;

TABLEOF CONTENTS
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F |.
o ttlajor/e Minor sca.|es.............................. .............50
D#(Eb) l'1aior,/e#(c)tvtinor Scales.............................................
I E(Fb) ruaj6rTc*(tio) u'inor sca.|es.............................................
I r uajor/o Minor sca'les............................. ..............53
! F#(cb) Major/D#(Eb) tuinor sca] es...........................................
c uajor/e uinor scales.....-........,.............. ..............55
_ .rI G#(Ab) uajor/e#(r) u'inor Sca1es......................-....................
I a laajbr/r#(cb) r'liiror scal es.........-.... ..............57
I A#(Bb) uajor/c tttinor Scales...................................................
t e(cb) [4ajor/c#(Ab) M'inor sca1es................-.....-............,........
C Major,/Aminor eent/Bluesscales .............60
_ ilr c#(Db) vajor/e#(ab) [4inor pent/B'lues Sca]es............61
I D ltajorzs-t4inorpentzglues sca1es..........................................
I o r ( E 6 ) N 4 a j o r z a r ( c )t q i n o r p e n t l B ' l u e ss c a l e s . . . . . . . . . . . . . . . 6 3
!- e ( r b ) M a j o r / c # ( D b )u i n o r p e n t / B l u e s S c a ] e s . . . . . . . . . . . . . . . 6 4
r uajor/o Minor pent/Blues sca1es.........................................
rI F#(cb) uajor/o*(eb) [4inor pent/B] ues Sca]es............66
I G [4ajor/E-Minor pent/slues scales--....--..,.--....................67
I c#(A6) i.lajor/e#(e) uinor eentfatues sii'|es...............0s
I- a Uajor,/r#(Gb) Minor pent/Blues Sca]es...........................69
A#(Bb) ttlajor/c Minor pent/Blues Sca'1es...........................70
rr B(cb) Major/G#(Ab) Minor pent/Blues Scales...............7L

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 ;

Blues1 Overview
Presented in this booklet are a collectionof eight guitar solos ;
oJdifferent genres and of mixed difficulty.Each solo is uniqG in that Thisis a solobasedupona traditional l-lV-V(1,4,5or
they each present specffictechniques used by many of the great
players of past and present.
The styles representedin this compilationinclude blues.
rock, and jazz. I believethat all major styles of American music must
rl 12-barblues)form.lt is a lowdifficulty
usageof the E minorpentatonic
andthe E majorpentatonic
notes/arpeggios areemployed
solothatincludesthe
& bluesscales(seepage67)
scale(page64).Other
fromtimeto time,to followthe
be studied in order to gain an understandingand appreciationof these
styles. Only after careful study and practicecan one become a well_ chordchanges. Althoughthisis notnecessary, for manyblues
rounded soloist, with an extensive vocabularyof riffs/licksto draw
; soloistschoosenotto changethe scalewiththe chordbutto
from..Thestudy of many kinds of musicwill allowthe playerto enter continueusingthe E minorpentatonic throughout the changes,
into virtually any musical situationwith the confidenceto contribute I feelthatin thisparticular caseit wasmoredramaticand
somethingmeaningful.
It is assumed that the player studyingthese solos possesses
at least a basic knowledgeof tablature notationand a moderate H musicalto go outsideof the scaleandhit somekeynotes.For
example, tlie root,3'd,and5thof the E majorchord(E,G#,B),
A majorchord(A,C#,E),andthe B majorchord(8, D#,F#)

r|
amountof technique.An understandingof readingregularmusical
notation is also very helpful,though not necessary. makefor excellentnotechoiceswhenemploying thismethod.
A daily regimen of warm ups and regular practice is Measures 1 & 2 featurea RobertJohnsonstyleof
recommendedto build up the speed and dexterity needed to execute introduction, usinga "pickandfingers"technique to execute
some of the more difficult passages. lncluded in this booklet are the passage. All of the noteson the 5'nstringarepicked,while
major/minorscalesand also major/minor/blues scaleswhich shouldbe the noteson the 1sIstring(andthefirst2ndstringnotein
studied,memorized,and practiceddailyas a warm up routine.A
steady alternate picking pattern (down, up, down, up, etc.) is
recommendedwhen performingthese scales.
Fingeringand picking notation have been kept to what I
H measure2) areto be pluckedwitheitherthe middleor the ring
finger(ofthe pickinghand).I preferto usethe ringfinger.

considera bare minimum.Pickingindicationsare shown in certain

cases,where a "special"techniqueis utilized,such as a.sweep, or
'rake"
technique. Please refer to the correspondingvideo for a more
detailed representationof a particularpassage.
H Videos
lncludedin this bookletare majorand minorscalesin all
twelvekeys, as well as majorand minor pentatonicand bluesscales. Video 1 - Entiresong at full speed
When referringto the pentatoniclbluesscales, please note that the
notes in blue are to be excluded when playing the major/minor Mdeo 2 - Intro (meas. 1 & 2) playedat slow speed
pentatonic,and includedwhen playingthe bluesscale.
V i d e o 3 - M e a s u r e s1 8 - 2 2
Good Luck and Enjoy,
AlPalubeckis
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This is a moderately
techniques
difficultbluessolousing
madefamousby StevieRayVaughnandJohnny
Ir| J =rro<,D-J'Jl
F?
Blues2 Solo

Winteramongothers. Paycloseattentionto noteusageover

chordchanges. As in BluesSolo#1,thesenoteswilltendgo
givethe impression thatthesoloistis emphasizing noteswithin
I;
the chordthat is beingplayedover.Thissoloreliesheavily
uponthe E minorpentatonic & bluesscales(seepage67).
Measure34 featuresthe useof a A# diminishedscale
(A#,C#,E, G) overan A7 chordto encourage a linear"push"
tril
backintothe E7 chordthatfollows.AlthoughtheA#
diminished scaleandtheA7 chordsharemanyof the same
notes(boththeA# dimscaleandtheA7 chordshareC#,E,
G),specialcaremustbe takenwhenplayingtheA# note
trl
againstan A7 chordbecausethe dissonance
t;
createdcanbe
somewhat undesirable in certaininstances.
Measure45 & 46 featurea riff createdusing"sixths"
(referringto the distancebetweenthe bottomandtop notes).
Althoughtheyaregroupedin triplets,thinkof themas twonote
groupings ratherthanthree.In otherwords,playthemtwo
notesat a time (andshiftpositionaftereachtwo notegroup)
withan overalltripletfeel.
Fil
Videos
tI;
Video1 - Entiresoloplayedat fullspeed II
Video2 - Endof measure4 to beginning
of measure6

Video3 - Endof measure12to beginning

of measure19 FN
Video4-Measurel9&20

Video5 - Endof measure34 to beginning

of measure41 I||
Video6 - Measure43 to beginning
of measure4
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n Thisis a difficultsolowhichincludessomefast

t pickinganda technique called"sweeppicking",in whichthe

pickis draggedacrosstwo or morestringswithsequentialup
or downstrokes.All unusualpickingpatternsare notatedwith
thestandardup anddownstrokesymbols.Otherstandard16tn
y'DEA 6 noterunsareto be playedwitha'down,up,down,up"picking
paftern.Usethe A minorpentatonic& bluesscales(seepage
; 60)as wellas theA Dorianmode(usetheG majorscale,see
page55).

;
Videos
t Mdeo1 - Entiresoloplayedat fullspeed

r| Video2 - Measures
1 through10

Video3 - Measures
11through14

Mdeo4 - Measures
tl 15through27

Video5 - Measures
27 through34

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FunkBluesSoloOverview
f; Anothersolothatis baseduponthestandardl-lV-V

t the FunkBluesSolois a moderately

bluesprogression, difficult
piece.lt consistsof two distinctsolos,notatedas "Gtr 1"
'Gtr 2' (beginning
at measure
(beginning at measure1) and

n
12).
Thefirstsolotakeson the'bluesiefrole,employing
the useof bendingand"double-stops" (two-notechords,
sometimes bent). This one relies
exclusivelyuponthe E minor
scale(seepage67).

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pentatonic/blues
The secondsolois a bitiazier, sortof a cross
betweena JeffBeckanda RobbenFordsound.Mostofthe
solorelieson an E Dorianmode(usea D majorscaleplayed
at the 12thfret,seepage50 ), althoughin measure18,an E'A

H melodicminorscaleis usedovertheA7 chord,creatingan

Mixolydian
notpresented
sharp4" sound(veryjazzy,although
in thisbooklet).
thisscaleis
Thenotesconsistof:

t
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A, B, C#,D#,E, F#,G

andusefuloverthe lV chordin
I findthisscaleveryinteresting
anybluesprogression. Justplaythe melodicminorscalefrom

rf the I chord'srootnoteoverthe lV chord.Forexample,in an

"A"blues,youhavethreechordsin whichto playover,the I
chord(A7),the lV chord(D7),andtheV chord(E7).Whenthe
I chordchangesto D7 (thelV chord),playanA melodicminor

tI scale(startingfromthe D note):

D, E, F#,G#,A, B, C

t I
Videos

t I
Mdeo1 - Entiresoloplayedat fullspeed(Gtr1 & 2)

Mdeo2 - Measures
4 through12 (Gtr1)

t I
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Video3 - Measures
12through24 (Gtr2)

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Fusionis a styleof musicthat combinesjazz 6n6
rock,andwas pioneeredin the early70's byjazz musicians
n J=116
An?
FusionSolo

suchas MilesDavis,JoeZawinul(Weather Report),John

McLaughlin (Mahavishnu Orchestra), andWayneShorter,to ;
namea few.All of the aforementioned musicianscombined
theiramazingtalentsto createthe landmark
recording
fusionera.Guitarists
MilesDavis
"Bitch'sBren/'whichstandsas a monument to the
of notewhohavedabbledin thefusion
styleincludeJohnSchofield,
ScottHenderson.
PatMetheny, MikeStern,and
n
This is a moderatelydifficultsolowlrichusesthe C
majorscale(seepage48) almostexclusively.
severalinstances in which"accidentals"
Thereare
(notesfoundoutside
t
of thediatonicscale,in thiscase,notesthataresharpedor
flatted,sincetheC majorscalehasno sharpsor flats)are
used.Theseare usedto sometimesconnecttwo scalarnotes
by playingthe noteor notesin "between"them,or to accenta
rt
particularnotethatis foundwithina non-diatonic chord,such
as'E7" (thelll chordin the keyof C is normallyEminT).For
example,in measure8 a G# is usedtwice.Thisis becausethe
chordbeingplayedoveris an E7,whichis spelledE, G#,B,
r; vtDEo2
andD. Thistypeof playingis sometimes
changes",
called"cutting
wherethe playerwilltypicallyaccentchordtones
withintheirlines. rl
Videos
Video1 - Entiresoloplayedat full speed r;
Video2 - Measures
6 through9

Video3 - Measures
11 through12 It
Video4 - Measures
13through16

Video5 - Measures16through20
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Video6 - Measures24 through29
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HardRockSoloOverview
tl Thissongis basedprimarily in the keyof B minor
(seepage50 for scales).The solois moderately difficult,using
tLppingtecnniques pioneered by Eddie Van Halen and laterby
; SteveVai.Thetechnique itselfis fairlysimple,butmayrequire

rr
somepracticeto buildthesPeed.
Generally, whentapping,the soloistwillusethe
middlefingerof the righthandto tapthe noteswhilethethumb
andindexfingersarestillholdingthe pick.Usethefollowing
exampleas a warmuP:

;|

;;

Tapthe 12thfretnotewiththe middlefinger(right

hand),pullthatfingerdownward andoffthe stringto comPlete
;
a 'pull-offto the 5rnfretnole(playedwiththe lefthand's1"'
finier),andhammerthe 8thfr;t nbtewiththe lefthand's4th

rr finger.Repeatthisexerciseuntilthe 3-notegroupsounds
smoothandeven.
Measures 6 &24 havenotesthatarehammered
do not havethe usualcorresponding
that
pickednotebeforeit. The

tt noteis actuallyplayedonlyby the lefthandhammering

the string,andnotby anyactionof the righthand.
onto

Videos
; Video'l - Entiresoloplayedat full speed

Video2 - Measures1 through7 (slow)

; Vdeo 3 - Measures
8 through12 (slow)

Video4 - Measures13through15 (slow)

il Mdeo5 - Measures
16through26 (slow)

;
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PunkSoloOverview
Thisonefeaturesrhythmsreminiscent of neo-punk
artistsGreenDayandthe punk/skagroupsthe MightyMighty
H J.lto
PunkSolo

Bosstonesand Sublime.Paycloseattentionto the scale/chord

relationships, for theycreateeverythingfroma jazzlbluestone
to a full tilt SteveVai-inspiredclimax.
A sweeptechniqueis usedin measures17 & 18
H
(referto the doubledownstrokenotationunderthe staff).
Pickingis keptto a minimumin thislick,for mostof theworkis
downby the lefthandthroughuseof hammer-ons
offs.
andpull- il
Scalesusageincludesthe E minorpentatonic
scales(page67),E majorscale(page52),E Mixolydian
(A majorscale,page57),andthe E minorscale(page55).
& blues
mode

Pleasenotethatthe veryfirst measureis a "pick-up"

rt
measureandis notcountedas thefirstmeasure.

Videos
t
Video1 - Entiresoloplayedat fullspeed t
Video2 - Pickupmeasureto measure4

Video3 - Measures
4 through8 t
Video4 - Measures
9 through12

Video5 - Measures
13through16 t;
Video6 - Measures
17through20

Video7 - Measures
21 through26
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t This is an odeto one of my favoriteguitaristsof all

time,the lategreatDannyGatton.Dannywas a jack of all
H tradesand a masterof themall. I hadthe pleasureof seeing
himplaylivein 1991whenI wasaftending
Musicin Boston. I was alreadya fan at this
BerkleeCollegeof
time,butwas not
preparedfor the blisteringdisplayof talentthatwas unleashed'
H Theset was pepperedwithsongsthatwereinfluencedby
manystylesof Americanmusic,including blues,jazz,
rocfiOittiy,country,andsurf-rock.Histrue masteryof the-
instrumenthasand alwayswill be an inspiration to myselfand
;l otherswhotreasuretrulygiftedmusicianslike DannyGatton'
Scaleusageincludes the E Dorianmode(D major
mode (A majorscale,page57)'
scale,page 50),E Mixolydian

H E minorpentatonic& bluesscales(page67).

Videos
H Video1 - Entiresoloplayedat fullspeed

I Video2 - Measures
1 through12

Video3 - Measures13through18

r| Video4 - Measures19 through24

Video5 - endof measure24 throughmeasure36

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