here's just a small thing to get this started, I'll add to this as I have time, this is geared toward beginning soloist or people stuck in pentatonic hell LOL
Hot guitar, it’s the common thread to most great solo styles, the link between Django and Jimmy Page, EVH and SRV ( all IMO of course ) and it lies in combining the blues scale and the mixolydian scale.
In the key of A ( for simplicity ) the blues scale is
A (root) C (minor third) D (4th) E b (b5th) E (5th) and G (b7)
This can be used for tons of fun solo ideas,BUT sometimes you can get to a place where it just doesn’t seem to resolve like the masters licks do. That’s when you want to start looking at some mixolydian ideas that include the major third of the I chord (A or A7)
Mixolydian in A is
A (rt ) B (2nd) C# ( major third ) D (4th) E (5th) F# ( 6th) G (b7)
This is a great scale for blues-rock and jazz in itself, but when you overlay the A mixolydian onto the A blues you get the motherload for hot guitar, not a scale but a group of notes that to draw from when improving
Overlayed you get
A B C C# D Eb E F# G
The key to this is to use the C to C# resolution to really lockin the sound of the I chord,
Also you get an explanation for licks you’ve been playing, like 8 7 5 down the first 3 strings, that’s b3 to 2(or9, same note ) root on the E string, b7 6 5 on theB string and b5 4 b3 on the G string, then end on the C# ( 6th fret G string ) for resolution
-------------8 7 5---------
---------------------8 7 5 ---------
------------------------------8 7 5------6
now start looking for other C to C# in other places, it’s at the start of many many SRV Jimi licks, in the riff of millions of tunes, it’s the sound of blues rock
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hardheartedbill
here's just a small thing to get this started, I'll add to this as I have time, this is geared toward beginning soloist or people stuck in pentatonic hell LOL
Hot guitar, it’s the common thread to most great solo styles, the link between Django and Jimmy Page, EVH and SRV ( all IMO of course ) and it lies in combining the blues scale and the mixolydian scale.
In the key of A ( for simplicity ) the blues scale is
A (root) C (minor third) D (4th) E b (b5th) E (5th) and G (b7)
This can be used for tons of fun solo ideas,BUT sometimes you can get to a place where it just doesn’t seem to resolve like the masters licks do. That’s when you want to start looking at some mixolydian ideas that include the major third of the I chord (A or A7)
Mixolydian in A is
A (rt ) B (2nd) C# ( major third ) D (4th) E (5th) F# ( 6th) G (b7)
This is a great scale for blues-rock and jazz in itself, but when you overlay the A mixolydian onto the A blues you get the motherload for hot guitar, not a scale but a group of notes that to draw from when improving
Overlayed you get
A B C C# D Eb E F# G
The key to this is to use the C to C# resolution to really lockin the sound of the I chord,
Also you get an explanation for licks you’ve been playing, like 8 7 5 down the first 3 strings, that’s b3 to 2(or9, same note ) root on the E string, b7 6 5 on theB string and b5 4 b3 on the G string, then end on the C# ( 6th fret G string ) for resolution
-------------8 7 5---------
---------------------8 7 5 ---------
------------------------------8 7 5------6
now start looking for other C to C# in other places, it’s at the start of many many SRV Jimi licks, in the riff of millions of tunes, it’s the sound of blues rock
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