Guitar Solos Made Easy 2.0
Guitar Solos Made Easy 2.0
Uploaded by
Gainz'n' GamesCopyright:
Available Formats
Guitar Solos Made Easy 2.0
Guitar Solos Made Easy 2.0
Uploaded by
Gainz'n' GamesCopyright
Available Formats
Share this document
Did you find this document useful?
Is this content inappropriate?
Copyright:
Available Formats
Guitar Solos Made Easy 2.0
Guitar Solos Made Easy 2.0
Uploaded by
Gainz'n' GamesCopyright:
Available Formats
Table Of Contents
Module 4 – Melodic Soloing 60
Module 1 Learning to Play Creatively 3 The Diatonic Major Scale 60
Intro Jam 3 Melodic Soloing and Chord Chasing 62
Introduction 8 Soloing Over Chords Outside the Key 66
Guitar Solos and Sound 8 Chord Chasing Jam in G 67
Deadening Strings 9 Module 5 – Intervallic and Linear Concepts 68
The Picking Hand 10 The CAGED System 68
Positions on the Fretboard 11 Arpeggios: Major Triads 71
The ‘Big Five’: Hammer-Ons, Pull-Offs and Trills 14 Minor Triads 74
Slides 16 2-1-2 Patterns 76
Bending 19 String Skipping 76
Reverse Bend and Half-Step Bend 19 Horizontal Playing 77
Blues Bend and 3-Fret Bend 22 Module 6 – Blues Soloing 79
Vibrato 23 Introduction to Blues Soloing 83
Big 5 Jam in A Minor 24 Minor Blues Jam Example 86
Module 2 – Adding Creative Elements 27 Major Blues Jam Example 88
Palm Muting 27 Combining Major and Minor Pentatonic 90
Dynamics 29 Module 7 – Final Words 94
Whammy Bar 30 Soloing in the Real World 94
Double Stops 32 Preconstruction vs Improvisation 94
Natural Harmonics 34
Pinch Harmonics 36
Open Strings 36
Practice Tips 39
Phrasing 39
Phrasing Jam in A Minor 41
Module 3 – Pentatonic Scales 43
Creative Elements and Scales 43
Positions of the Minor Pentatonic Scale 43
The Major Pentatonic Scale 47
Pentatonic Expansions: the 9th 49
Minor and Major 6th 50
Extensions on the Major Pentatonic 53
Blues Expansions 56
Pentatonic Expansions Jam in A Minor 59
2 GuitarZoom © 2019
MODULE 1 – Learning to Play Creatively
Intro Jam
= 56
Am/G
Am Am/G D Dm Em
sl.
3
full
½
5 sl.
5 8 7
8 (8) (8) (8) 8 (8) (8) 8
5 5 4 (4)
sl.
H P
F E7
5 5:3 H P
3 sl.
3 3
full
sl. sl. H H P P
2 4 2 4 5 7 5 4 7 9 (9) (7) 12 14
12 13 12
14
12
14 12
15
3 5 5 7 5 14
Am Dm G
½
12 13 15 13 12 13 12 (12) 13 12
(15) 13 12 (12)(12) (12)
GuitarZoom © 2019 3
Am H
Dm
H P
H sl.
3
3 3 5
3
H H 10
H P
sl.
8 12 8 7 8 7 7
10 X 10 10 8 5
9 12
10
8 12
C
G F
sl.
P
3 5
sl.
3 P sl.
3 3
full full P
sl. P sl. sl.
5 7 8 10 8 7 7 10 10 (10)
5 10 10 8
X 7 9 7 5 2 4 4 5
7 5 3 5 5 7
Am C Dm
H
3 sl. P
3 3
3
sl. P H
(10) 10 8 7
8 10 8
7 7 9 7 5 7 5
7 7 7 5 (5) (5) (5) 5 7
G
sl.
3
sl. H
3
sl. sl. P.M. H
3 5
5
4 7
5 7 (7) 5 (5) 5
3 7
5
4 GuitarZoom © 2019
Am Dm
P P H P
P P
H P sl.
P
P P H P P H P sl.
7 8 7 5 5
8 5 8 6 5 6 5
7 5 7 5 7 9 (9) (9)
7 5
G Am Dm
sl.
P
3 5
½
15 P sl.
17 19 19 12
17 20 15 12 15 12
19 14 14 12 14 12 14 (14) (14)
14
G
F
C
sl. sl. P sl.
H P sl.
sl.
5
3
sl. sl. P sl. H P sl. sl.
12 8 8
10 12 12 8 5 5 6 8 8
7 5 7 9 (9) 7 5 (5) (5) 7 5 4 4 5
Am C Dm
P P
P sl.
H sl.
P
4:3 3 3
full
P
P.M. P sl. H P sl. P
5
8 7 5
8 6 5
7
5 6
5
8
X 5 5 7 9 (9) (9)
7 14 12 (12)
7 7 5 X
GuitarZoom © 2019 5
H P
P
H
G
H
3 3 7 3 3 3
full
H P H P H
13 14
13
14
13 15 15 (15) 13
14
13 15
14 (14)
13 14 13
14
13 15
F E7
H P
sl.
3 3
full
H P
sl.
12 15 (15) 13 12 10 12 10 8 10 8 7 (7) 7 8 7
8 10
7 7
Am/G
Am P Am/G D
P H P
P sl. sl.
5
3 3
P.M.
P
P H P P P.M. sl. P.M. sl. P.M.
8 7 5
8 6 5 6 5 5
5 5 7 7 5 5 57 9 7 (7) 5
7 7 7 10 9 7 5
Dm Em F E7 sl. P
H H P
P
sl. H P
H P
3
H sl.
3 3 5
P.M. sl. P
full
H H H sl. P P sl. H H P P
5 7 7 10 12 10
5 8 8 10 1210 10 12 13 12 12 15
4 7 12 12 9 12 14 14 14 12
7 5 7 12 14
6 GuitarZoom © 2019
Am Dm
P H
3
3 3
P.M. full
P H
15 12 15 17 19
(15) 15 13 13 15
14
G
P P
5 5
3
full full full full
½ ½
17 P P
20 19 17 19 19 (19) 17 17
20 20 20 17
19
17
19 17 19 17 19 19(19)
20
(19) 17
19 19
Etc.
Am Dm
3
19 17 (17) (17) (17)
19
GuitarZoom © 2019 7
Introduction
Thank you for joining this course! We will be examining the most important elements that contribute to
making great guitar solos. The goal of this course is not to have a complete knowledge of theory, scales,
chords and so on: we will focus on making these essential tools readily available to use in your playing,
whatever the level of knowledge you have at the moment or the style you prefer. Universal concepts like
phrasing, melody and expansions will be explained and put in a practical context, so that your playing
will take a step up and sound more authentic.
Guitar Solos and Sound
Guitar soloing is something that we can study all life long, but there are some key concepts that can
help us build a core set of practical guidelines and be able to effectively use all the information we know
and actually play at our best.
The first thing we have to be aware of is understanding what we can see on the guitar: it’s not necessary
to know all the scales and positions, but the more options you have available on the guitar, the more
opportunities you have to transfer your ideas on the instrument and play really cool things. For
example, here is the first position of the minor pentatonic scale in the key of A.
A Minor Pentatonic 1st Posi�on
5 8 8 5
5 8 8 5
5 7 7 5
5 7 7 5
5 7 7 5
5 8 8 5
This is a very common starting point, but the first step to turn this simple series of notes into a fresh and
enjoyable guitar solo actually comes before we move our fingers on the fretboard: our guitar sound and
general approach to the instrument are going to affect everything we play, so let’s take a look at the
elements that shape them.
One thing that can really influence the way we play is the choice of effects we use: in particular, time-
based effects like reverb or delay can help avoid playing too many notes, filling some ‘space’ after we
stop playing a note or a lick and letting our soloing style ‘breathe’ a bit more. Of course, make sure to
use the right amount of effect, without drowning the notes you play under multiple layers of sound –
unless you want it as a special effect for a specific musical reason.
8 GuitarZoom © 2019
In general, spend your time exploring the sonic options you have available with your equipment,
because finding the right guitar tone for the situation will make your soloing choices fit properly in the
musical context and sound to the listener as they are meant to. You can also use these options to
enhance the dynamic variety in a solo: for example, the volume knob and the pickup selector you have
on your guitar are great tools with which to change the intensity of your playing, letting you go from a
distorted and brilliant sound that works great in a powerful solo to a cleaner and more mellow tone for
quieter passages.
Deadening Strings
This is crucial in developing a proper soloing technique. Even when playing a simple scale, equally
important as playing the right notes is not making the wrong ones come out: as Steve says, it’s not what
you are playing, it’s what is between the lines. As a general rule, the fretting hand can be used
effectively to deaden out the strings below and the string immediately above the one we are playing.
For example, to play this note:
5
The fretting hand can prevent the 1st, 2nd, 3rd and 4th string from resonating, and also deaden out the
6th string with the tip of the finger: so no other control is needed. But when playing a note on the 4th
string:
5
We have to use the palm of the picking hand to deaden out the 6th string. So whatever we play, we
have to make sure that we are controlling the strings we are not playing in order to make our solos
sound clear: distortion makes the sound more noisy and the strings resonate more, practice using
different sounds to develop this sort of ‘behind the scenes’ ability at different levels.
GuitarZoom © 2019 9
The Picking Hand
The choice of the right pick is another key element in having a comfortable setup: there are no rules for
choosing a pick, experiment with picks of different thickness and find one that suits your style of playing
– you may also prefer different picks while changing instrument, playing a different style or using
different techniques.
Essentially there are two main ways to play notes with a pick. In downpicking all the notes are played
picking down:
5 7
5 7
5 7
5 8
In alternate picking we play one note down and one note up in alternation:
5 7 5 7 5 7 5 7 5 8 5
7 5
7 5
Each technique has its place, and when soloing we’ll usually end up with a mix of the two: while
alternate picking gives the ability to execute faster and more complex passages, downpicking gives a
more aggressive ‘edge’ to the sound, and can be used to enhance the emotional impact of a lick. In the
end, practice both techniques and choose the one that works best for your style and the musical
context.
10 GuitarZoom © 2019
Positions on the Fretboard
Now we will take a look at different positions in which we can play a scale: this is especially important
because the more we learn to move horizontally through the fretboard, the more freedom and creative
options we have to choose from. We will take the 1st position of the minor pentatonic as a starting
point.
A Minor Pentatonic 1st Posi�on
5 8 8 5
5 8 8 5
5 7 7 5
5 7 7 5
5 7 7 5
5 8 8 5
Here we play the notes A-C-D-E-G across the strings until we reach the C on the 1st string. To expand the
available range and open other fingering possibilities we can play the same notes moving the starting
point up one note – in this case from the C at the 8th fret on the 6th string.
A Minor Pentatonic 2nd Posi�on
A
8 10 10 8
8 10 10 8
7 9 9 7
7 10 10 7
7 10 10 7
8 10 10 8
It’s important to know where the A notes are in each position, because they are the ‘center’ of our
scale, and consequently of the song or piece of music we are playing in.
A C
E G
C D
G A
D E
A C
GuitarZoom © 2019 11
C D
G A
D E
A C
E G
C D
The best way to learn a position so that you can play and move in it with confidence is to first visualize it
on the fretboard, see its shape, and then practice with it playing multiple times from the 6th string to
the 1st and back again: do it with the 1st position until you feel comfortable with it, then move on to the
2nd position and repeat the process. Once you have both positions well established under your finger,
you can connect them to cover a greater portion of the fretboard.
A Minor Pentatonic 1st and 2nd Posi�on
A C D
E G A
C D E
G A C
D E G
A C D
A great way to practice with positions is a technique called meandering, where you move around one or
more positions and explore the possible fingerings, familiarizing with them and learning to move back
and forth.
Free time
10 8
10 8 5 8
7 9 7 5 5 7 9 7
7 10 7 5 5 7
7
With meandering we start learning how to move around with these two positions. We move back and
forth, just exploring connections and possible fingerings without trying to give a complete sense from a
musical perspective: we make our fingers familiarize with the possible movements.
12 GuitarZoom © 2019
Free time
10 8 5 8
7 9 5 7 7 9
8 10 5 8
7 5
5 7 10 7 7 10
10 7 5
8 5
The use of a metronome can help practice in an effective way. Choose a tempo that you feel
comfortable playing at (for example 110 bpm), start the metronome and play 8th notes, which means
two notes for each click of the metronome. Feel free to set the tempo at any speed, the important thing
is that you are able to play 8th notes comfortably.
Start practicing each position from start to end and back to get a feel of how you play at that tempo. It’s
important that you are aware of any difficulty you may encounter while practicing: identify all the
passages and techniques that you find difficult and spend some time working on each one in order to
remove the obstacle.
While practicing with positions you may find that in some cases the “ideal” fingering, the one that
associates one finger to one fret (for example index on the 5th fret, middle finger on the 6th, ring
finger on the 7th and pinky on the 8th), may not be the best solution. A typical example is the 2nd
position of the minor pentatonic.
Standard Fingering
8 10
8 10
7 9
7 10
7 10
8 10
Alternate Fingering
8 10
8 10
7 9
8
7 10
7 10
10
GuitarZoom © 2019 13
The ‘Big Five’: Hammer-Ons, Pull-Offs and Trills
There are five techniques we refer to as the ‘Big Five’, and they are absolutely crucial to an effective
guitar solo: these are hammer-ons, pull-offs, slides, bending and vibrato. These have to be mastered, as
they are the main tools that great guitar players use to make their instrument ‘sing’.
Hammer-on involves playing a note using only a movement of the fretting hand, without picking it: play
a first note with the pick, then press another finger of the fretting hand on the fretboard with a quick
movement.
H
H H H
H
H
H
H H H H H
5 8
5 8
5 7
5 7
5 7
5 8
Hammer-ons are useful in two ways: they can give a smoother sound to a musical phrase (we call legato
this playing mode) and they allow for faster playing, giving more time between each stroke of the
picking hand.
H H H H H H H H
H H H H H H H H
5 7 5 7 5 7 5 7
5 7 5 7 5 7 5 7
When using legato techniques it becomes even more crucial to control the strings we are not playing: in
particular, make sure that the finger that frets the first note (the index finger in the above example)
stays in place after the hammer-on is executed, avoiding the so-called “Frankenstein” effect where the
two fingers (in our case the index and third finger) push one after the other on the string – as this will
waste energy in useless movement and increase the chance that fingering noise will be generated. This
can occur even when picking every note: the general principle is to move a finger only when it’s
necessary.
14 GuitarZoom © 2019
Pull-off works like hammer-on but moving in the opposite direction. A note is picked then a lower note
is played without using the pick, releasing the finger with a movement that plucks the string again.
P
P
P P P
P
P
P P P P P
8 5
8 5
7 5
7 5
7 5
8 5
Again, we have to avoid the “Frankenstein” effect by making sure that both fingers are already in place
when doing the pull-off.
Hammer-Ons and Pull-Offs on the Minor Pentatonic Scale
H
H H H
H
H
H
H H H H H
5 8
5 8
5 7
5 7
5 7
5 8
P
P
P P P
P
P
P P P P P
8 5
8 5
7 5
7 5
7 5
8 5
GuitarZoom © 2019 15
A trill means doing hammer-ons and pull-offs back and forth.
Standard nota�on
H P H P H P H P H
H P H P H P H P H
5 (7) 5 7 5 7 5 7 5 7 5 7 5 (7)
Slides
Sliding is a technique that enables a guitar player to obtain sounds and articulations usually associated
with instruments like the saxophone, and also makes moving horizontally across the fretboard and
switching positions easier and musically pleasing.
Slide Examples (00:49)
sl.
sl.
sl. sl.
5 7 7 5 7
sl.
sl.
sl. sl.
8 5
7 5 7 5
7 5 7
16 GuitarZoom © 2019
The slide can be performed moving down as well.
sl.
sl.
8 5
7 5 7 5
We can combine slides with hammer-ons and pull-offs to create very smooth musical phrases, and play
slides at various speeds, moving to one note or from one note in particular, expanding the vocabulary at
our disposal for soloing
Combining Slides and Pull-Offs (03:19)
P
sl.
sl. P
P sl. P sl.
8 5
7 5 7 5 7 5
7 5 7
The “airplane” slide starts from and undefined point of the fretboard (we don’t hear a starting note)
and lands on the desired note: it can be played moving either up the neck or down the neck (back
slide), with the latter having an exotic sound to it that can be often heard in the solos from Steve Vai or
Joe Satriani.
Airplane Slide
start from an undefined
point of the fretboard
X 7
GuitarZoom © 2019 17
Back Slide
start from an undefined point
from the top of the neck
5
Another useful type of slide is the subtle slide, that moves from a half step down the target note,
regardless of it being in the scale or not. Again, all these techniques can be combined to add variety and
expression to our solos.
(08:04)
Free time
Airplane slide
sl. sl.
sl. sl.
5 7 5 7 5 7 5 (5) 5
8
7 9 7
5 7 7 5 7 7 5
Subtle slide
sl.
sl. sl.
sl.
sl. sl. sl. P.M. sl.
6 7 5
8
7 9
8 5
7 4 5
5 7 7 5
7 4 5
18 GuitarZoom © 2019
Bending
In bending we play a note and take to another note by bending the string. It’s very important to focus
on the target note and make sure that it’s in tune, so spend some time practicing each bend and
comparing the target note with the note at the corresponding fret. Here are the three more common
bends in the 1st position of the minor pentatonic scale, often referred to as prime bends: compare the
note you bend at the 8th fret with the note played at the 10th fret and so on.
full full full
8 10
8 10
7 9
Reverse Bend and Half-Step Bend
There are many other types of bend in addiction to the prime bends: in reverse bend (or ghost bend)
we bend the note before actually playing it, and release it after we play it, so that the pitch has a
descending movement.
Reverse bend (00:35)
full
5
8
7 5
In dipping, we bend a note, release it just a bit and then bend it again: this creates a dissonance that
gets resolved when we bend it fully again
GuitarZoom © 2019 19
Dipping
full full
¾
8 (8)
Different bends can be combined, either when picking each note or picking a single note.
full
full
7 7
5
full
7
5
Here are two examples of using bending in a musical phrase.
20 GuitarZoom © 2019
Bending Lick Example 1 (02:38)
full
5 8
5 8
7
Bending Lick Example 2 (02:51)
full
7
5
7 5
In order to reach the target note often only a half step bend is necessary. Here are two examples in
Dorian mode, a scale derived from the diatonic scale that adds two notes to the pentatonic minor
A B C
E F G
B C D
F G A
D E
A B C
1/2 step 1/2 step reverse
½½
7
5
8 7 5 7 7
8 (8)
GuitarZoom © 2019 21
We can now begin to combine bends and slides to add expression to our playing and avoid being stuck
with simply playing scales.
Free time
sl.
sl.
full
½
sl. sl.
5
5 7
8 5 8 5 8
5 7 5 7 7 5 7 5
7
½
5
5 8 7
8 5 8 5 8
7 5
Blues Bend and 3-Fret Bend
In the blues bend the note is bent up just a bit, without reaching any particular note.
Free time
blues bends
sl.
¼ ¼ ¼
sl.
8 5
7 5 5 (5)
7 7 5
7 5 3
5
The 3-fret bend is especially effective when played on the root note of the scale, in our case the A.
22 GuitarZoom © 2019
1½
8
10 10
Vibrato
Vibrato is a vertical movement of the string which alters the pitch in a subtle way, giving the note a very
‘vocal’ quality, that can range from smooth to aggressive depending on how wide and fast the
movement is and on the musical context. It’ a great way to expand the emotional impact of our soloing.
5
When adding vibrato all the available fingers contribute to the movement: for example when using the
third finger, the index and middle finger will move the string as well. This is especially effective when
adding vibrato while bending a note. We will see many examples of this technique and all the Big Five in
the next jam.
GuitarZoom © 2019 23
Big 5 Jam in A Minor
= 108
Am
sl.
sl.
sl. sl.
5 (5) 7 9
5 7 (7) (7) 7 7 5
Dm
Am
sl.
blues bend
sl.
¼
sl. sl.
(9) 9 7 5
7 5 7 (7) (7)
Em Airplane slide Dm Am
full
¼
10 (10) 10 10 8 5
8 10 (10) (10) 5 8
9 9
Airplane slide 3-step bend
sl.
1½
full
¼
sl.
7
5 5 5 7 5 7 (7) 9
8
9
8 10 10
7 (7) (7) 7 7
24 GuitarZoom © 2019
Dm
Am
¼
full
8
8 5
(10) 10 (10) 5 8
7
5
7
Em Dm
P.M. P.M. P.M.
5 5
(7) 5 7 5 5 7 5 7
7 7 7 7
Am
sl.
sl.
½
7
5 8 7 7
(7) 5 7 5 (5) (5)
staccato
(release finger a�er playing)
full full full
5
(7) 5
8 8 (8) 8 (8) 8
7
5
Dm
Am
H
P
H P
(5) (5) 5 5 7 5
5 7 7 7 (7)
GuitarZoom © 2019 25
Em Dm Am
P
sl.
P.M.
P
sl.
5 8 8 5
5 8 8 5
5 7 7 5 7 9 (9)
5 7
sl.
P
P sl.
7 5 5
10 8
9
7 7 5 7 5 7 (7) (7) 7
Dm
sl.
sl.
(9) (9) 7 5 5 7 (7) 5
7 5 7
P
Am Em Dm
P
¼ full
8 5 8 10 10 8
8 10 10 10
(7) (7)
Am
P
P
(10) 8 5
7 5 5
7 5 7 7
26 GuitarZoom © 2019
MODULE 2 – Adding Creative Elements
Palm Muting
To execute palm muting, gently rest the palm of your picking hand near the bridge to partially mute the
notes. This technique can be used to add dynamic movement to the solo. For example, in this phrase
(00:33 in the video) notes are muted less and less as we move towards the higher pitches: you will need
to find the sweet spot for your hand on the bridge to get the right amount of muting.
P.M.
5
5 7
5 7
5 8
Here are some examples of the application of palm muting and its combination with the other
techniques we have explored in the first module.
Palm Mu�ng Example 1 (01:32 in the video)
sl.
¼
P.M. P.M. sl.
5
5 7 (7) 5 5 7 (7)
7 7 7 5
8 5
Palm Mu�ng Example 2 (01:52 in the video)
legato with hammer-ons and pull-offs staccato with palm mu�ng
P H P P H P
P H P P H P P.M.
5 5 5 5
7 5 5 7 7 5 7 5 5 7 7 5 7 5 5 7 7 5 7 5 5 7 7 5
8 8 8 8
GuitarZoom © 2019 27
Palm Mu�ng Example 3 (02:37 in the video)
Free time
P
P P P
H P P
H P
3
P.M.
P P P H P P H P P
5 7 5 5
5 7 5 5 5 7 5 5 7 7 5 7 7 5
7 5 5 7 7 5 7 7 5 5 7 7 5 7 7
8 8
H P P
P H
P P P P
P.M.
P P H P H P P P P
5 7 5 5
5 7 5 5 5 7 5 5 7 7 5 7 7 5 5 7
7 5 7 7 5 5 7 7 5 7 7 7 5
8
P P P P
H P H
3
3 P
P.M.
P H P H P P P P
5 7 5 5
5 5 5 7 5 5 7 7 5 7 7 5 5 7 5 5 5
7 7 5 5 7 7 5 7 7 7 5 7 7 5 5 7 7 5 7
8 8
P.M.
(7)
28 GuitarZoom © 2019
Dynamics
The concept of dynamic contrast is one of the cornerstones in making a solo expressive and interesting
for the listener. The opposition of contrasting elements can make a huge difference – from high to low,
from loud to soft, from a passage with lots of notes to another with a lot of silence and so on.
Be aware of the possibilities that the guitar offers in this regard, varying the strength of your picking
hand, raising or lowering the volume, changing pickups: you can add many dynamic variations just by
using what you have on your instrument.
Here are some exercises that can help you explore and practice different dynamic options. Try to
replicate the nuances Steve uses on these phrases. In the tabs the letters above the staff indicate the
dynamic level (p = piano, soft; mp = mezzo piano, moderately soft; mf = mezzo forte, moderately loud; f
= forte, loud) and the lines below the staff with an angle opening up or closing indicate the level is
increasing or decreasing respectively. Steve will play each phrase twice.
Dynamics Exercise 1 (03:23 in the video)
Free time p f mf
¼
P.M.
5 5 5
5 7 7
7
Dynamics Exercise 2 (03:39 in the video)
f lower gradually p
full
¼
P.M.
7
5
7 5 7
7 5
8 5
Dynamics Exercise 3 (03:54 in the video)
p
ff
¼
5 5 5 5 5 5 (5)
7 7
GuitarZoom © 2019 29
Dynamics Exercise 4 (04:12 in the video)
Free time
p ff
p
P.M. P.M.
5
5 7 7 5 7
5 7 7 5
Whammy Bar
The whammy bar is available on many guitars, and it can be a great resource to add expressiveness and
variety to our solo. It can be used for a wide range of effects, from great pitch alterations to subtle
vibrato. The amount and speed of the effect can be easily modulated.
Whammy Bar Vibrato (00:34)
sl.
sl.
8 5
7 5 7 5 (5) 5 7 9
7 7
Whammy Bar Dipping (01:01)
play first note, lower the bar quickly lower and release the bar
and release when sliding when sliding to the next note
w/bar
sl.
-1 -1 -1
sl.
5 7 9 12
30 GuitarZoom © 2019
The whammy bar can also work great in conjunction with bending. Now let’s practice with this
technique. Try to replicate what Steve is playing.
Whammy Bar Exercise 1 (03:00)
Subtle vibrato
5 7
Whammy Bar Exercise 2 (03:13)
play first note, lower the bar quickly lower and release the bar
and release when sliding when sliding to the next note
w/bar
sl.
-1 -1
sl.
5 7 9
Whammy Bar Exercise 3 (03:26)
lower the bar while release while doing
releasing bend the pull-off
w/bar
-1
full
7
5
7 (7)
GuitarZoom © 2019 31
Double Stops
Double stop means that you play two strings at the same time. A great example is what is often called a
harmony bend.
full
8
8
We can hear this technique used by great players like Stevie Ray Vaughan or Billy Gibbons from ZZ Top.
Harmony Bend Examples (00:40)
1. alternate the two notes freely
while keeping the bend
full
full full full full
5
8 8 8 8
8 8 8 8 8 8
7
2.
3 3
full
full full
full
full
15 13
15 15 15 15 15 (15)
15 15 15
X
X
32 GuitarZoom © 2019
The notes can be played separately like in the examples above or at the same time for a more aggressive
sound. Playing the higher note with one finger of the picking hand instead of the pick (a technique
referred to as hybrid picking) can help achieve an even flow.
Harmony Bends in 1st Posi�on
full full full full
8 8
8 8 8 8
7 7
Other double stops don’t require bending. In the 1st position of the minor pentatonic we have two very
common options.
Double Stops in 1st Posi�on
¼ ¼
5
5
7
7
5
5
7 7
The F# on the 2nd string is not in the pentatonic scale, but it adds a very nice effect. We can add a slide
to it as well.
sl.
¼
sl.
7
7
8
8
7
7
5
5
7
Chuck Berry made this technique famous worldwide with his playing.
GuitarZoom © 2019 33
Chuck Berry Style Double Stops
sl. sl.
sl.
sl.
sl. sl. sl. sl.
4 5 5 54 55 54 55 5 4 5 5 5 8 5 5 5
4 5 5 54 55 54 55 5 4 5 5 5 8 5 5 5 7 5
7 5 7
7
Harmony Bend in 1st Posi�on
½
8 5
7 5
All the elements we have examined so far work best when used in conjunction: if you feel that at this
point you are overwhelmed and losing focus, or you are not sure about any technique, take your time
and spend some time practicing before moving on.
Natural Harmonics
Natural harmonics are obtained by touching the string at specific points without pressing on a fret. To
have a clean sound make sure you touch the string right above the fret and not between the frets where
you normally place the finger.
<12>
<12>
<12>
<12>
<12>
<12>
34 GuitarZoom © 2019
Play at the 12th, 7th and 5th fret for the more full-sounding harmonics.
<12> <7> <5>
<12> <7> <5>
<12> <7> <5>
<12> <7> <5>
<12> <7> <5>
<12> <7> <5>
Here are some examples.
<5>
<5> <7>
<5> <7> <5> <7> <5>
<5> <7> <5>
<7> <5>
Free time
P
3
P P.M.
5
<7>
8 5
7 <5> 5 <5> <7> 5
7 7 <5> <5> <5> <7> <5> 7 5
<5> <7> <5>
sl.
P.M. sl.
<7> <5>
<7>
<7>
<5>
<5> <7> <5> 5
7 <5> <7> <5> <7> <5> <7> 7 5
7 5
GuitarZoom © 2019 35
Pinch Harmonics
Pinch harmonics are created by turning the pick when hitting the string so that both the pick and the
thumb touch the string. This generates an artificial harmonic that you can hear in the style of many
guitarists, from Zakk Wylde to Billy Gibbons from ZZ Top. A distorted sound makes generating pinch
harmonics much easier, but even with clean sounds it’s possible to play them, although very
uncommon.
PH
7
Changing the position of the picking hand will change the harmonic being generated: anyway, when
mixing them with normal picking any harmonic will usually work fine.
Open Strings
Open strings will work best in certain keys, depending on the note we are looking for.
36 GuitarZoom © 2019
Free time
P
P
P P.M. P
8 5
7 5 5 7
5
7 5 5 0
7 7 5 5 7
7
P
P P P P
P.M. P P P P
¼ ¼ ¼ ¼ ¼
P P.M. P.M. P.M.
5 0 7 5 0 7
5 7 7 5 7 5 0 5 5 0
7 5 7 5 7 5 0 7
H
P P
P
¼ ¼
H P.M. P.M. P P.M.
5 0 2
5
5
5
5
5
5
7 5 7 5 5 0 2 7
7 7 5 0 0 0
P
P
¼ ¼ ¼
P.M. P.M.
5 0 5 5
7 5 7 5 0 5 7
7 7 7 7
GuitarZoom © 2019 37
It can be a great resource to build a lick.
Open String Lick 1
P P P P P P P P
3 3 3 3 3 3 3 3
P P P P P P P P
5 0 7 5 0 7 5 0 7 5 0 7 5 0 7 5 0 7 5 0 7 5 0 7
Open String Lick 2
P P P P P P P P
3 3 3 3 3 3 3 3
P P P P P P P P
5 0 5 0 5 0 5 0 5 0 5 0 5 0 5 0
8 8 8 8 8 8 8 8
Open String Lick 3
P P P P
3 3 3 3 P P P P
3 3 3 3
P P P P P P P P
5 0 5 0 5 0 5 0 7 0 7 0 7 0 7 0
7 7 7 7 10 10 10 10
P P P P
P P P P
3 3 3 3 3 3 3 3
P P P P P P P P
9 0 9 0 9 0 9 0 12 0 12 0 12 0 12 0
12 12 12 12 14 14 14 14
38 GuitarZoom © 2019
Etc.
P P P P
P P P P
3 3 3 3 3 3 3 3
P P P P P P P P
14 0 14 0 14 0 14 0 17 0 17 0 17 0 17 0
17 17 17 17 19 19 19 19
Practice Tips
We are continuing to add creative options that we can use within the context of our playing, to break
the monotony of just playing notes back and forth. Add dynamic oppositions, use all the elements we
have examined: when practicing, focus on just one of them or a couple of them until you are in full
control and you are able to transfer the technique to new material.
Phrasing
Now that we have all these resources at our disposal, it’s time to focus on building phrases, just like a
singer would, and trying to tell a ‘story’ with our playing. The scales give us a sort of roadmap that we
can use to move around the fretboard, and we have to be able to break all these scales and fingerings
into musical ‘chunks’ that have a sense in the context of the song.
The practice of meandering again can be very useful in this process. When meandering we set the
metronome at a certain speed and start playing 8th notes without stopping – that’s why it is important
that the tempo is not set too fast: this essentially trains our brain to develop a ‘comfort zone’ where we
will be able to improvise without getting stuck. Doing this at the right speed will give us that little
mental space available to try new things and going in different directions.
The switch from meandering to phrasing happens when we start breaking the continuous flow of
meandering into pieces: we make one note last longer, add a pause, in other words we try to organize
them in a way that makes sense to us in some way. Because we are meandering, the notes won’t
necessarily follow an order, but they will not be simply scales played repetitively, some note search will
be in action as well.
GuitarZoom © 2019 39
From Meandering to Phrasing
8 10 5
7 5
8
7 5 7 9 7 5
5
7 5
8
7 5 7 5 7
5 7
5 8 5
5 8 8
7 5 7 5 7 9 7 5
7 5 7 5 7
5 7
It’s important that you force yourself to move between different positions, strings and so on, or
sometimes repeating a pattern with variations could be a useful approach. In this context, it’s also
important to break phrases by keeping a note longer or by completely stopping our playing – this last
option can be used as a creative effect on its own. Experiment with phrases of different length and
pitch.
40 GuitarZoom © 2019
Phrasing Jam in A Minor
= 108
Am
P.M. P.M. PH
8 10
7 (7) 5 7
5 (5) 8
5 7
5 7 5 7 5
Dm Am
sl.
sl.
5
5 8
5 5 (5) 7 9 7 (7)
(5) 7 7
Em
Dm
Am
P.M.
5
5 8 5 8
5 7 7 5
7 7 (7)
5 7
P.M. P.M.
5 7
5 5
7 5 7
5 5
7 5 7
5 5
7 (7) 5 5 (5) (5)
8
5 7
5 7
Dm
Am
9 7
5
5 8
(7) 7 5 7 5 (5)
7 5
7 5
GuitarZoom © 2019 41
Am
Em
Dm
10 8 10 8 8
10 (10) 8 10 8 10 8 10 8 10 8 10 8 10 10 10
P.M.
(10) (10) 8 5
7 5 5 7
5 (5)
7 5 7
Dm
Am
5 5 5 5 5
7 7 7 7 7 7 7 7 (7) (7)
Em Dm Am
sl.
sl.
8 5
7 5 5 (5)
7 5 5 7
7 5 7
42 GuitarZoom © 2019
MODULE 3 – Pentatonic Scales
Creative Elements and Scales
Now that we have gathered all these creative elements, it’s time to get back with our hands on the
fretboard and look at the implementation of these ideas on our scales.
Positions of the Minor Pentatonic Scale
We start by building the five positions of the minor pentatonic scale.
A Minor Pentatonic 1st Posi�on
5 8 8 5
5 8 8 5
5 7 7 5
5 7 7 5
5 7 7 5
5 8 8 5
A Minor Pentatonic 2nd Posi�on
8 10 10 8
8 10 10 8
7 9 9 7
7 10 10 7
7 10 10 7
8 10 10 8
GuitarZoom © 2019 43
A Minor Pentatonic 3rd Posi�on
10 12 12 10
10 13 13 10
9 12 12 9
10 12 12 10
10 12 12 10
10 12 12 10
A Minor Pentatonic 4th Posi�on
12 15 15 12
13 15 15 13
12 14 14 12
12 14 14 12
12 15 15 12
12 15 15 12
A Minor Pentatonic 5th Posi�on
3 5 5 3
3 5 5 3
2 5 5 2
2 5 5 2
3 5 5 3
3 5 5 3
A Minor Pentatonic 5th Posi�on 1 Octave Higher
15 17 17 15
15 17 17 15
14 17 17 14
14 17 17 14
15 17 17 15
15 17 17 15
A Minor Pentatonic 1st Posi�on 1 Octave Higher
17 20 20 17
17 20 20 17
17 19 19 17
17 19 19 17
17 19 19 17
17 20 20 17
44 GuitarZoom © 2019
A Minor Pentatonic 1st Posi�on
A C
E G
C D
G A
D E
A C
A Minor Pentatonic 2nd Posi�on
C D
G A
D E
A C
E G
C D
A Minor Pentatonic 3rd Posi�on
D E
A C
E G
C D
G A
D E
A Minor Pentatonic 4th Posi�on
E G
C D
G A
D E
A C
E G
A Minor Pentatonic 5th Posi�on
G A
D E
A C
E G
C D
G A
GuitarZoom © 2019 45
A Minor Pentatonic 5th Posi�on One Octave Higher
G A
D E
A C
E G
C D
G A
A Minor Pentatonic 1st Posi�on One Octave Higher
A C
E G
C D
G A
D E
A C
Each position connects with the other ones like a puzzle piece. Two adjacent positions share one “side”
of the fingering, and we can think of it like a “membrane” between them: this is a good way to visualize
the connection, for example here are the 1st and 2nd positions with the connection highlighted.
As a first step, practice each position until you know it on an absolute level: then start meandering and
connecting positions to expand your knowledge beyond just playing scales. It’s important to balance
practice time between scales and meandering, and it’s better to focus on one or two positions than
trying to learn all five and being unsure on all of them.
Also remember that you can transpose all these positions in any other key by simply shifting the starting
fret: for example, to play G minor pentatonic you can shift all these fingerings two frets lower, to play D
minor shift up five frets and so on. If a position ends up being out of the fretboard, just shift it one
octave lower or higher as we have seen for the 1st and 5th positions.
46 GuitarZoom © 2019
The Major Pentatonic Scale
To find the positions for A major pentatonic scale, shift the first position of A minor pentatonic
down three frets. This will be the 1st position of F# minor pentatonic, which has the same notes of A
major pentatonic (F# minor is the relative minor of A major, just as A minor has the same notes of C
major, being its relative minor): just ensure to emphasize the A note instead of F#. We will consider it
the 1st position of A major pentatonic.
A Major Pentatonic 1st Posi�on
2 5 5 2
2 5 5 2
2 4 4 2
2 4 4 2
2 4 4 2
2 5 5 2
A Major Pentatonic 2nd Posi�on
5 7 7 5
5 7 7 5
4 6 6 4
4 7 7 4
4 7 7 4
5 7 7 5
A Major Pentatonic 3rd Posi�on
7 9 9 7
7 10 10 7
6 9 9 6
7 9 9 7
7 9 9 7
7 9 9 7
GuitarZoom © 2019 47
A Major Pentatonic 4th Posi�on
9 12 12 9
10 12 12 10
9 11 11 9
9 11 11 9
9 12 12 9
9 12 12 9
A Major Pentatonic 5th Posi�on
12 14 14 12
12 14 14 12
14 14
14 16 16 14
12 14 16 16 14 12
12 14 14 12
A Major Pentatonic 1st Posi�on
F A
C E
A B
E F
B C
F A
A Major Pentatonic 2nd Posi�on
A B
E F
B C
F A
C E
A B
A Major Pentatonic 3rd Posi�on
B C
F A
C E
A B
E F
B C
48 GuitarZoom © 2019
A Major Pentatonic 4th Posi�on
C E
A B
E F
B C
F A
C E
A Major Pentatonic 5th Posi�on
E F
B C
F A
C E
A B
E F
Pentatonic Expansions: the 9th
We call expansions the notes that we add to the pentatonic scale – actually borrowed from the diatonic
scale, but the focus here remains pentatonic phrasing – to expand the expressive possibilities of the
scale and give more options for phrasing.
The first expansion is the 9th, also referred to as the 2nd: it has a very distinctive ‘color’ without
changing the overall sound of the scale and is used very often. We can add it to the 1st positions, and
the resulting fingering is as follows:
A B C
E G
B C D
G A
D E
A B C
GuitarZoom © 2019 49
Here is an example of how it can be used.
(03:57)
9th
Free time
sl. sl. H P sl.
3
½
sl. sl. H P sl.
4 5
8 5
5 4 5 5 7 5 4
5 5 7
5
7 5 (5) 5 5 7
9th
sl.
P
3 sl.
8 7
½ P
5 sl. sl.
5 7 8 7
5 8 8
7 4 5
5 7 5
7 5 (5)
Minor and Major 6th
These two expansions are similar but give a different character each one. The minor 6th has a sad feel
to it.
A C
E F G
C D
G A
D E F
A C
50 GuitarZoom © 2019
(00:58)
Free time
min 6th
P P
P
3 3 3 3 3
½
P P P
6
8 5 5
8 6 5 5 6 5 (5) (6) 6 5 5
7 7 7 5 7 5 (5)
7
P
3 3
½
P
5 7
5 6
5
8
7 5 7 5 7
5 6 5 (5) 6 5
7
5 6
5
7 7
min 6th
9th 9th
P
P P sl. P H sl.
3 3 3 3
3 3
P P sl.
P
P H sl.
5 7 8 7 5
5 6 5 5 6 6 5 5 6 8
7 5 4 4 5 7 7 5 7 5 7 5 4
7
Unlike the 9th, the minor 6th is a very colorful note and strongly defines the context it’s played in: for
this reason it’s used very sparingly. The major 6th is less strong, and adds a bluesy feel to the pentatonic
scale.
A C
E F G
C D
F G A
D E
A C
GuitarZoom © 2019 51
(02:08)
Free time
maj 6th H P
P
5
H P P
5 7
5 7 8 7 8 7 5
7
5
7 5 7 5 (5) 5
7
5
8
5
7
5
8
5
7 7
P
3 3
½ ¼
P
7 7 5
7
7
7
5
7 5 7 5
7 7 7 (7)
P
9th maj 6th
P
sl. P sl.
3 3
sl.
P
P P sl.
5 7 8 7 5
5 7 8 8 7 5 5
4 5 7 7 5 7 5 4
7
Looking at the shapes that we obtain adding both the 6th and the 9th we can see that the results are
two diatonic modes/scales. With the minor 6th and the 9th we have the diatonic minor scale, or Aeolian
mode.
A B C
E F G
B C D
G A
D E F
A B C
52 GuitarZoom © 2019
While using the major 6th and the 9th we have the Dorian mode.
A B C
E F G
B C D
F G A
D E
A B C
Extensions on the Major Pentatonic
Looking at how expansions work in the major pentatonic scale, we can see that moving the positions
down three frets as above the expansions also can be translated. The 9th becomes the major 7th, which
has a very happy sound.
(00:30) major 7th
Free time H
P
P
P
H P
P P
2 5 4 5 4 2 2
2 5 5 5 2 2
2 4 4 4 2 4 2 (2)
4
H P
P P
H P
P P
5 4 5 4 2
5 2
2 4 2 4 2
4
We have another option here, the major 7th can be moved down one fret and becomes a minor 7th,
which gives the scale a bluesy sound.
GuitarZoom © 2019 53
(01:02)
minor 7th
Free time
P
P
P
P
P P
3 5 3 2 2
5 5 2 2
4 4 2 4 2
4
(01:26)
5 3 3 5 3
5 2 2 5 5 2 2
4 2 2 4 4
P P
P P
2 5 2 2 3 (3) 3
2 5 5 5 2 2 5 5
4 4 2 4 2
4
5
5
full
5 3 5 3
X 5 5 2
X 4 2 4 2 (2)
4
54 GuitarZoom © 2019
Another great sounding note is the perfect 4th. Like the 9th, it can be used in most contexts without
adding too much color.
4th
(02:17)
Free time
P
5
P
2 5 2
5 3 2 2 3 2 3 5 5 5 3 2 2 3 5
4 2 (2) 2 4 4 2 4 2 4 2
4
Major 7th
F G A
C E
G A B
E F
B C
F G A
Major 7th
F G A
C E
A B
E F G
B C
F G A
Perfect 4th
F A
C D E
A B
E F
B C D
F A
GuitarZoom © 2019 55
Blues Expansions
Blues expansions are notes that don’t fall within the diatonic major or minor scale but are typical of the
blues and strongly define the sound in that direction. The most important of the blues expansions is the
blue note (or blues note), which is found between the third and the fourth note of the minor
pentatonic.
(00:26)
Free time
Blue note H P
H P
5
5 6 7 7 6 5 6 5 5
5 8 8 8 5
(01:05) Moving up and down
5 5
5 6 7 7 6 5
8 5 (5)
With hammer-ons and pull-offs
H P H P H P
5 5 5
H P H P H P
5 6 5
8
5 6 5
8
5 6 5
8 5
H P
3 3 H
H P H
5 7 5 5 7 5
6 7 6 7 7
56 GuitarZoom © 2019
One octave higher there is another great sounding fingering for the blues note.
(01:45) Free time
sl.
sl.
sl. sl.
5 5
5 8 8 5 5 8 8 5
7 8 8 7 5 7 5 5 7 8 8 7 5 7 5
7 7
(01:57)
8 10 8
8 10 10 8 10 8
7 8 9 9 8 7 5
7 5 7
7 6 5 6 5
8 5
A C
E G
C D E
G A
D E E
A C
If we add to this shape some other expansions we come up with a symmetrical shape on the first three
strings, which is very useful for fast passages and has a great sound.
A B C
E F G
C D E
GuitarZoom © 2019 57
It’s a great fingering for building licks.
(03:46) Free time
H P P H P
P H
3 5 5 7
6
H P P H P H P
5 5 5
8 7 5 5 8 7 5 5 7 8 8 7 5
5 7 8 8 8 7 5 7 8 8
P
H P P H P
5
5
P H P
P H P
8 7 5 5 7 5 5 5
8 8 8 7 5 5 7 8 8 7 5 5
8 8 8 7 5 7 5
7 7
P
H P P
H P P H P
P
H H P P H P P
P
P P
5 5 8 7 5 5
5 78 8 7 5 8 75 8 8 7 5
5 7 8 87 5 7 8 87 5 87 5
7 (7)
58 GuitarZoom © 2019
Pentatonic Expansions Jam in A Minor
= 46
major 6th 9th blue note
Am
sl. P
sl. P
7 5 8
7 5 7 5 (5) (5) 5 7 4 (4) 7 8 7 5
7
sl.
½ full
sl.
5
5 7 8 (8) 7 (7)
5 8 (8) (8)
4 5
7
sl. sl.
4:3 4:3
5:3
sl. sl.
5
5 7 8 7 5 8 8 10
7 87 5 7 5 (5) (5) 5 7 5 7 (7) 5 (5) 9 9
7
F E Am
P
3 3 sl.
3
sl. sl.
full
P
sl. sl. P.M. sl.
10 8 8 7
10 8 8
75 4 5 5 7 9 (9)
5 7 5 7 5
7 7
GuitarZoom © 2019 59
MODULE 4 – Melodic Soloing
The Diatonic Major Scale
The diatonic major scale is composed of seven notes that are placed at specific distances between each
other in order to get its specific sound. We will use a spread fingering with three notes per string (often
referred to as 3NPS), because its symmetry can help us better visualize and memorize each position and
achieve faster speeds and consistent patterns for the picking hand across positions.
G Diatonic Major 1st Posi�on
5 7 8
5 7 8
4 5 7
4 5 7
3 5 7
3 5 7
7 5
8 7 5
7 5 4
7 5 4
7 5 3
7 5 3
G Major Scale
A B C
E F G
B C D
F G A
C D E
G A B
60 GuitarZoom © 2019
Like the pentatonic scale, the diatonic scale positions can be used in any key by moving the shapes up
and down the fretboard, and are connected together in the same way. Here are the other positions.
2nd Posi�on
B C D
F G A
C D E
G A B
D E F
A B C
3 5 7 9 12
3rd Posi�on
C D E
G A B
D E F
A B C
E F G
B C D
3 5 7 9 12
4th Posi�on
D E F
A B C
E F G
B C D
F G A
C D E
5 7 9 12 15
5th Posi�on
E F G
B C D
F G A
C D E
G A B
D E F
5 7 9 12 15
6th Posi�on
F G A
C D E
G A B
D E F
A B C
E F G
7 9 12 15 17
GuitarZoom © 2019 61
7th Posi�on
G A B
D E F
A B C
E F G
B C D
F G A
9 12 15 17 19
There are many more notes and options compared to the pentatonic positions, but as we can consider
them as expansions to them it’s easy to visualize the connection between the two ‘worlds’ and we can
switch from one to the other within the same position just bay adding or subtracting notes to our
fingerings.
The diatonic major scale also has a relative minor: in order to find it we start playing the same notes (in
our case G – A – B – C – D – E – F#) starting from the 6th note (E – F# - G – A – B – C – D).
Melodic Soloing and Chord Chasing
The concept of melody consists in making some sort of connection to the chords that are being
played. Once we have figured out the key and chord structure of a song, we want to choose the notes of
our phrasing in relation to the chord we are playing over in that particular moment, target our
movement towards the notes of that chord and emphasize them.
For example, let’s assume that our song is in the key of G major, and the first chord of the song is G: we
know that the E minor / G major pentatonic scale and the G major (diatonic) scale can be used for
phrasing over this chord. We try to go beyond simply meandering with the notes of these scales, and
want to target notes that are connected to the G chord.
From a theoretical perspective, we can analyze the G chord: it is composed of the root, major 3rd and
perfect 5th, in this case the notes G, B and D. We can also add the major 7th or the 4th, the notes F#
and C, to add color. But this analysis requires time, and if we are playing in front of an audience chances
are that we have to react faster than this approach permits. An alternative, which actually complements
this first method, is to have a visual approach that allows to immediately visualize chord shapes on the
fretboard and connect them to the scales: this is what we refer to as chord chasing and is also a great
way to apply our theoretical knowledge to the fretboard in an efficient way. The first step is identifying
some chord shapes across the fretboard.
G G G
10
3 3 10
3 3 12
0 4 12
0 5 12
2 5 10
3 3
62 GuitarZoom © 2019
Then we look for scale positions that are related to each one: for example, the 1st position of the G
major scale overlaps the G barre chord at the 3rd fret.
The red notes belong to both the
chord shape and the scale pos��on
G A B C
D E F G
B C D
F G A
C D E
G A B
We are now able to target our movement toward specific notes.
Movement toward a Note of the Chord
(06:21) P B, 3rd of G major
P
sl.
P P sl.
8 7 5
7 5 4
(08:09) P
sl.
P P
sl. sl.
5
P P sl. sl. P sl.
7 8 7 5
7 5 7 5 4 5 7 5 4
7 5 7 5 7 5
The same process will be done when a second chord comes in – for instance a B minor.
GuitarZoom © 2019 63
Bm Bm
7
2 7
3 7
4 7
4 9
2 9
7
Then the chord progression goes to C and D
C D
5
3 5
5 7
5 7
5 7
3 5
We can connect all these shapes with our phrasing targeting the notes of each chord.
(11:33)
Bm
P
G
P
P P
7 8 7 5
7 5 4 4 5
3
C
sl.
PD sl. P
sl.
5
sl. P sl. P sl.
7 8 7 5 7 5 3
5
7 8 7 5 7
5 7 5
7
64 GuitarZoom © 2019
We can move both scale positions and chord shapes up and down one octave if it helps connecting
them: for example we can move the G chord shape up one octave so that we can connect it to the 1st
position of E minor / G major pentatonic. The same can be done with the other chords of the
progression.
G shape 1 octave higher
G shape Overlap with pentatonic pos. 1
G E G
D B D
G G A
D D E
B A B
G E G
Bm shape Overlap pos. 1 and 2
F E G A
D B D E
B G A B
F D E G
B A B D
E G A
C shape
E E G
C B D
G G A
E D E
C A B
E G
D shape
F E G
D B D
A G A
D D E
A A B
E G
GuitarZoom © 2019 65
Soloing Over Chords Outside the Key
It can happen that one of the chords in the chord progression doesn’t fit in the key of the song: a
common example is a progression like G – A – C – D where the A major chord (A – C# – E) has the major
3rd (C#) that doesn’t belong to the key of G major. We have two options here: we can avoid the
‘outside’ note and use only the ones that are consonant for a smoother result, or we can emphasize
that C# and make that dissonance stand out for a more distinctive effect.
Avoid the note outside the key
sl. P
H P
H P
P
3
H P P H P
sl. P
5 5 7 8 7 5 (5)
7 8 7 5 5 5 7 7 5
7 5 4
Emphasize the note outside the key
H P
emphasize the C#
P P
3 3
H P P P
7 8 7 5
7 5 4 5 7 6 (6) 6
5
7 6 7 6
7 7 7
66 GuitarZoom © 2019
Chord Chasing Jam in G
Target notes:
= 70 G chord: G B D C chord: C E G
Bm chord: B D F# D chord: D F# A
GBm C D
sl.
3
P.M. sl.
4 (4) 4 5
8
7 (7) 5 7 5 7 5 4
5 7
G
Bm
D
C
sl.
H sl.
full
H sl. sl.
(4) 7 4 5 7 7 7 9 7 12
15
14
12 15
4 4 5 (5) 14
G Bm C D
H P
sl.
full full
H P P.M. sl.
(15) 15 15 15 13 12 13 12
14 (14) 12 12 11 7
14 14
G Bm C D G
sl.
sl.
3 3 3
full
sl. sl.
(7) 7 9
7 7
9
7 10 8 10
X
(10) 1010 10 8 7
9 7 4
X 5 (5)
GuitarZoom © 2019 67
Module 5 – Intervallic and Linear Concepts
The CAGED System
From the previous chapter we can now understand how important it is to be able to find different
shapes for each chord across the fretboard, to have more options available to connect scale positions
and direct our phrasing. The CAGED system is a great tool in this regard: it uses the five basic open
chord shapes and connects them all across the fretboard, giving a clear mapping of the main options to
play that chord. Here we are not interested in playing these shapes but rather in visualizing them and
using them to build our phrasing.
CAGED System for C
E G C E
C E G C
G C E G
E G C E
C E G C
C shape A shape G shape E shape D shape C shape
A shortcut to quickly visualize how the shapes are connected is to start from the E shape and expand to
the previous and next shapes (G and D). Let's take the B chord.
Expanding the E shape
B D
F B
B D F
F B
D F
68 GuitarZoom © 2019
(04:49)
P
sl.
P sl.
7
7 7 4
4 6 4 6 9
4 6 4 4
6 6 6
7 7
P
sl.
sl. sl.
sl. sl. P sl.
8 9 8 11 9 8 8 4
4
9 11 9 9 6 4 4
6 6
7 7
(05:08)
P
sl. P sl.
P
sl. P sl. P.M.
12 11
12 12
11 9 11 9 9 8 8 9
11 9 11 9 (9)
The same shortcut can be applied to the A shape, for example starting from the E on the 5th string.
Expanding the A shape
G B E
E G B
B E
G B
E G
GuitarZoom © 2019 69
(05:48)
P
3 3
P
5 4
5 4 5 7
4 4 6 4 6
6 6
7
3
H P sl. H sl. H P
3 3
H P sl. H H sl. H P
8 9 8 6 4 4 6
4 5
4 6 4 4 4 6 8 9
6 6 6 4 6 4 6 4
7
P
sl. P
3
P sl. P
8 6 6 9 11 9 8 8 9
9 11 9 (9)
70 GuitarZoom © 2019
Arpeggios: Major Triads
A great way to avoid being stuck in playing scale positions over and over is to add some elements of
intervallic playing: with this term we refer to methods and techniques that allow to play wider intervals
(an interval being the distance between two notes) than the ones between the notes of a scale, jumping
to notes at different distances by moving either vertically or horizontally.
Playing arpeggios is one of the most common ways to add intervallic elements. Playing an arpeggio
means playing the notes of a chord in succession rather than simultaneously: we will begin with the
simplest chord form, which is the triad. We have seen that the G chord for example is formed by the
notes G (root), B (major 3rd) and D (perfect 5th): let’s see a simple and effective way to play the G triad
in various shapes and connect them, starting from the G at the 3rd fret of the 6th string.
G major Arpeggios
To the le� Over the center To the right
0
2 2 5 5
3 3 3 7
These shapes can be transposed over the fretboard as usual: for instance we can play C major
arpeggios.
C major Arpeggios
To the le� Over the center To the right
5
7 7 10 10
8 8 8 12
And it can be used starting from other strings as well, although adjustments have to be made to the
shapes because of the tuning of the guitar.
GuitarZoom © 2019 71
E major Arpeggios
To the le� Over the center To the right
4
6 6 9 9
7 7 7 11
G major Arpeggios on the 4th String
To the le� Over the center To the right
4
3
4 7 7
5 5 5 9
G major Arpeggios on the 3rd String
To the le� Over the center To the right
10
12 12 15 15
12 12 12 16
In general the arpeggio elements have to be combined with scales and all the creative elements we
have seen so far, even if exceptions can be found when looking for a particular effect.
72 GuitarZoom © 2019
Arpeggio Phrasing Examples
Free time
(05:51)
G P sl. P sl.
P
sl. P sl.
10 7
8
9 7 5 4 4 7 5 4
5 7 5 7 5
(06:15)
sl.
P sl.
P.M. P sl. sl.
10 7
5 8 7 5 8 8 8 10 8 8
4 7 7 9 7 7
5
(06:29)
C P
sl.
P sl.
12 15 12
13 13 13
9 12 10 9 9 12 9 12 12 12 9
10 10 10 10
(06:44)
sl. sl. G
sl. sl.
8 5
5 7 9
8
7 5 5 (5) 4 4 7 7
5 7 5
GuitarZoom © 2019 73
Minor Triads
We can apply all of the above to the minor triads, with the only difference that we will use the minor 3rd
to build the triad. So for a B minor arpeggio we will use the notes B (root), D (minor 3rd) and F# (perfect
5th).
B minor Arpeggios
To the le� Over the center To the right
4
5 5 9 9
7 7 7 10
E minor Arpeggios
To the le� Over the center To the right
4
5 5 9 9
7 7 7 10
E minor Arpeggios on the 4th String
To the le� Over the center To the right
12
12
12 16 16
14 14 14 17
74 GuitarZoom © 2019
E minor Arpeggios on the 3rd String
To the le� Over the center To the right
7
8 8 12 12
9 9 9 12
Arpeggio Phrasing
(04:01) Free time
G P P Em
sl.
P
sl.
P P
sl. P sl.
10 7 8 7 7
8 8 8 10 (10) 8 (8) 8 10 8 7
7 9 9 7 9
C
(9) 9
8 12 10 8
9 (9)
sl. P
D
sl.
sl. P
sl.
12 14 15 14
10 15 17
11 14 14 11
12 X 12
12 9
10
GuitarZoom © 2019 75
2-1-2 Patterns
These patterns combine fragments of arpeggios and scales to obtain a very nice intevallic sound. The
key is to mix different intervals.
2-1-2 Pa�erns over E minor
sl.
(02:12)
sl.
7 10 12
7 8
5 9
5 9
7
(03:28)
10 14
12
11 14
12
10 14
12
String Skipping
Skipping strings is also a very effective approach to play wider intervals.
String Skipping Examples
sl.
P.M. P.M. sl.
10
7 8 8
4 5 7 9 7
9 7 5
76 GuitarZoom © 2019
7 8 10
5 9
7
sl.
sl.
P.M. P.M. sl. P.M. P.M. sl.
10 8 7 10 12 10 10 (10)
5 7 8 8 8
7 9 7
5
7
Horizontal Playing
In horizontal playing we move on one string to find all the notes of the scale: so it is essential to be
familiar with how these notes are placed.
G Major Scale over 2nd String
B C D E F G A B C D E F G
We can use horizontal playing to add elements of tension and release to a solo. When playing over a
chord we may decide to avoid using the notes of the chord but target other notes instead: this adds an
element of tension, that we can then release by landing on a chord tone. The Big Five can play a big role
in
Free time tension release
sl.
let ring sl.
0
8 10 10 10 12 10 10 13 12
GuitarZoom © 2019 77
Module 6 – Blues Soloing
Intro Blues Jam
= 60
G
G C G 3 D
3
full
P.M.
3
6 (6) (6) 3 6
5 3 3 3
5 5 3 3
5 (5) 5 5
C G
H P
H
5:3
5:3
¼ ½ H P
H
3 6 3 5 3 5 3 3
35 5 6 6 3 3
(3) 3 4 5
5 (5) (5)
C
sl.
4:3
8
full full
sl.
6 (8) (8) 8 (8)
8 6 X
5 7 (7) (7) X
78 GuitarZoom © 2019
G
½ ¼
7 6 6
8 (8) 8 6 8 6
7 7 6 5 3 (3)
5
D
H sl.
full
H sl.
3 4 (4) (4) 3 4 7 (7) (7)
8 8 6
7
6
7 6 5
C H P
G C G D
3
3 3
3
3
H P let ring
(5) 5 6 5 3 3 3 3
3
5 5 3 3 4 5 5 (5) (5) 4
5 5
G C
3
full full full
11
13 (13) 10
13 13 11 13 13 X 13 11
12 (12) (12) X
GuitarZoom © 2019 79
G sl. P
3
3
let ring
full
full
sl. P
11
13
13 13 11 13 13 14 13 11 11 11 (11)
12 12
H P
C
3
6
full
H P ¼ ½
6
6 8 8 9 8 6 8 5
(11) 5 8 8 6 X 8 8 6 8 (8) X
7 X X
G sl. P 4:3
4:3
full
sl. P
3
(5) 3
3 6 3 5
5 6 5 3 5 3
5 5 5 (5)
D
H
sl.
H sl.
3 3 3 3
3 5
½
H sl. sl. H
3 3 6 3
3 3 5 5 5 (5) 8 6 6
3 4 7 7 6 5 3 5 (5) (5)
8 10
10
80 GuitarZoom © 2019
C G C G D
let ring full
3 4 3
3 18 (18)
8 (8) 5 5 5 5 5 4
2 2 3 3 4 4 5 5
G
P
3
H
3
full full
full
P H
15
(18) (18) 18 15
17 17
(17)
18
17 (17) 15 15 17 18
15
17
C
P H P
3
3 3
3 3 H 3 sl.
full
P H H P sl.
17 15 17 15
(15) 15 17 18
15
17 15 15
17 17 17 15 15 17 17 17 15
17 17
G
full
15 17 17
15 17
15 13 13 17
15 15 (15) (15)
GuitarZoom © 2019 81
P
P P P P P
3
3
full full full
P P P P P P
15 15
18 15 18 18 15 1518 15 1518 15 1518 15 1518 15 1518 15 15
(17) 17 15 15 17 18 18 18 18 18 18
17
C
P P P P P P P P P P P P
P P P P P P P P P P P P
1815 151815 151815 151815 151815 151815 151815 151815 151815 151815 151815 151815
18 18 18 18 18 18 18 18 18 18 18 18
15
full
½ ½
15 15 17 18 17 18 15 17 17 (17)
18 (18) (18) 18
G
P H
P
full
½
15 P P H
(17) 17 15
15 18 18 15 15
18 17 15 17 18 17 15 17 15
17 17 (17)
82 GuitarZoom © 2019
H H P H
3
3
H H P H
12
12 15 15 12 12 12
12 15 15 14 15 14 12 14 12
(17) 14 14
D
P P
C
P
4:3
full
P P P let ring
(12) (12)
13 13 12 11 10 11 10
12
10
12 10 10 12 12 10 (10) (10)
3
4
12 12 10 5
G C
G D
sl.
sl.
let ring sl. sl.
3 5 7
6
7
6 8 (8) 6
7 5 7 (7)
3 5
Introduction to Blues Soloing
Now we will expand on some topics we have already encountered, and dive deep into the unique
mechanisms of blues soloing. Our starting point will be the minor pentatonic scale with the blue note
added.
GuitarZoom © 2019 83
A Minor Pentatonic with Blue Note
A C
E G
C D D
G A
D D E
A C
The blues progression is built on the I, IV and V chords, be it major or minor. Once you have located the I
chord on the 6th string the IV can be found at the same fret on the 5th string and the V two frets higher.
Major Blues Chords Minor Blues Chords
A D E Am Dm Em
5 5
7
5
5
7
5 5 7 5 5 7
5 7 9 5 6 8
6 7 9 5 7 9
7 7 9 7 7 9
7 5 7 7 5 7
5 5
The typical minor blues progressions has the following structure:
Am Dm Am
Dm Am
Em Dm Am Em
If we analyze the notes of each chord and put them in relation to the minor pentatonic, the A minor
chord fits perfectly because all three notes (A – C – E) are present. Moving on to the D minor chord
(D – F – A), F is not part of the minor pentatonic but is the minor 6th that we have seen as an expansion.
And looking at E minor (E – G – B), B is the 9th. So these expansions work well in a minor blues context
and can be used to emphasize chord changes as we have seen.
84 GuitarZoom © 2019
Looking at the major blues progression:
A D A
D A
E D A E
We can play over these chords using the major pentatonic scale, and add the 4th and the minor 7th,
which is dissonant with the major 3rd of the V chord (E – G# – B) but is accepted in this context with
some limitations. The blue note can be added in the same way as the minor pentatonic.
(09:51) Free time sl. P
5
Blue note
sl. P
2 2 2 4 5 4 2 4 2
2 4 4 4 4
2 3 4
5
But one of the most effective ways to bring the distinctive blues color is to play minor pentatonic over a
major progression. It doesn’t fit within standard theory, but adds a bluesy sound to any composition.
Next are two jams where we can see these concepts in action.
GuitarZoom © 2019 85
Minor Blues Jam Example
= 108
9th minor 6th
Am sl.
sl.
sl.
P.M.
¼
sl. sl. sl.
5
8
55 7 (7) 5 5 4 (4) 5 7
5 6
5 7
Dm Am
sl. sl.
sl. H sl.
sl. sl. H sl. sl.
(6) 6 8 (8) 5 6
5 5 5 7 9
8 8 10
7 7 (7) 5 7 7 5
Em Dm Am
H P
P sl.
H P
P sl.
7 8 7 5
(10) 8 6 (6) 5 8 8 5 8 10
5 (5) (5)
sl.
full
full
¼
P.M. sl.
8 10 (10) 8 8 5
(10) 10 (10) 5 8 5
7 5 7 75 7
86 GuitarZoom © 2019
Dm Am
sl.
P.M. sl.
(7) 5
8 6 (6) 5
7 5 7 5 4 (4) (4) 5 7 9
Em
sl.
Dm
Am
H P sl.
sl.
¼
sl. H P sl. sl.
(9)
8
9
8 10 8 8 (8) 5 6 5
7 5 (5)
8
7 9 7
8
7 (7) 5
5 7 (7)
GuitarZoom © 2019 87
Major Blues Jam Example
= 118
( = )
Major pentatonic
A
sl.
sl.
¾
5 (5) 7 (7) 7 5 7 5 5
7
4 6
4th the minor 3rd is used
as a passing note
D
sl. sl.
P sl.
3 3
P
full
P.M. sl. sl. sl.
(5)
3 2 2 3 5 5
4 4 2 4 6 6 4 2 4 5 4 2 4 2
4 2 4
A
E D
minor 7th
P
sl.
sl.
3
3 3
P ½
sl. sl.
5 3 2 5 7 7 5
5 5 3 2 2 3 5 5 7 7
(2) 2 4 2 2 4 6 6
88 GuitarZoom © 2019
switch to minor
pentatonic
A E A
full full
full
5
5 5
3 2 2 3 5 5 5 8 (8) 5 8
4 2 4 7
7
D
sl.
sl.
3 3 3 3 3 3 3 3
¼
sl. sl.
5 7 9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8 10
(7) 7 5
A 3 E
P P P
3 3 3 3 3
3 3 3
P P P
8 5 7 5
8
5
8 7 5 7 5 5 7 8 9 8 7 8 9
7 7 7 7 7 7 7 7 7 7
D A sl.
E
Etc.
sl.
3
3 3
¼
sl. sl.
8 7 5 (5) 5
7 7 7 7 5 5 5 7 7 5 7 (7)
7 5 3 5 7 7
GuitarZoom © 2019 89
Combining Major and Minor Pentatonic
There is a specific way to combine major and minor pentatonic that really gives a blues feel. All the
great players from B.B. King and Buddy Guy to Jimi Hendrix, Eric Clapton or Stevie Ray Vaughan have
their own unique way of blending major and minor elements. Playing both scales in the same portion of
the fretboard we can visualize the overlaps between them.
A B C
E F G
C C D
F G A
C D E
A B C
The notes in blue are in common between the two scales, the black ones belong to the minor and the
grey ones to the major. Of particular importance is the C# note at the 6th fret of the 3rd string: this is
the major 3rd, the note that defines the major scale the most. In that position it can be easily added to
the minor pentatonic as an expansion.
(05:09)
min 3rd maj 3rd
5
5 8 5
7 5 6
7 (7) 5 7
7
H
3
H
5 5 8 5
5 5 8 8 5
5 6 5 6 5 6 7 5 6
7 7 7
90 GuitarZoom © 2019
Moving forward from the minor to the major 3rd is especially effective. Let’s add the blue note as well.
(05:30)
H P
P.M. H P
5 6 7 8 7 5 7 7 5 6
7 5 7
P
P
H
P P H
8 5
7
5
8 7 5 7
5
5 6
7 7 7
Adding the F# from the major pentatonic we can build a sort of hybrid position, with different fingerings
for ascending and descending movement to maximize the sonic effect.
5 8 8 5
5 7 8 5
5 6 8 7 5 6
4 7 7
We can also add the 9th on the first string for a couple of nice bends.
GuitarZoom © 2019 91
full
½
5
5 8 7
5 7 8
5 6
4 7
Combining crea�ve elements
sl. P sl. P
H
4:3
full
full
½ ½
5 sl. P sl. P H
7 5
8 8 5 7 7 (7) (7) 8 7 5
7 8 7 5 7 5 6
7 7 7 (7)
5 8
5 7
5 6
5 7
4 7
92 GuitarZoom © 2019
The minor or dominant 7th also has a great blues element to it, and we can target it in a major context.
(11:22)
min 7th
P
3
½
P
8 5
7 8 5
8 7 5 7 5 6
7 7 5
(11:48)
P
full
½ full
5 P let ring
5 8 7 5
8 (8) 8 8 5
8 7 5 7 5 6
7 5
GuitarZoom © 2019 93
Module 7 – Final Words
Soloing in the Real World
Now that we have all this material to work on, let’s see how it can be used to prepare a ‘plan’, a practical
approach to be able to quickly choose the right scale to play and build our solo with.
The first step is looking at the key of the chord progression: for example we can solo in a minor key,
which means that the primary chord is minor. We will use the minor pentatonic – with all the
expansions we have seen, depending on what colors we may want to add or avoid – and the minor
diatonic scale. This situation will happen with minor songs of any genre, be it blues, rock, pop, metal or
else.
If we are playing in a major key we have two options: if the song is completely major, like in most of
pop, folk or traditional country major songs, we will choose major pentatonic and major diatonic scales.
But if the song has a rock/blues feel, we can switch to the minor pentatonic to emphasize this element:
it’s a sort of crossover, and it’s very common in rock, punk, some pop/rock songs and of course blues. In
this case we must be careful in the use of pentatonic expansions that could clash with the major scale.
Preconstruction vs Improvisation
Every solo doesn’t need to be improvised. Sometimes you can pre-construct elements of your solo,
especially melodic lines that can become a ‘trademark’ (think of the first solo of “Sweet Child O’Mine”
by Guns N’ Roses). A solo can be completely pre-constructed and become part of the composition, or
sub-sections of it can be pre-defined and act as themes or marking points, while other sections are
improvised. There are different levels of pre-construction we can put in our solos depending on the
musical context.
In order to improvise effectively we have to be aware of the situation in which we play: we have to
know the key, the harmonic structure, the melodic elements, the groove and so on. This will greatly help
improvise with a clear musical direction rather than simply meandering with scales, resulting in a much
more pleasing experience for both you and the audience.
94 GuitarZoom © 2019
GuitarZoom © 2019 95
Progress Tracker
Guitar Solos Made Easy 2.0 Date
Module 1 Learning to Play Creatively / /
Intro Jam / /
Introduction / /
Guitar Solos and Sound / /
Deadening Strings / /
The Picking Hand / /
Positions on the Fretboard / /
The ‘Big Five’: Hammer-Ons, Pull-Offs and Trills / /
Slides / /
Bending / /
Reverse Bend and Half-Step Bend / /
Blues Bend and 3-Fret Bend / /
Vibrato / /
Big 5 Jam in A Minor / /
Module 2 – Adding Creative Elements / /
Palm Muting / /
Dynamics / /
Whammy Bar / /
Double Stops / /
Natural Harmonics / /
Pinch Harmonics / /
Open Strings / /
Practice Tips / /
Phrasing / /
Phrasing Jam in A Minor / /
96 GuitarZoom © 2019
Progress Tracker
Guitar Solos Made Easy 2.0 Date
Module 3 – Pentatonic Scales / /
Creative Elements and Scales / /
Positions of the Minor Pentatonic Scale / /
The Major Pentatonic Scale / /
Pentatonic Expansions: the 9th / /
Minor and Major 6th / /
Extensions on the Major Pentatonic / /
Blues Expansions / /
Pentatonic Expansions Jam in A Minor / /
Module 4 – Melodic Soloing / /
The Diatonic Major Scale / /
Melodic Soloing and Chord Chasing / /
Soloing Over Chords Outside the Key / /
Chord Chasing Jam in G / /
Module 5 – Intervallic and Linear Concepts / /
The CAGED System / /
Arpeggios: Major Triads / /
Minor Triads / /
2-1-2 Patterns / /
String Skipping / /
Horizontal Playing / /
Module 6 – Blues Soloing / /
Introduction to Blues Soloing / /
Minor Blues Jam Example / /
Major Blues Jam Example / /
GuitarZoom © 2019 97
Progress Tracker
Guitar Solos Made Easy 2.0 Date
Combining Major and Minor Pentatonic / /
Module 7 – Final Words / /
Soloing in the Real World / /
Preconstruction vs Improvisation / /
98 GuitarZoom © 2019
You might also like
- LickNRiff Tabs FullDocument401 pagesLickNRiff Tabs Fullsda100% (10)
- The Ultimate Guitar Arpeggio BookDocument112 pagesThe Ultimate Guitar Arpeggio BookNacho Gallent100% (11)
- Blues Guitar SoloingDocument215 pagesBlues Guitar Soloingscubadru95% (20)
- UntitledDocument113 pagesUntitledSteve Wright92% (13)
- Shredding Guitar WorkoutDocument98 pagesShredding Guitar WorkoutYiping Huang100% (18)
- 100 Guitar LicksDocument105 pages100 Guitar LicksTiziano Ragazzi95% (20)
- Dave Celentano Triads For The Rock Guitarist PDFDocument39 pagesDave Celentano Triads For The Rock Guitarist PDFKailash Kumar100% (14)
- Federico Moreno Torroba - TorijaDocument2 pagesFederico Moreno Torroba - Torijakeror0100% (19)
- BC Rich Stealth Full RockarDocument1 pageBC Rich Stealth Full RockarPablo FerrariNo ratings yet
- 20 Guitar Lessons PDFDocument18 pages20 Guitar Lessons PDFNikko Rafael Nobleza100% (10)
- Masters of Rock Guitar The Peter Fischer PDFDocument164 pagesMasters of Rock Guitar The Peter Fischer PDFBruno Amaro Castillo Carvajal86% (7)
- Learn Funk Guitar With Tower of Power PDFDocument66 pagesLearn Funk Guitar With Tower of Power PDFRodolfo Ambriz Avendaño100% (9)
- Book PDFDocument323 pagesBook PDFAnonymous A3FB5LOR7100% (11)
- Guitar Fretboard WorkbookDocument80 pagesGuitar Fretboard WorkbookCarlson Siu0% (1)
- Rock Guitar Exercises For Beginners - Hanan TabouhotDocument180 pagesRock Guitar Exercises For Beginners - Hanan TabouhotLuca Cantomaia86% (14)
- The Ultimate Guitar WorkoutDocument186 pagesThe Ultimate Guitar WorkoutJames Camilleri100% (13)
- Guitar: Voicing BookDocument253 pagesGuitar: Voicing BookAnonymous r8GTfkD2100% (10)
- I Received The Living God PDFDocument1 pageI Received The Living God PDFThadeus Mendoza0% (1)
- String Fundamentals For The Non-String-Playing ConductorDocument64 pagesString Fundamentals For The Non-String-Playing Conductorgökmen fahlioğullarıNo ratings yet
- Blues Guitar MasteryDocument48 pagesBlues Guitar Masterybubblejo100% (13)
- Scales & Lead GuitarDocument20 pagesScales & Lead Guitardeni_2013100% (5)
- Creative Guitar 1Document118 pagesCreative Guitar 1Hykal100% (13)
- Legato For Absolute Beginners TAB BookletDocument5 pagesLegato For Absolute Beginners TAB BookletGiuliannoPereira100% (8)
- Masters of Rock Guitar The Peter Fischer PDFDocument164 pagesMasters of Rock Guitar The Peter Fischer PDFdaniele80% (5)
- Guitar Scales Infinity - Andy SchneiderDocument132 pagesGuitar Scales Infinity - Andy SchneiderRaul F Thirth100% (24)
- Musicians Institute - Guitar Licktionary PDFDocument72 pagesMusicians Institute - Guitar Licktionary PDFYuri Castro100% (11)
- RockDocument14 pagesRockĐặng Công Thành88% (8)
- DF1005 The Sun Never Says PREVIEW PDFDocument12 pagesDF1005 The Sun Never Says PREVIEW PDFRaysonChooNo ratings yet
- M Britt Profiles GÇô 5150 Pack 1Document3 pagesM Britt Profiles GÇô 5150 Pack 1pavelscribdNo ratings yet
- Carol of The Bells - Orff FINALDocument6 pagesCarol of The Bells - Orff FINALemkemmfNo ratings yet
- The 2 Position Guitar Scale System: Scales and ArpeggiosFrom EverandThe 2 Position Guitar Scale System: Scales and ArpeggiosRating: 5 out of 5 stars5/5 (6)
- Method-Man Guitar: Major and Natural Minor ScalesFrom EverandMethod-Man Guitar: Major and Natural Minor ScalesRating: 5 out of 5 stars5/5 (1)
- Technique Exercises For GuitarDocument41 pagesTechnique Exercises For Guitartorragab100% (11)
- Riffs Tab BookDocument44 pagesRiffs Tab Bookcol100% (8)
- Guitar Hacks The Pentatonic HandbookDocument23 pagesGuitar Hacks The Pentatonic Handbookkillface1731100% (7)
- Unlocking Guitar Neck Chuck AndersonDocument15 pagesUnlocking Guitar Neck Chuck AndersonSandro86% (7)
- Good Guitarists Guide To Riffs and Lead GuitarDocument31 pagesGood Guitarists Guide To Riffs and Lead GuitarEmma75% (4)
- How To Quickly and Easily Memorize The Guitar Fretboard - Scott J. Harris PDFDocument22 pagesHow To Quickly and Easily Memorize The Guitar Fretboard - Scott J. Harris PDFAngelo Villanueva Navaira100% (12)
- 51 Shuffle Licks Tab Book PDFDocument12 pages51 Shuffle Licks Tab Book PDFDmitriy Rudchenko100% (5)
- Guitar Exercises Made Simple - Play Better Guitar Guaranteed!Document57 pagesGuitar Exercises Made Simple - Play Better Guitar Guaranteed!fpralus100% (24)
- 125 Pentatonic Licks by Dhaq - 2nd Edition PDFDocument25 pages125 Pentatonic Licks by Dhaq - 2nd Edition PDFCris Valencia100% (1)
- Scales and ArpeggiosDocument31 pagesScales and ArpeggiosJennifer Kennedy100% (3)
- Dokumen - Tips - Power Rhythm GuitarDocument54 pagesDokumen - Tips - Power Rhythm GuitarNphuNo ratings yet
- Intermediate To Advanced Roadmap:: The Ultimate Guide To Pro-Level Guitar SkillsDocument35 pagesIntermediate To Advanced Roadmap:: The Ultimate Guide To Pro-Level Guitar SkillsFederico Todoli100% (1)
- Andy Schneider - Seeing Music On The Guitar - A Visual Approach To Playing Music-Independently Published (2019)Document80 pagesAndy Schneider - Seeing Music On The Guitar - A Visual Approach To Playing Music-Independently Published (2019)Stoyan Tanev100% (1)
- Guitar String Bending Techniques Lesson PDFDocument1 pageGuitar String Bending Techniques Lesson PDFPBRETTNo ratings yet
- Learn - Rock GuitarDocument35 pagesLearn - Rock Guitarfarinekil100% (3)
- GTC150. Guitar Practice Plan PDFDocument13 pagesGTC150. Guitar Practice Plan PDFKirk Nelson67% (3)
- Rock GuitarDocument36 pagesRock GuitarMaria Vlahos100% (3)
- ChordTones L01Document9 pagesChordTones L01DRDA DHANBAD100% (5)
- TWO FINGER EXERCISES FOR THE FRETTING HAND, Part 2 of "THE 1-2-3-4 GUITAR SYSTEM" 4-Part SERIESDocument131 pagesTWO FINGER EXERCISES FOR THE FRETTING HAND, Part 2 of "THE 1-2-3-4 GUITAR SYSTEM" 4-Part SERIESJim Ross96% (25)
- Troy Nelson - Learn 14 Chord Progressions (2019)Document73 pagesTroy Nelson - Learn 14 Chord Progressions (2019)Davy100% (1)
- Guitar Lick Factory: Building Great Blues, Rock & Jazz LinesFrom EverandGuitar Lick Factory: Building Great Blues, Rock & Jazz LinesRating: 4 out of 5 stars4/5 (5)
- Lydian Guitar Licks: 10 Original Prog Metal Licks with Audio & VideoFrom EverandLydian Guitar Licks: 10 Original Prog Metal Licks with Audio & VideoRating: 5 out of 5 stars5/5 (1)
- Mixolydian Guitar Licks: 20 Original Funk Rock Licks with Audio & VideoFrom EverandMixolydian Guitar Licks: 20 Original Funk Rock Licks with Audio & VideoRating: 5 out of 5 stars5/5 (2)
- Strumming the Guitar: Guitar Strumming for Intermediate & Upward with Audio & VideoFrom EverandStrumming the Guitar: Guitar Strumming for Intermediate & Upward with Audio & VideoNo ratings yet
- Modern Guitar Technique and ArticulationFrom EverandModern Guitar Technique and ArticulationRating: 4.5 out of 5 stars4.5/5 (5)
- The Guitar Fretwork Compendium: Beyond the Basic ChordsFrom EverandThe Guitar Fretwork Compendium: Beyond the Basic ChordsRating: 5 out of 5 stars5/5 (1)
- The Guitar Fretwork Compendium Part I: Major & Minor Triad ShapesFrom EverandThe Guitar Fretwork Compendium Part I: Major & Minor Triad ShapesRating: 5 out of 5 stars5/5 (2)
- CAGEDrules! Volume 2: Minor, Diminshed, Augmented ShapesFrom EverandCAGEDrules! Volume 2: Minor, Diminshed, Augmented ShapesNo ratings yet
- Essential Skills for the Guitarist: Master Core Techniques Needed to Play Guitar Using Proven Methods, 2nd EditionFrom EverandEssential Skills for the Guitarist: Master Core Techniques Needed to Play Guitar Using Proven Methods, 2nd EditionRating: 5 out of 5 stars5/5 (6)
- All About Scales Tab Book OnlineDocument11 pagesAll About Scales Tab Book OnlineGainz'n' GamesNo ratings yet
- Team Full ROM - CookbookDocument14 pagesTeam Full ROM - CookbookGainz'n' GamesNo ratings yet
- CAGED System Basics - OverviewDocument5 pagesCAGED System Basics - OverviewGainz'n' GamesNo ratings yet
- Metallicadpa v3.03 - Beginner PPL Template (1RM Inputs + Progression) - LiftVault - Com - InputsDocument3 pagesMetallicadpa v3.03 - Beginner PPL Template (1RM Inputs + Progression) - LiftVault - Com - InputsGainz'n' GamesNo ratings yet
- Think BigDocument48 pagesThink BigGainz'n' GamesNo ratings yet
- "Speed Kills 2" Study Tips and Etude: by Sarah Spisak, Transcriber and EditorDocument3 pages"Speed Kills 2" Study Tips and Etude: by Sarah Spisak, Transcriber and EditorGainz'n' GamesNo ratings yet
- SLH Analytics: Slide PresentationDocument15 pagesSLH Analytics: Slide PresentationGainz'n' GamesNo ratings yet
- Think Big Typos Fixed PDFDocument50 pagesThink Big Typos Fixed PDFGainz'n' Games100% (2)
- Ambassador Schedule: Week ofDocument4 pagesAmbassador Schedule: Week ofGainz'n' GamesNo ratings yet
- 2020 APR Challenge 1Document1 page2020 APR Challenge 1Gainz'n' GamesNo ratings yet
- Strategies For 2-Voice CounterpointDocument5 pagesStrategies For 2-Voice CounterpointYban Ryko100% (1)
- Poston Scale PocketDocument5 pagesPoston Scale PocketKristian HaglundNo ratings yet
- The Influence of Jazz On The Solo Trumpet in Eugène BozzaDocument63 pagesThe Influence of Jazz On The Solo Trumpet in Eugène BozzaAurélio BernardesNo ratings yet
- Tagsing-Buyo NHS: 2 Summative Test in Mapeh 9 SY 2020-2021Document3 pagesTagsing-Buyo NHS: 2 Summative Test in Mapeh 9 SY 2020-2021John DiestroNo ratings yet
- Gagah SetiaDocument7 pagesGagah Setia郑浩勇No ratings yet
- Adagio For Strings: Violin IDocument2 pagesAdagio For Strings: Violin ISäm Morgan PrzNo ratings yet
- 07 Baritone SaxophoneDocument1 page07 Baritone SaxophoneFabricio Gorrera RuizNo ratings yet
- C Minor Scale - Applied Guitar TheoryDocument5 pagesC Minor Scale - Applied Guitar TheoryJoe BrooksNo ratings yet
- Hofner Violin Bass Ignition Fiche Technique en 32368Document2 pagesHofner Violin Bass Ignition Fiche Technique en 32368Sergei100% (1)
- Scopes and Sequences of Arts in Grade 1 To 6Document53 pagesScopes and Sequences of Arts in Grade 1 To 6Rocel NavalesNo ratings yet
- Academia Letters: John Cage in MexicoDocument4 pagesAcademia Letters: John Cage in Mexicomargarita muñozNo ratings yet
- Extra Booklet gr.1 Second TermDocument26 pagesExtra Booklet gr.1 Second Term2ypsfk59g7No ratings yet
- Not Like Us TubaDocument3 pagesNot Like Us Tubaraxajek500No ratings yet
- Strumming Patterns BasicDocument9 pagesStrumming Patterns BasiciClyde Demi GordonNo ratings yet
- AMAZING GRACE CHORDS (Ver 13) by Misc Praise Songs:John Newton @Document1 pageAMAZING GRACE CHORDS (Ver 13) by Misc Praise Songs:John Newton @HannyNo ratings yet
- YAMAHA YAS-62 ManualDocument12 pagesYAMAHA YAS-62 ManualTimikiti JaronitiNo ratings yet
- Ibanez Guitar ManualDocument2 pagesIbanez Guitar ManualyamdeinNo ratings yet
- Giorgio Sanguinetti The Art of PartimentDocument9 pagesGiorgio Sanguinetti The Art of Partimentwaldemar2rudzkiNo ratings yet
- Sketch D-Hole Guitar ManualDocument11 pagesSketch D-Hole Guitar ManualMoizes OliveiraNo ratings yet
- Untitled NotebookDocument9 pagesUntitled NotebookyazNo ratings yet
- All Lang NorwegianDocument24 pagesAll Lang NorwegianArkadiusz StrzeszewskiNo ratings yet
- Jazz Piano Concept Map: Melody HarmonyDocument1 pageJazz Piano Concept Map: Melody HarmonyAlceoNo ratings yet