
hear what works and what does not. It is obvious that you will use what works, and it takes prac�ce and aen�ve listening
to figure that out.
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7
Rock = 120
Ex.47
235
238
Soloing Over Rock & Roll Songs
Rock is very much related to the Blues. It uses a lot of blues elements but it deviates from tradi�onal blues by
incorpora�ng other influences such as Pop.
Robert Fripp (of King Crimson fame) once remarked that Rock is the most malleable form of music that exists, echoing
Steve's opinion that Rock can mean a million things to a million people. This is simply because it incorporates a lot of
elements from other musical tradi�ons. For example, when you talk about Rock in the terms of the band Rush, it's very
different than saying Rock in terms of the band AC/DC or Neil Young or Iron Maiden.
In this sec�on, Steve demonstrates playing over a bluesy Rock & Roll song. It requires a lile bit of a different approach
than tradi�onal Blues or Pop. One par�cular technique that Steve uses over this example is chord chasing:
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259
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1/4
CHORD CHASING
The chord chasing concept is simply applying a matching scale for the chord at play during a song. In Ex. 47, for every
chord Steve used a matching minor pentatonic scale. As you can see from the tab/nota�on and hear from the video,
matching minor pentatonic scales were used over each chord e.g. A minor pentatonic for A, F minor pentatonic for F, D
minor pentatonic for D, etc. Steve also u�lized the hybrid scale along with blues notes in some places.
Other chord chasing possibili�es for this par�cular song includes applying major pentatonic over some of the chords in thesong. As far as the diatonic scales are concerned for this par�cular song, Steve thinks that the possibility of incorpora�ng it
is not very likely because the song has a strong blues influence (but it shouldn't stop you from experimen�ng with diatonic
scales over this par�cular song).
If we listen to the song, the riff over A is very much blues �nged so a diatonic scale would not work well. When we
approach C, the riff being played doesn't sound very bluesy, and so the possibility to improvise with a major diatonic scale
over it is good.
Other than chord chasing and plong points, one concern when soloing over rock songs is how to move smoothly from
one point to the next. Let's say for example you were soloing over A with A minor pentatonic. The various posi�ons of the
minor pentatonic provide ways to move smoothly from one point to the next. Remember that in between each of the
posi�ons are shared notes or common points. These provide the way to link from one scale/posi�on to the next. Now, let's
say you want to move from the A chord to the C chord. Play your solo in such a way that will allow you to move from 1st
posi�on minor pentatonic to 2nd or 3rd posi�on minor pentatonic. Since the nearest C from first posi�on A minor
pentatonic is the C at the 8th fret 6th string, you can proceed using the second posi�on of A minor pentatonic over C
major, which is also in effect C major pentatonic. From this common point, you can also play C major diatonic or C minor
pentatonic.
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46
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E
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A minor pentatonic - 3rd posi�on
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C major diatonic - 1st posi�on
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PLOTTING POINTS USING CHORD TONES OTHER THAN THE ROOT
Besides using the root notes of chords as points for plong, we can also target the other chord tones (3rd and 5th) as
well as points.
Take again for instance movement from the A chord to a C chord. We started out soloing with an A minor pentatonic
scale over A at the third posi�on, and then we're planning to move to C and solo over it with a C major diatonic scale.
Soloing Over Metal Songs
The heavy metal song opens up another door with vast possibili�es apart from pop, blues, and rock songs. This is because
many heavy metal songs uses power chords rather than the standard major and minor chords or the dominant 7th chords
we find in blues.
1. Because power chords have a neutral quality (neither major nor minor because they only consist of a root and 5th), we
can assume whatever we want over the top of them.
2. For the most part, heavy metal is illogical as it does not strictly follow tradi�onal music theory in terms of the major
diatonic scale. It uses a lot of chroma�cs and irregular elements.
Many metal songs are in the key of E, so our featured song will be in that key. Reasons for this include:
1. E is the lowest chord on the guitar and therefore the heaviest sounding. Try playing the passage below with high-gain
distor�on:
If you take a look at all the white dots in both diagrams, these are common notes that both the A minor pentatonic in the
3rd posi�on share with the C major diatonic in the first posi�on. These common notes are notes that form C major (C, E,
G) and therefore if you want to move smoothly when soloing from A using a minor pentatonic to C using a major diatonic,this is the way to go.
SOLOING OVER A CHORD PROGRESSION USING A SINGLE SCALE
Another possibility for this song in A is soloing over the en�re thing using just the A minor pentatonic scale. You can come
up with interes�ng things in what seems to be a rather simple exercise. By s�cking to A minor pentatonic, you can make
use of a variety of licks based on the minor pentatonic scale over every chord. This approach can easily sound rock & ro ll!
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265
268
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Very Fast Thrash Metal = 180Ex.48270
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2. The key of E allows players to take advantage of open strings for palm-mu�ng and for shiing from one chord to
another chord farther up the neck without having to break the rhythmic momentum of the song.
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The immense freedom that open strings and power chords provides for Metal allows players to move away from
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shows the rhythmic figure that Steve will be soloing over
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Play Ex. 48 as accompaniment
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Ex. 49 is a transcrip�on of Steve's solo over the accompaniment as suggested in Ex. 48. Take note that Steve is going to
use a bluesy approach to his solo here and it would work well. Steve s�cks to a minor pentatonic scale for this example
since part of the inten�on of the music is to sound dark:
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Ex.50291
Ex.51294
295
Ex. 49 demonstrates the kind of freedom you get in heavy metal. The genre facilitates players to have all sorts of
freedom with their solos such as fast runs, oddi�es, wild vibrato, cool licks, etc. In Ex. 49, even when Steve encounters
the riff towards the end, he did not find it necessary to hunt for plong points within the key signature. He just let
himself play as how he would naturally play it.
UNUSUAL SHAPES
In Heavy Metal music, guitar players take advantage of the ability to use unusual shapes within a song. Shapes, in this
regard, are like scales that guitarists can use to play solos in heavy metal songs.
One of these shapes that can be used in this context is a 12-15 box. This shape is going over all strings on just the 12th
and 15th frets. Music theory wise, it makes lile sense. The box only fits in the I chord of the heavy metal song through
the presence of roots and 5ths. While "salesmanship" might always be in play when using unusual, illogical shapes. it can
work well within Metal songs given the degree of freedom it offers. Here's Ex. 50, and it shows what the box is like on
paper.
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51
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Ex.52296
A major diatonic over A chord
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Soloing Over Illogical Songs
The illogical song is that piece of music that (from a music theory perspec�ve) don't make sense. It usually has chords
that don't fit certain key signatures.
To further elaborate, let's say we have a song that has a prey straighorward I-IV-V chord progression of A, D and E.
Soloing over that seems simple enough since it has the impression of the key of A major. So scale choices include A
major pentatonic and/or diatonic. Sounds prey simple to jam over, right?
What if we throw another chord to the mix that doesn't make sense. For example, what if there's a B major aer the A?
B doesn't exist in the key of A. Music theory dictates that it's supposed to be Bm rather than B, but illogical songs do
exist with this sort of condi�on so we have to deal with it.
And so, the song now goes A-B-D-E.
1. The first approach illogical song is using a major or minor pentatonic over the illogical chord:
a. Solo major over A with an A major (pentatonic or diatonic) scale, meandering and genera�ng ideas.
b. Solo minor or major pentatonic over the illogical chord. In this case, it is B so we can use B minor pentatonic or B
major pentatonic. It is the simplest and most instantaneous approach to solving this.
c. Con�nue soloing over the IV and V as you would usually do (based on what you've learned previously).
Through the use of unusual shapes, you can easily cra your own Metal solo with lesser constraints such as those
encounterd in pop, rock and blues. The good thing is that these sort of shapes can facilitate ways to develop your very
own metal licks. Such unusual shapes usually sound cool over a Metal song.
These shapes can be modified to the kind of cool "weirdness" you might want to introduce into a Metal song. For Ex. 50,
you may add 11th fret notes to each string (Ex. 51). Unusual shapes themselves have their sort very own effect that
would immediately give itself away as a Metal solo. Such a bizarre selec�on of notes can be blended with ideas from
pentatonic and diatonic scales and even chroma�cs.
PENTATONIC AND DIATONIC SCALES
In Metal music, pentatonic and diatonic scales are also very useful. However, rather than thinking about the proper
sequence of notes to play for a chord progression, the use of pentatonic and diatonic scales in Metal places emphasis on
the movement of notes rather than how the notes are placed. Oen�mes the use of such scales in Metal is very linear,
and so you can expect to try going through fast scalar runs. Since movement is emphasized, it is advantageous for
guitarists playing Metal to study all posi�ons of scales in order to have more freedom of movement across the fretboard.
Techniques like tapping, legato playing, intervallic movement/string skipping, and sweep-picked arpeggios can easily find
their way into the use of pentatonic and diatonic scales in metal. Combined with an array of interes�ng licks, irregular
and unusual note selec�ons, Metal's use of scales oen becomes very impressive.
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B
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2. Chord chasing over the illogical chord is the second approach we can use to deal with chords outside of the key.
From the key of A major, we approach the key of B major as we approach the B chord, and then go back to A.
Remember that whenever we chase chords, if the illogical chord is major, use a major scale. If the illogical is minor use a
minor scale.
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3. Chord chasing over all chords brings about many melodic possibili�es. This is the sort of approach that you see in a
lot of country music. When we chord chase all chords, we play the equivalent major or minor scale per chord e.g. A
major diatonic over A, B major diatonic over B, etc. As a result of chord chasing over chords, we can come up with
interes�ng moving melodies.
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7 67
7 6 7 X 9 7 67
‰ œj œ œ œ ‰ œ
J
œ œ ‰ œj ˙ ‰ œ
J
œ œ œ ‰ œ
J
76
7
57 6
7 7 98
9
79
œ œ œ œ ˙ ‰ œ
J
œ œ œ œ œ œ œ œ œ œ œ œ œ
89
7
97
77
58 7
99
9
7 710 9
9
‰
œ
j
œ
œ
œ œ œ
œ
œ
œ
w
76
7
57 7 6 4 6
7
54
5
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E
A
D
G
B
E
5 7 9
318
1st Posi�on
A Minor
APPENDIX - SCALE SHAPES FOR SOLOING
Presented in this sec�on are all scale paerns used throughout this course as fretboard diagrams. Here are some
guidelines on how to use them:
1. Each of these scale shapes are movable or transposable. The shape/paern of the scale is always the same regardless
of key signature.
2. The root notes of each scale shape are represented as white circles.
3. Learn the notes of the 6th string then the 5th string. Once you know the notes of your 6th and 5th strings, you can use
these as points for root notes of a scale and then play the scale paern from there. For example, if you know that B is at
the 7th fret of the 6th string, play the scale paern of choice from there and you will be able to play the appropriate
scale for the key signature of your choice.
4. Learn how to play the scale paern up and down. Aerwards, try meandering using the paern you've just learned.
5. Once you've learned two or more paerns, try to connect or chain them together in order for you to become well
oriented with the fretboard.
It takes some �me to learn every paern so prac�ce slow to give your brain �me to absorb and learn the movement.
Steve recommends prac�cing the scale to a metronome or a drum track at a very slow tempo first and then gradually
speed up as soon as you get used to playing the scale paern at a given tempo without mistakes. Once you can play a
paern at a par�cular tempo flawlessly, gradually increase the tempo of your metronome or drum track.
Minor Pentatonic Shapes/Posi�ons
⁄
œ œ œ œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ œ œ œ
5 85 7
5 75 7
5 85 8 5
8 57 5
7 57 5
8 5
55
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E
A
D
G
B
E
7 9
321
E
A
D
G
B
E
9 12
324
E
A
D
G
B
E
12327
2nd Posi�on
⁄
3rd Posi�on
⁄
10 1210 12
10 129 12
10 1310 12 10
13 1012 9
12 1012 10
12 10
4th Posi�on
”
⁄
8 107 10
7 107 9
8 108 10 8
10 89 7
10 710 7
10 8
12 1512 15
12 1412 14
13 1512 15 12
15 1314 12
14 1215 12
15 12
56
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E
A
D
G
B
E
3 5
330
E
A
D
G
B
E
5 7
333
E
A
D
G
B
E
7 9
336
5th Posi�on
Major Pentatonic Shapes/Posi�ons
⁄
A Major
1st Posi�on
⁄
2nd Posi�on
⁄
7 97 9
7 96 9
7 107 9 7
10 79 6
9 79 7
9 7
3 53 5
2 52 5
3 53 5 3
5 35 2
5 25 3
5 3
5 74 7
4 74 6
5 75 7 5
7 56 4
7 47 4
7 5
57
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E
A
D
G
B
E
9 12339
E
A
D
G
B
E
12342
E
A
D
G
B
E
3 5345
3rd Posi�on
”
⁄
4th Posi�on
⁄
5th Posi�on
⁄
9 129 12
9 119 11
10 129 12 9
12 1011 9
11 912 9
12 9
12 1412 14
11 1411 14
12 14 12 14 12 14 1214 11
14 1114 12
14 12
2 52 4
2 42 4
2 52 5 2
5 24 2
4 24 2
5 2
58
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E
A
D
G
B
E
5 7
348
E
A
D
G
B
E
5 7 9
351
353
ÍÍÍÍÍ
Hybrid Scale (in A)
⁄
ÍÍÍÍÍ
1st Posi�on
Blues Scale Posi�ons (in A)
⁄
⁄
j
™
54 7
5 75 6
5 75 8 8 5
7 56 5
7 57 4
5
5 85 6 7
5 75 7 8
5 85 8 5
8
˙
™
58 7 5
7 57 6 5
8 5
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E
A
D
G
B
E
7 9355
357
E
A
D
G
B
E
9 12
359
361
2nd Posi�on
⁄
⁄
3rd Posi�on
⁄
⁄
8 106 7 10
7 107 8 9
8 108 10 8
10
˙
™
89 8 7
10 710 7 6
10 8
10 11 1210 12
10 12 139 12
10 1310 11 12 11
˙
1013 10
12 913 12 10
12 1012 11 10
60
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E
A
D
G
B
E
12363
365
E
A
D
G
B
E
3 5
367
369
4th Posi�on
⁄
⁄
5th Posi�on
⁄
⁄
12 1512 15
12 13 1412 14
13 1511 12 15 12 11
˙
™
15 1314 12
14 13 1215 12
15 12
3 53 5 6
2 52 5
3 4 53 5 3
5
˙ ™
4 35 2
5 26 5 3
5 3
61
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E
A
D
G
B
E
3 5 7
371
372
E
A
D
G
B
E
5 7 9
374
1st Posi�on (a.k.a. major scale or G Ionian Mode)
Major Diatonic Scale Posi�ons (in G - Spread
Fingering)
⁄
⁄
2nd Posi�on (a.k.a. A Dorian mode)
⁄
3 5 73 5 7
4 5 74 5 7
5 7 85
™ ˙
7 8 7 58 7 5
7 5 47 5 4
7 5 37 5 3
5 7 85 7 9
5 7 95 7 9
7 8 107
62
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375
E
A
D
G
B
E
7 9 12377
378
⁄
3rd Posi�on (a.k.a. B Phrygian mode)
⁄
⁄
™
˙
8 10 8 710 8 7
9 7 59 7 5
9 7 58 7 5
7 8 107 9 10
7 9 107 9 11
8 10 128
™ ˙
10 12 10 812 10 8
11 9 710 9 7
10 9 710 8 7
63
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E
A
D
G
B
E
7 9
380
381
E
A
D
G
B
E
12
383
384
4th Posi�on (a.k.a. C Lydian Mode)
⁄
⁄
5th Posi�on (a.k.a. D Mixolydian Mode)
⁄
⁄
8 10 129 10 12
9 10 129 11 12
10 12 1310
™
˙12 14 12 1013 12 10
12 11 912 10 9
12 10 912 10 8
10 12 1410 12 14
10 12 1411 12 14
12 13 1512
™ ˙
14 15 14 1215 13 12
14 12 1114 12 10
14 12 1014 12 10
64
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E
A
D
G
B
E
12
386
387
E
A
D
G
B
E
389
390
6th Posi�on (a.k.a. E Natural Minor or E Aeolian Mode)
”
⁄
“
;
⁄
7th Posi�on (a.k.a. B Locrian Mode)
”
⁄
“;
⁄
12 14 1512 14 15
12 14 1612 14 16
13 15 1714
™
˙
15 17 15 1417 15 13
16 14 1216 14 12
15 14 1215 14 12
14 15 17
14 15 1714 16 17
14 16 1715 17 19
15
™ ˙
17 19 17 1519 17 15
17 16 1417 16 14
17 15 1417 15 14
65
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DVD 1
The Chromatic Scale, Accidentals and the Fretboard
The Minor Pentatonic Scale
The Major Pentatonic Scale
The Hybrid Scale
Using the Blue Note and the Blues Scale
DVD 2
The Diatonic/Major Scale and Basic Music Theory
The Relationship Between Major and Minor Scales
DVD 3
Soloing Over Pop Songs
Soloing Over Blues Songs
DVD 4
Soloing Over Rock & Roll Songs
Soloing Over Metal Songs
DVD 5
Soloing Over Illogical Songs
Minor Pentatonic Shapes/Positions
Major Pentatonic Shapes/Positions
Hybrid Scale (in A)
Blues Scale Positions (in A)
Major Diatonic Scale Positions (in G - Spread Fingering)
Progress Tracker
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