ARTIST: Joe Satriani
GENRE: Rock, Art Rock, Blues Rock
CONCEPTS: Target notes, pentatonic scales, melodic phrasing, ballad soloing
SOURCE: Next Level Guitar
TOPIC: Satriani's licks melody, and phrasing

Joe Satriani is one of the most influential modern rock guitarists. In "What The Hell?" my opinion he has revolutionized rock guitar much in similar ways and then they that Jimi Hendrix and Eddie Van Halen did.

throw it away and

He set the guitar world on its ear with his landmark 1987 release keep on playing” "Surfing With The Alien". It was the first instrumental rock album to -Joe Satriani reach the BillBoard Top 40 charts.

His uncanny ability to re-invent common blues licks into catchy melodies is truly amazing. He is also known for his fluid legato technique, unique two hand chord and arpeggio tapping, exotic melodies, super interesting and unique chord voicings, shifting modalities, and musically compelling song structure. These all help define his unique guitar style.

Although he is recognized as a virtuoso, he views his relationship with the guitar as much more than the mastery of technique. His focus seems to be on songwriting and the creation of melodies and drawing his audience in with instrumental storytelling,

He stated, “solos I kind of care less about. I know most people probably think that's what I care most about, but it's really the melody playing that is the cornerstone of what I'm working on.”

His playing is as melodic as it is technical. He produces expertly crafted pieces of music drawing from his deep well of musical and guitar creativity combined with his black belt in music theory.

Satriani’s brilliant and creative playing has influenced countless guitarists all over the world. We can all be inspired and empowered through his playing and his twenty five year catalog of recordings.

Now lets’s get started……

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Things to keep in mind:



Keep in mind my teachings focus on giving students a well rounded



musical education. This does not mean you have to master every lead KEY guitar avenue or scale before moving on to the next. You will want to work on multiple things at once by dividing up your practice time.

Throughout this eBook I teach many lead guitar avenues so feel free to

hop around. Some are more challenging than others and take more time Keep in mind not to

to learn and apply. neglect your Over time you will find the principles and techniques sink in and rhythm playing.

eventually become automatic. Then you can let your ear take you to all Your lead playing

so much but rather focus on emotion and feel. the right notes. You wont have to think about techniques and application will only ever be as

good as your

It can be overwhelming with so much to learn and so many learning rhythm playing.

materials readily available. Try not to take on too much at once as you may become overwhelmed and frustrated. You don’t want to rush things and then end up skimming over important topics leaving voids in your

playing. Keep in mind that

It’s critical to take the extra time to learn the “why” things work. Learning no matter how good

the “whys” will give you the musical knowledge to blast these principles a solo is…..in the and techniques across all your playing. It will give you the lead guitar end it’s the song

confidence to be able to instantly know what avenues are possible when soloing and improvising. that will be Use these lessons as “templates” to learn the “whys” and then develop remembered.

them into your guitar arsenal through practical application. Then you will have the tools and confidence to blast these playing techniques across all your playing at any given time, in any given jam, and in any given song.

As you further develop your lead guitar skills you want to keep developing your rhythm skills. Your rhythm and groove are critical elements to your overall abilities on the guitar.

Your lead playing will really only ever be as good as your rhythm playing. No matter how good a solo is, it’s the song that will always be remembered.

KEY POINT: Keep in mind that there is just no substitute for practicing the right things, learning scales, studying the sounds and relationships between chords and scales, developing your ear, practicing and honing your skills using jam tracks, and continually pushing yourself and refining your art. 4 of

Practice Items & Tips:

Below are some general study avenues for rock and blues guitar. Because students of various levels will be reading this eBook these are broad jump off points for consideration. Work down the list and see which you are comfortable with and which needs work. Many of the below items will be addressed in detail in this eBook. Remember your guitar playing is an evolution. Use some of the items on the below list to set some musical goals and then chip away at them a little each day.



- Learn the notes on the neck cold. No way around this one, it is super critical.

-As you study lead guitar, continue to learn chords and work on your rhythm playing. You will be playing rhythm often so your lead playing will really only ever be as good as your rhythm playing.

-Learn some music theory. It will help propel you faster along in your guitar journey as well as you will be able to better communicate the language of music.

-Don’t just learn scales alone. Learn the scale but also learn how to apply it. Learn when it works, over what chords, and how to play it in all keys. Knowing the scale itself is only half the battle.

-Kick off your lead guitar journey by learning the Minor Pentatonic scale. Start with the basic box shape and then learn all five boxes and expanded scales. Pentatonic scales are the cornerstone for blues rock soloing.

-Learn how to convert minor pentatonic scales into major pentatonic scales by using the concept of major to relative minor. This is a huge help as you wont have to learn another full neck of scales.

-Don’t just learn shapes. Take the extra time to learn the notes of the scales you are playing and the notes that are in chords. This will help you immensely in so many ways along your guitar journey.

-Be sure to know how to solo comfortably in both minor AND major key.

-Always try to compliment the song with your lead lines. Remember, no matter how good a solo is, in the end it’s the song that will be remembered. Play for the song, not for yourself.

-Learn some triads and arpeggios. They really open up your playing, add color and variety, and get you out of playing straight scales. They are super useful and can be super melody builders.

-After you have a firm grasp on pentatonics scales and how to apply them start to learn Major and Natural Minor Scales. These are the building blocks to learn the modes of the major scale.

-Learn the modes of the major scale. For rock and blues playing start with Aeolian, Dorian, and Mixolydian.

-Study and learn the leads of some of your favorite players. Learn why their leads work and what you like about them. Then make their licks your own, put your own spin on them. Also try imitating the melody of a vocal line on your guitar. This really helps to understand and build melodies on the instrument.

-Practice soloing and improvising over jam tracks. Know the chords of the rhythm track and just get lost in it. Its critical to practice and apply what you are learning in a musical context, and jam tracks are awesome practice.

-Develop your ear, don’t rely solely on tablature. Try to learn songs and licks by ear and listen for the color of chords and try any ear training that you can get your hands on. Its hard work, but well worth it.

-Keep in mind that at this stage of your lead guitar journey there is just no substitute for practicing the right things, learning scales, studying the sounds and relationships between chords and scales, developing your ear, practicing and honing your skills using jam tracks, and continually pushing yourself and refining your art.

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Notes On The Fretboard:





Open Strings

Eddie Ate Dynamite Good Bye Eddie



# = Sharp

b = Flat



The twelve-note scale consists of:

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

Memorize the order of the 12-note scale

as the notes always appear on the

guitar neck in the above order.

Examine the notes along one string

vertically. Notice how the notes always

repeat in this same order. The notes

then repeat every 12 frets.

Once you have the 12-note scale

memorized start applying it to the frets

on the guitar and memorizing where the

notes live on the fretboard.

Take it slow and work on one string at a

time. Start with the low E string. Once

you memorize that string you will also

know the note names on the high E

string as the note names on those two

strings are the same.

Once you have the E strings memorized

then move on to the A string, then the D

string, and so on. Chip away at getting

each string down a little each day. Add

learning the notes to your practice log -

you can do it!.

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Key signature & chord analyzing

In rock and blues you will often solo over progressions that are in either major key or minor key. In blues usually its major key and often using Minor Pentatonic &

dominant chords. But you want to have the tools to be able to solo over Blues Scales - four

both major and minor key.

great applications:

Knowing the key is important, and a good place to start. But to go

get the complete roadmap for soloing options. Always start with what 1. Over all chords in minor deeper you have to analyze the chords that make up the progression to

are the chords and what is the key. key (except a major V chord).

Soon these techniques will become more automatic. But first doing it in 2. Over any minor type chord

a very systematic and methodical way will get you used to these when treating each chord as a

principles. separate event.

Remember there are many lead avenues to choose from, so explore 3. Over all the chords in major

them all and and see what sounds best to your ears. key I-IV-V blues jams, swings,

and shuffles.

KEY POINT: Analyze the chords to determine what solo avenues to take. It’s the chords that give the complete roadmap to the various 4. Over all the chords in rock

soloing avenues – the key signature is only part of the equation. jams or jams using power or

5th chords, (except major

It’s important to understand why these principles and techniques work sounding jams and ballads).

so that you can solo and improvise over any progression. Armed with this knowledge and practicing in a musical context will give you the lead Soloing in minor key:

guitar confidence to solo over any progression. When playing over all the

chords in minor key, what

KEY POINT: Remember that as soon as you hear that very identifiable “relates to all”, you can I-IV-V blues, swing, or shuffle, it is wide open as there will be many always use Natural Minor

different soloing avenues to try. Scales, (Aeolian Mode),

UNLESS there is a major IV

Key Points To Determine Soloing Avenues: chord or a minor ii chord, in

those cases use the Dorian

1. Determine the key signature Mode. - often you will be soloing in minor key or major key. Knowing the key is the first step. Even when you are just noodleing around on the guitar, always know in what key you are playing.

2. Analyze the chord progression – it’s the chords that will give you the complete roadmap to what you can utilize for soloing and improvisation. Analyzing the chords is critical to get the full lead guitar picture.



The points listed throughout these materials are guidelines to get you started, not rules forged in stone. Often in jams you have to use your discretion. You want to learn the principles and techniques so you have 7 of

a solid jump off point to get creative and then start bending the rules.

The Choices When Soloing:

When soloing/improvising there are TWO

CHOICES:



1. Solo with what “relates to all” – use the same scale or mode KEY over all the chords. No matter what chord is sounding, play the same scale over each chord. You play what works over ALL the

chords. There is no This is the most common choice and definitely what most players substitute for learning

do when first developing their soloing skills. Start with what scales and studying

“relates to all”. Get proficient at this before moving on to the next the sounds and

choice described below. relationships



Or you can: between chords and scales.

2. Treat each chord like a “separate event”- this choice is more challenging but yields a very sophisticated sound. By Keep developing

treating each chord as a separate event you solo with a different your ear and practice

scale or mode over each chord and change the scale or mode using jam tracks.

with each chord change. This techniques does not stay within the Continually push

confines of the same scale as with what “relates to all”. yourself to the next

With this approach you must listen to what is going on underneath level. Stay positive

the soloing. You have to listen to which chords are sounding and and remember…..

also for the changes. Then time your playing and change scales YOU CAN DO IT!

as the chords change.

Employ this technique whenever there is enough time on a given chord. If the chords are flying by fast, there won’t be enough time to treat each chord as a “separate event”.

This technique takes practice but it will skyrocket your playing to the next level. Practice this technique with slow tempo progressions where there is lots of time on each chord and remember to listen for the changes.

Remember, at first practice with jam tracks with slow moving changes to perfect this technique. You want lots of time on each chord.

KEY POINT: The above two choices are NOT mutually exclusive, you can mix them both together. Treat each chord as a “separate event”, then switch it up and play what “relates to all”. Toggle back and forth and get lost exploring within the jam track. 8 of





Minor Key Soloing


You want to be comfortable soloing in both minor key and major key. If a progression is in minor key you can usually solo with Minor Pentatonic & Blues Scales over ALL the chords, (with a few Minor Pentatonic &

exceptions). Blues Scales - four

So minor pentatonic over minor key should be a default setting. As great applications:

soon as you hear minor key, you know one option is to solo over all the chords with Minor Pentatonic & Blues Scales as they “relate 1. Over all chords in minor

to all”. key (except a major V chord).



Also if it’s a major key bluesy I-IV-V, like the Satriani inspired Jam 2. Over any minor type chord when treating each chord as a Tarck in G, one option is to solo over all the chords with Minor separate event. Pentatonic & Blues scales. An exception to this rule is if it’s a



minor key progression with a major V chord. You have to be 3. Over all the chords in major careful over that major V, one option is to use Harmonic Minor key I-IV-V blues jams, swings, Scale over just that V chord. and shuffles.

A minor mode will also work over all the chords in minor key. 4. Over all the chords in rock

Usually it’s Aeolian or Dorian. To determine which one you have to jams or jams using power or

analyze the chords. For now just memorize the below key point for 5th chords, (except major

soloing in minor key over all the chords: sounding jams and ballads).

KEY POINT: When playing over all the chords in minor key you Soloing in minor key:

can always use the AEOLIAN mode, UNLESS there is a IV major When playing over all the

chord or II minor chord, then use the DORIAN mode. (Exception - chords in minor key, what

If there is a V major chord then use Harmonic Minor over just that “relates to all”, you can V chord). always use Natural Minor

Scales, (Aeolian Mode),

Aeolian mode is the same thing as Natural Minor or Pure Minor. UNLESS there is a major IV

chord or a minor ii chord, in

those cases use the Dorian

Use Minor Pentatonic & Blues Scales (4 Mode.

applications):

1. Over all the chords in a minor key, (few exceptions).

2. Over all chords in major key I-IV-V blues, shuffles, and swings.

3. Over any minor type chord when treating each chord as a “separate event”.

4. Over all the chords in rock type jams, or jams using power or 5th chords, (as long as the jam is not ballad/major sounding, if so then use major pentatonic or possibly full major scales).

5. Use the same key Pentatonic Scale over different chords - at

times you can play different key pentatonic scales over the same 9 of 9 of 35 chord, not just the root scale.





Major Key Soloing


You want to get comfortable soloing in both minor key and major key. If a progression is in major key one choice is you can usually solo using Major Pentatonic Scales over ALL the chords.

So major pentatonic over major key should be a default setting just like Major Pentatonic

minor pentatonic over minor key. As soon as you hear major key, you Scale applications:

know one option is to solo over all the chords with Major Pentatonic, as it “relates to all” the chords.

Major pentatonic produces that sweet, bright, major sound. Be sure to 1. Over all chords when in a

play the scale and listen to the sounds created. Its a very different major key. sound than the bluesy Minor Pentatonic Scale. Like I always say, its all about the sounds and mood. 2. Over any major type chord

MAJOR KEY I-IV-V blues, shuffles, and swings: when treating each chord as a

separate event. (especially

You will hear these rhythms all the time in blues music. If a progression

dominant 7th chords in blues

is a major key I–IV–V blues, swing, or shuffle there are MANY avenues

jams - very popular choice).

to utilize when soloing and improvising, it’s wide open.

3. Over all the chords in major

You can solo with what “relates to all” and also by treating each chord

key I-IV-V blues jams, swings,

as a “separate event”. Here are some suggestions to try over these type

and shuffles.

very common progressions:



1. Try 4. Over all the chords in rock Minor Pentatonic & Blues scales over all the chords in the key major sounding jams and of the progression. This yields that dark, bluesy, minor sound. (Minor especially major ballads. Pentatonic & Blues – 1,b3,4,b5,5,b7)

2. Try Major Pentatonic scales over all the chords in the key of the Soloing in major key:

progression. This produces that sweet major sound ala BB King/Allman Be careful as there is not as

Brothers. This will be a totally different sound than Minor Pentatonic. much room for error in major

(Major Pentatonic – 1,2,3,5,6) key and “sour” notes will

really stick out. You can at

3. Mix Minor Pentatonic & Blues and Major Pentatonic. You will hear times combine major

this a lot in the lead playing of Eric Clapton and BB King. The switching pentatonic with minor

and mixing of Minor and Major Pentatonic is an awesome sound. (Minor pentatonic to produce hybrid

& Major Pentatonic 1,2,b3,3,4,5,6,b7) scales with elements of both

minor and major.

4. Try the Dorian Mode over all the chords. Dorian is the second mode of the major scale and is considered more of a minor mode but it’s intervals have elements of both minor, (b3, b7), and major (2nd, 6th).

So Dorian works great in any situation where you know both Minor Pentatonic and Major Pentatonic will work. Give it at try over I-IV-V blues progressions and you will be surprised how killer it can sound. (Dorian Mode – 1,2,b3,4,5,6,b7)

5. Try the Mixolydian Mode as it works great over dominant chords like 7th and 9th chords. Try to play this mode over each chord independently in the key of the chord. (Mixolydian Mode is the fifth 10 of 35

mode of the major scale – 1,2,3,4,5,6,b7).

Joe Satriani Inspired G Jam Track

Key - G Time Signature: 4/4



Tempo - 110 BPM Length of Track - 10:31 Blues Scales - Minor Pentatonic &

Chords: G5 - C5 - D5 I-IV-V 4 great applications:

This rocking Satriani inspired jam track is in the key of G and follows a 1. Over all chords in minor key

standard I-IV-V change using power/fifth chords. (except a major V chord)

Since we are using 5th chords the jam is pretty wide open. Fifth chords 2. Over any minor type chord

are made of just a root and fifth interval, no third. So with no major or when treating each chord as a

minor 3rd there is no rub against major or minor sounding notes. separate event

When a rock jam utilizes power 5th chords you can instantly consider 3. Over all the chords in major

utilizing minor pentatonic & blues over all the chords as one soloing key I-IV-V blues jams, swings,

option, (memorize the four key minor pentatonic application points and shuffles illustrated on the right, note #4).

4. Over all the chords in rock

However, to get the complete soloing picture you have to analyze all jams or jams using power or 5th

the chords. It’s the chords that give the complete soloing roadmap. chords, (except major sounding

jams and ballads)

On this track there is enough time on each chord to also treat each

chord as a “separate event”. Remember, if the chords are flying by fast Soloing in minor key:

you don’t have enough time to solo on each chord independently. In those cases you would be playing more of what When playing over all the “relates to all”.

chords in minor key, what



A. This is a rock jam using power 5th chords in the key of G. So we What Relates to all the chords: “relates to all”, you can always use Natural Minor Scales, (Aeolian Mode), UNLESS there instantly know G minor pentatonic & blues scales works over all the is a major IV chord or a minor ii chords. No matter which chord you are playing over, solo with G minor chord, in those cases use the pentatonic & blues scales as those scales “relate to all” the chords. Try Dorian Mode. to groove and swing your bluesy licks as outlined in the video lessons.

B. G Natural Minor Scales, (G Aeolian mode) - In rock jams as well as in minor key, a minor mode usually relates to all the chords. Play G natural minor scales over all the chords, G Aeolian = BbMajor.

G Aeolian = G, A, Bb C, D, Eb, F

Bb Major = Bb, C, D, Eb, F, G, A

C. Mix both G Aeolian and G minor pentatonic & blues scales over all the chords for some killer sounds. Be creative and try to resolve your licks on strong chord tones and refer to the video lessons for playing examples using both G minor pentatonic & blues as well as G natural minor, (G Aeolian Mode).

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Put on the track and just get lost in it - experiment and get creative!

Joe Satriani Inspired E Jam Track

Key - E major Time Signature - 4/4

Tempo - 75 BPM Length of track - 6:31

Chords - E and B droning chords

This is a very atmospheric jam track in the style of Joe Satriani. This track is basically just an E droning chord. I designed this track as a practice tool to be utilized in learning and exploring the sounds and moods that can be created by utilizing various scales and modes. This track is wide open so there are a TON of different soloing and improvisational avenues to explore.

Often in jamming and modal playing there is lots of room for improvisation and creativity. You have to use your discretion and determine what sounds best to your ears, which sounds and moods that you like best.

So you will want to try all the different moods and textures that can be created. You want to explore and experiment and seek out to which you are most attracted.

This track is a perfect practice tool to do just that - explore. You can test drive all the possible moods created by utilizing modal playing. You can also work on applying all the techniques that you have learned throughout the video lesson series.

Modal playing and modal application is taught in great detail in the video lessons as well as in the coming pages of this eBook, please refer to them as necessary. And remember its all about the sounds and moods that you can create, so be sure and listen carefully to each mode as you play them over this track.



Try these over the E drone Jam Track:

1. E Lydian - Start on the fourth note of a B major scale and play from the E note to the next E note and that produces E Lydian. B major and E Lydian consist of the same notes. Play B major scales but start on and emphasize the E notes for E Lydian. You can also try straight E major scales over the track, but personally I like the more mysterious mood that E Lydian brings to the table - but try both and see what you like best.

2. Pentatonic Scales - if you rather utilize pentatonics try B major pentatonic, which is the same as G# minor pentatonic, (major and relative minor). This will still produce a Lydian mood as all the notes in B major pentatonic are also in E Lydian. You can also try E minor pentatonic and see how you like the more minor sounds over the track. E major pentatonic also works for that sweet, major sound.

3. E Phrygian - Start on the third note of a C major scale and play from the E note to the next E note and that produces E Phrygian. C major and E Pyrygian consist of the same notes. Play C major scales but start on and emphasize the E notes for E Phrygian.

4. E Phrygian Dominant - Phrygian dominant sounds awesome when played over a long lingering major chord. This mode is the 5th mode of the Harmonic Minor scale. Play A Harmonic Minor scales but shift emphasis to the E notes for E Phrygian Dominant.

5. Mix and combine modes and scales - mix together all the above. There is no rule that states you have to stay in one mode or just use one scale. Mix it up and come up with all kinds of creative ideas.

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Understanding and learning scales is a critical element in your guitar journey. Scales are the building blocks Scales Defined to creating licks and the roadmap to the fretboard. Pentatonic Scales are the most common scales used in most genres of music so they are a great place to start, especially for blues and rock.

Scales are a group or collection of notes in ascending or descending order that we use in music. Scale notes are listed out in order and usually sound from low to high.

The order of the notes used in a scale is crucial as that order provides a measure of musical distance. The distance between notes is called an interval. How scale notes line up, or the intervals, will give the scale not only its name but also its mood or musical color. Just like certain chords have a mood to them, scales also produce a certain sound or mood.

One critical aspect of a scale is its root note. The root note is the starting note and note which all the other scale notes gravitate toward. I like to call the root note “home base”. Most other notes seem to want to resolve to the root as it’s the tonic center for the scale. Often you can determine the key of a given progression by just listening for what sounds like home base, what are all the chords are pulling toward.

When learning scales, always make mental notes as to where the root notes are in that scale. In this eBook the root notes are illustrated with black ovals. It’s critical to know your root note locations.

The successive notes in a scale are divided by steps, or tones. A half step is also called a semi-tone and is one fret on the guitar. A whole step is also called a whole tone and is two frets. A minor third is three frets and a major third is four frets.

The table below illustrates some common scales and their intervals. Scales titled in blues are the modes of the major scale. When learning scales also learn their application and how to play them in all keys.



Major Scale 1 2 3 4 5 6 7

Natural Minor Scale 1 2 b3 4 5 b6 b7

Minor Pentatonic Scale 1 b3 4 5 b7

Blues Scale 1 b3 4 b5 5 b7

Major Pentatonic Scale 1 2 3 5 6

Major Pentatonic Sus4 Scale 1 2 3 4 5 6

Ionian Mode (Major Scale) 1 2 3 4 5 6 7

Dorian Mode 1 2 b3 4 5 6 b7

Phrygian Mode 1 b2 b3 4 5 b6 b7

Lydian Mode 1 2 3 #4 5 6 7

Mixolydian Mode 1 2 3 4 5 6 b7

Aeolian Mode 1 2 b3 4 5 b6 b7

Locrian Mode 1 b2 b3 4 b5 b6 b7

Harmonic Minor Scale 1 2 b3 4 5 b6 7





Minor Pentatonic - The Basic Box Shape


Pentatonic scales are the most commonly used scales in most genres of music, so you will want to get very comfortable with them. Often they are the first scales students learn on their lead guitar journey.

Penta is Latin for five. Like a penta-gram has five sides and a penta-gon has five sides, pentatonic scales are constructed from five notes.

The minor pentatonic scale is constructed of five notes of the natural minor scale. The intervals in minor pentatonic are root or 1, b3rd, 4th, 5th, and b7th.



The scale illustrated on the right is the most common basic “box” position. This scale has its low root played with the first finger on the low E string. The root notes are illustrated with black ovals and the numbers inside the circles indicate the fingering to be utilized when playing this scale. At first try utilizing one finger per fret.

We are going to build upon this scale in coming lessons. Eventually you will need to learn this scale in all positions all over the neck, and in all keys.

Start with this basic box, then on to the Expanded I, and eventually all five box shapes as illustrated in the coming pages of this eBook.

Practice the scale utilizing the fingerings illustrated. Sound each note clean, with no string buzzes or overtones. As you move through the scale make a mental note of when you hit the three root notes.

The key signature is determined by which root note is played. If you play this scale starting at the third fret on the low E string it is a G minor pentatonic scale consisting of notes G, Bb, C, D, and F.

If you were to play this scale starting on the 8th fret, it would be a C minor pentatonic scale consisting of notes C, Eb, F, G, and Bb.

Much like moveable bar chords this scale can be moved up and down the guitar neck and the root note will determine the key you are playing. Practice the scale in all keys.

This scale will form the building block of many concepts to come. You want to be very familiar with this scale pattern, but do not rely on it exclusively.

We are going to build on this scale extensively. Next we will be expanding it across the fretboard. This will make it a more fluid sounding scale that you can move laterally across the neck combining multiple box positions.

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String Bending in Minor Pentatonic


Bending strings is one of the most expressive things you can do on the guitar. You will want to get very

proficient and accurate with string bending, it’s an art.

When bending strings, it is imperative that you are bending notes in pitch to the proper target note. You

don’t want to over bend or under bend notes, as they will then sound sharp or flat. Practice bending

strings and then check the pitch by sounding the note you are attempting to bend to, your target note.

This is a good self-check to ensure you are bending in pitch.

You can also practice string bending in pitch by plugging into an electronic tuner that has a needle and

watching the needle as you bend a note and ultimately see it hit pitch. Keep doing it over and over until

you feel the bend strength string tension-wise, as well as hear the bend in pitch matching to the target

note.

Play the box pattern scale illustrated on the right with a fifth fret low-E string root. That root note would

make this an A minor pentatonic scale. Once you learn the string bends listed below, practice them

using different shapes and in all keys. For now try the bends in A minor pentatonic using the basic box

shape.

1. b3rd to major 3rd bend. Bend the b3rd or C note a quarter to a half step to the major 3rd. This is a very cool

bend as the b3rd is a very ambiguous note in this scale. It sometimes will sound great as the b3rd but also as a

major 3rd. This note has some play in it and you don’t have to be exact with the bend, play with it and you will

soon be utilizing this bend all the time.

2. Bend the 4th a half step to the blue note. Bend the D note 7th fret G string up one half step to the Eb note.

Hugely popular blues bend.

3. Bend the 4th degree a whole step to the fifth. Bend the D note 7th fret G-string up one whole step to the E

note. The 4th or D note can be bent either a whole or a half step.

4. Bend the b7th a whole step up to the root. Bend the G note 8th fret B string up one whole step to the A root

note. You can also bend the same note an octave lower at the G note at the 5th fret on the D string up one whole

step.

5. Unison bend. Use your 4th finger to bend the G note 8th fret B string a whole step to an A note while playing

the A note 5th fret high E string with your 1st finger.

6. Unison bend. Use your 3rd finger to bend the D note 7th fret G string a whole step to an E note while playing

the E note 5th fret B string with your 1st finger.

7. Bend the b3rd a full step to the 4th. Bend the C note 8th fret high E string one whole step to the D note.

8. Double stop bend. Bend two strings a half step each with your 3rd finger by barring across the 7th fret with

one finger. Bend the D note 7th fret G string one half step while also bending the F# note 7th fret B string one half

step.

8. Double stop bend. Use your 3rd finger to bend the D note 7th fret G string a whole step while playing the G

note on the B string 8th fret with your 4th finger.



Experiment and get creative with these string bending ideas. Remember to keep checking your bends to ensure

you are bending in pitch.

15 of 35





Minor Pentatonic - The Five Box Shapes


The five minor pentatonic box shapes illustrated below cover the entire guitar neck. These are “must-know” scales, especially for blues and rock. Take your time learning them, chip away a little each day. As you move through each scale make a mental note of when pass through a root note, which are illustrated in black.

These five positions are the architecture to build endless licks and runs. They also connect into longer expanded scales that you will learn in the coming pages. To avoid getting stuck in one position be sure to learn ALL the positions and practice them in different keys over jam tracks.

These scale shapes are moveable and the key is determined by the low root note. For example, if you want to solo with Box #1 in G minor pentatonic use your first finger starting at the third fret on the low E-string and play the shape. Third fret low-E string is an G note. That makes the scale an G minor pentatonic scale with the notes G, Bb, C, D, and F.

To try another pentatonic box in G minor play box #3 using your 3rd finger at the 10th fret A-string. Fret ten on the A-string is a G note. You are playing the same five notes as in the above example, G, Bb, C, D, and F, just in a different position on the guitar neck.

Along with memorizing the scale shapes it is also critical to know what notes you are playing and how to apply these scales. Too often, guitarists memorize only shapes. Don’t just learn scale shapes, take the time to also learn the notes and how to musically apply the scale, in the end it will make you a better musician.

Another critical element when learning scales is to not only memorize the scale but also learn it’s application. Learn how to apply it in a musical context - over what chords, in what key. Start by memorizing and practicing the four applications for minor pentatonic as listed in this eBook on page nine. Practice these scales in the key of G over the G Satriani inspired jam track.





16 of 35

Minor Pentatonic - The Expanded Scales

Let’s build on the minor pentatonic scales that you learned in the previous lesson. We will expand the scale two frets in each direction combining three box shapes to double the playing area. These expanded scales will get you playing ACROSS the neck and eliminate the “stuck in the box” scenario.

We are still going to play the same five-note pentatonic scale but these expanded scale produce a more fluid sound as opposed to staying in just one vertical box. You certainly want to have all the box patterns in your playing arsenal, but these expanded scales open the pathways and lead guitar avenues. You will utilize these expanded scales all the time, they are invaluable.

illustrated below you can see part of three box patterns encapsulated within each of the longer shapes. The expanded shapes are stretched two frets in each direction combining three adjacent boxes. The expanded I scale combines boxes 5, 1, and 2 while the expanded II scale combines boxes 3, 4, and 5.

These expanded pentatonic scales double the fret span of the single box patterns. Practice these expanded scales in different keys and add them to your playing arsenal.

Just like the box patterns these expanded scales are moveable and the root note determines the key. Same principle applies to finding them in the proper key as with the individual box shapes.



Practice these scales in the key

of G over the G Satriani inspired

jam track.

To play these expanded scales

in G minor first find the G notes.

To play the expanded I scale in

G minor, start with your third

finger on the 3rd fret of the low

E-string and play the shape.

Third fret low E-string is an G

note.

To play the expanded II scale in

G minor, start with your third

finger on the 10th fret of the A-

string and play the shape. Tenth

fret A-string is an G note.

To locate these scales fast just

find the low root note. The

expanded I uses 3rd finger root

on the low E-string and the

expanded II uses 3rd finger root

on the A-string. Find the root

notes and blast away from there!

Practice in all keys and over jam

tracks - keep on rocking!

Minor Pentatonic & Blues- The Five Boxes

Now we will add one note to the minor pentatonic scale and turn it into the six-note blues scale. Pentatonic & Blues scales are the most commonly used scales in most genres of music.

We can add the flat 5, (b5), or blue note to the pentatonic scale, making it a six-note scale called the Blues Scale. That b5, or blue note, adds a lot of tension and color to the scale. These are “must-know” scales especially for blues and rock so be sure to memorize them add them to your playing arsenal.

Most of the time when soloing with minor pentatonic scales you can also use the blues scale. To be safe, at first, use the blue note more in passing for color, don’t hang on it too long. Hanging on that flat five too long can sound a bit dissonant. It’s a great note though, so experiment with it and let your ear guide you.

The five box shapes illustrated below cover the entire neck. These five positions are the architecture to build licks and runs as well as to connect into longer expanded scales. To work freely across the entire neck you will want to memorize all five positions as well as the two expanded scales illustrated on the next page.

These scale shapes are moveable. The key is determined by the root notes illustrated in black. If you want to solo in G minor pentatonic over the G Satriani jam track play box #1 using your first finger starting at the 3rd fret on the low E-string and play the shape from there. Third fret low-E string is an G note. That makes the scale an G minor pentatonic & blues scale consisting of the notes G, Bb, C, Db, D, and F.

Remember that along with memorizing the scale shapes it is also critical to know what notes you are playing. Too often, guitarists memorize only shapes and forget what notes they are actually playing. Don’t just learn scale shapes, take the time to also learn the notes. In the end it will make you a better musician.

To avoid getting stuck in one position be sure to learn ALL the positions and practice them in different keys. Use the blue notes in passing, resolve often to the root notes and land on strong chord tones.





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Minor Pentatonic & Blues- The Expanded Scales

Let’s build on the minor pentatonic & blues scale that you learned in the previous lesson. Now we will expand the scale two frets in each direction thus combining three box shapes and doubling the playing area. These expanded scales will get you playing ACROSS the neck and eliminate being “stuck in the box”.

We are still going to play the same six-note scale. However, the expanded scales exude a much more fluid sound that set up additional lick opportunities. You certainly want to have all the box patterns in your playing arsenal, but these expanded scales really open the pathways and lead guitar avenues. You will utilize these expanded scales all the time, they are invaluable.

Illustrated below you can see part of three box patterns encapsulated within each longer shape. The shape is expanded two frets in each direction combining three adjacent boxes. The expanded I scale combines boxes 5, 1, and 2 while the expanded II scale combines boxes 3, 4, and 5.

These expanded blues scales double the fret span of the box patterns. Practice these in different keys over jam tracks and add them to your playing arsenal.



Same principle applies to finding

the expanded scales in the

proper key. To play these scales

in G minor over all the chords in

the G inspired Satriani jam track,

first find the G notes.

To play the expanded I scale in

the key of G minor, start with

your third finger on the 3rd fret of

the low E-string and play the

shape. Third fret low E-string is

an G note.

To play the expanded II scale in

G minor, start with your third

finger on the 10th fret of the A-

string and play the shape. Fret

ten on the A-string is an G note.

To locate these scales fast find

the low root note. The expanded

I uses 3rd finger root on the low

E-string and the expanded II

uses 3rd finger root on the A-

string. Find the root notes and

blast away from there - enjoy!



19 of 35





The Major Pentatonic Scale


The major pentatonic scale is a five-note scale consisting of five notes from the major scale. The intervals are 1, 2, 3, 5, 6. You do not play the 4th and 7th degrees of the major scale. This incredibly useful scale produces a sweet, happy, major sound and is utilized often in blues, rock, and other musical genres.

Major pentatonic often works over all the chords in major key when playing what “relates to all”. Also, utilize major pentatonic over most major type chords when treating each chord as a “separate event”.

You can locate the major pentatonic scale all over the neck by going through the minor pentatonic. You won’t have to memorize a whole new batch of scale shapes for major pentatonic. We will use the concept of major and relative minor to easily tackle major pentatonic scales across the neck.

For every major key there is a relative minor key with exactly the same notes. We will use this to help find where these major pentatonic scales “live” on the fretboard. Minor pentatonic lives a minor 3rd, or three frets away, below the major pentatonic.

Illustrated below is the “basic box shape” D major pentatonic. Find it easily by using your fourth finger on the root note low E-string. It’s relative minor, B minor pentatonic is illustrated on the right. D major pentatonic scales can also be viewed as B minor pentatonic scales. Both scales consist of the same notes D,E,F#,A, and B. There are lots of ways to look at these, personally I think of pentatonics more in terms of minor.

The starting and emphasis notes determine which scale you will be playing. D major pentatonic and B minor pentatonic consist of the same notes, just different starting and emphasis notes. It all comes down to what notes you are emphasizing, emphasis is critical.

Play both scales starting and ending with the roots. Listen how the major pentatonic is sweet and happy sounding when starting on and emphasizing the D notes. Play the same shape but start and end on the B notes and you get the darker, bluesy, minor pentatonic scale. Same notes, just different start and emphasis points, and you have two very different sounding scales.

One scale gives you the sweet, bright, major sound while the other gives you the dark, bluesy, minor sound. Try playing minor pentatonic over minor chords and major pentatonic over major chords within the same jam track. Be sure to change scales as the chords change and listen for the sound differences between the major and minor, and get lost in the fun.





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The Major Pentatonic Scale - Key Points




The major pentatonic scale is constructed from five notes of the major scale. This is similar to how the minor pentatonic scale is constructed from five notes of the natural minor scale, (see below table).



1 2 3 4 5 6 7 = major scale KEY 1 2 3 5 6 = major pentatonic scale

1 2 b3 4 5 b6 b7 = natural minor scale For every major key there 1 b3 4 5 b7 = minor pentatonic scale is a relative minor key

with exactly the same

Remember that you can find all the major pentatonics by going through notes. the relative minor pentatonic scales. Just flip the minor pentatonic shapes to their relative major pentatonic and change emphasis notes. Here are all the major keys and their corresponding relative minors: When soloing in major key

A major = F# minor use major pentatonic over Bb major = G minor B major = G# minor

C major = A minor C# major = Bb minor D major = B minor all the chords when

Ebmajor = C minor E major = C# minor F major = D minor playing what “relates to F# major = Eb minor G major = E minor G# major = F minor all” . Also use it over any

For that sweet major pentatonic sound utilize all of your minor major type chord when

pentatonic scales, but emphasize the root major. For example, when treating each chord as a

playing in D major pentatonic think of the relative minor B minor “separate event”. pentatonic. Just start and emphasize on the D notes, not the B notes, to sound major.

Find major pentatonic

The blue note does not always apply to major pentatonic and, at times, scales by going through the

can sound sour. Experiment with it and see how it sounds to your ears. relative minor pentatonic

The major pentatonic lives three frets ahead of the minor pentatonic. scales. Memorize majors

For example, if you want to play in D major pentatonic put your pinky and their corresponding

finger on the D note 10th fret low E-string. Using one finger per fret the relative minors. relative minor will always be three frets back.

Your first finger will always fall on the relative minor. In this case the B note at the 7th fret of the low E-string. Find the relative minor of any major using this device.

There is not much room for error when soloing in major key as sour notes can really stick out. You also can’t slur passing tones like when when using minor pentatonic.

Be careful with your note choices and let your ear help guide you. Practice these scales in all keys and listen for the sound differences between minor and major, its all about the mood, emphasis notes, and the sounds and moods the scales produce. 21 of 35





The Major Scale


All music theory compares back to the major scale. You are probably familiar with the sound of the major scale – doe, re, me, fa, so, la, ti, doe. We all sang that song endless times in elementary school. There are many different fingerings and ways to play major scales all over the guitar neck.

Below is a system of six major scales. With all six memorized, you can utilize the entire guitar neck. The scales overlap each other and on the next page you will learn to link these scales together.

The major scale is constructed from seven notes built from the scale degrees of 1, 2, 3, 4, 5, 6, 7. Memorize the scales one at a time. Take your time learning them, perhaps chipping away a little each day. As you move through each scale make a mental note of when you hit the root notes, illustrated in black.

The key signature for each scale is determined by its root note. First learn the scales below in the key of G major. The scales line up nicely in G, so G major is a good place to start. To play the #1 scale in G major put your 2nd finger on the 3rd fret on the low E string, G note, and play the shape. You will now be playing a G major scale which consists of the seven notes G, A, B, C, D, E, and F#.

To play scale #2 in G put your first finger on the G note on the low E string at the 3rd fret and play the shape. These scales can be moved up and down the guitar neck and should be practiced in all keys. Know your major scales cold and then you will also know all the modes of the major scale. More on that to come later in this eBook as we will be utilizing B major in the Lydian modal video lessons.





22 of 35





Major Scale Links


Now that you know six major scales from the previous lesson let’s link them together and play them across the neck. These links help view the entire neck as one big scale.

Below are two examples of three octave major scale links that combine three shapes. These are incredibly useful and are easy to play. Both utilize easy to remember repeated fingerings. These scale links help you to practice playing laterally across the neck. Shift with your first finger for both these examples when you get to the D and the B strings. Shift up a whole step, two frets, with the first finger for the 1-1 finger combination. Practice these links in all keys, they are super useful.

Link 1 utilizes 1-2-4 fingering to play the entire scale link. Shift up with the first finger as indicated. Link 2 utilizes 1-3-4 fingering to play the entire scale link. Again, shift up with the first finger as indicated. Be sure to always make mental notes when passing through root notes. Just like the other scales we have discussed in thie eBook, these scale links are moveable with the root note determining the key.

To locate these scales fast, first find the low root note. To play these links in G major, first find the G notes. To play the Link 1 in G major, start with your 2nd finger on the 3rd fret of the low E-string and play the shape. Third fret low E-string is a G note.



To play Link 2 in G major, start

with your 4th finger on the 15th

fret of the low E-string and play

the shape. The 15th fret low E-

string is a G note.

Find the root notes and blast

away from there!

If you have a minor key jam, for

example, a jam in the key of A

minor you can still utilize these

major scales in the parent scale

of C major. C major’s relative

minor is A minor. Use major and

relative minor as discussed a

previous lesson.

Convert both of these shapes

back to the parent scale of C

m a j o r a n d s t a r t o n a n d

emphasize the A notes for A

Aeolian, (A natural minor).

R e m e m b e r , i t s a l l a b o u t

emphasis and mood.

More to come on that in the

“Modes” lessons coming up next

in this eBook.

23 of 35





The Modes Of The Major Scale - Overview


There are seven modes of the major scale and each one has its own “mood”, or distinct sound. Knowing the modes gives you the ability to create various moods and textures. They also open the door to additional soloing options.



Modal playing is often thought as a very abstract and mysterious entity. KEY One that requires a black belt in music theory to understand. That is not true and you can be playing modally with just a little coaching and

practice. Think of the Modes

Utilizing the modes will generate interval structures that are different than simply as variations of

the major scale and therefore produce unique sound qualities. the major scale.

Each mode has its own unique sound or “mood” due to its unique interval structure. Some modes are more major sounding and some more minor Anytime you play a

sounding. My modal methodology requires that you first know your major major scale and start

scales. We will get to all seven modes through the major scales. on and emphasize a

Think of the modes as being variations of the major scale. All you will be note other than the

doing is starting on and emphasizing a note in the major scale other than root, you are playing in

the root note. the modes. There are seven notes in the major scale and each one corresponds with a different mode. So there are seven modes of the major scale and they Each mode has its own

always appear in this order: Ionian, Dorian, Phrygian, Lydian, Mixolydian, unique sound or

Aeolian, and Locrian. Memorize the mode names and their order. The “mood” due to the

order of the modes is very important. unique interval

Learn the major scales and how to link them as they are diagrammed out structure of each mode.

in this eBook. Once you know your major scales you don’t have to learn a whole new set of scales for each mode. You will then know all the modes Some modes are more

of the major scale because you will be using those same major scale major sounding and

shapes to play all the modes. some more minor

You will be starting on any of the six shapes on a note other than its root. sounding. Keep in mind it’s all about the mood or distinct sound of each mode - that’s the key, it’s all about the sounds.

Besides knowing your major scale, (Ionian Mode), get proficient with the Aeolian Mode, Dorian Mode, Lydian, and then Mixolydian mode. These modes are used most often in blues and rock and we will focus on them in the coming pages of this eBook and in the video lessons.

THE SEVEN MODES OF THE MAJOR SCALE

1st mode - Ionian (same as the Major scale)

2nd mode – Dorian (same as Aeolian but with a raised 6th)

3rd mode - Phrygian (same as Aeolian but with a b2nd)

4th mode – Lydian (same as Ionian but with a #4th)

5th mode – Mixolydian (same as Ionian but with a b7th)

6th mode – Aeolian (same as Natural Minor) 24 of 35

The Modes Of The Major Scale - Application 1

The key to understanding the modes is to look at the interval structure that defines each mode and then match them with corresponding chords and progressions. Let’s discuss each mode and how to apply them.



With any mode or scale it’s not enough just to know the scale, you also KEY have to know how to use it and apply it in a musical situation. Many of the modes are very similar in their structure. Some have just one note difference. But these slight differences create unique moods and textures. Each mode has its’ own unique mood and tone. With any mode or scale

it’s not enough just to

The table below shows each mode and its interval structure. The last know the scale shape,

column denotes which modes are considered major modes and which are considered minor modes. you also have to know

how to use it and apply

Memorize which are the major modes, Ionian, Lydian, and Mixolydian, and it in a musical situation.

which are the minor modes, Dorian, Phrygian, Aeolian, and Locrian. Knowing this will help guide you to utilizing the correct mode over a given chord or progression. Memorize which are the

major modes - Ionian,

Lydian, and Mixolydian,

#mode name intervals type of mode and which are the 1 Ionian 1,2,3,4,5,6,7 major mode minor modes - Dorian, 2 Aeolian, Phrygian, and Dorian 1,2,b3,4,5,6,b7 minor mode*

3 Locrian. Phrygian 1,b2,b3,4,5,b6,b7 minor mode



5 Each mode has its own Mixolydian 4 Lydian 1,2,3,#4,5,6,7 major mode

1,2,3,4,5,6,b7 major mode unique mood and tone.

6 Aeolian 1,2,b3,4,5,b6,b7 minor mode 7 Locrian 1,b2,b3,4,b5,b6,b7 minor mode



*Dorian is considered a minor mode because it has strong elements of minor (b3, b7), along with major (2,6). However, it can be played in some major key progressions.

Dorian works great over all the chords in major key I-IV-V shuffle, blues, or swing type progressions. For those type progressions you can also use minor pentatonic for that minor bluesy sound, major pentatonic for that sweet major sound, or combine elements of both for the Dorian sound.

Phrygian can also be used in some major key progressions that have a b2 chord. So, there is lots of room for creativity with the modes.

Like with many lead guitar avenues, you have to use your discretion and find what sounds best to your ears. Experiment and be creative when utilizing the modes and practice over jam tracks. Listen for which modes sound best to your ears. 25 of 35

The Modes Of The Major Scale - Application 2





KEY POINTS TO APPLYING THE MODES:

1. Understand your choices when soloing and improvising. You can



solo over the entire chord progression with what “relates to all”, or play KEY over each chord independently, treating each chord as a “separate event”. 2. Know and analyze the chords you are playing over. The chords provide the complete roadmap to what you can utilize for soloing. Just knowing the key signature is not enough. Know what chords are in the Understand your

progression, and then analyze them to determine what scales, modes, options when soloing

and landing notes to utilize. and improvising. Know

and analyze the chords

The “ACE” principle for modal playing: you are playing over.

Memorize these three steps for utilizing the modes (the “ACE” principle):

To apply the modes

1. ANALYZE the chords and/or the progression to get the roadmap for just remember “ACE” –

which modes you can utilize. Analyze, Convert,

2. Once you determine which mode or modes to use, CONVERT that Emphasize. mode back to its mother or parent major key.

3. Play the mode using the parent major scale patterns but shift to and Remember that it’s all

EMPHASIZE the root of the mode. about MOOD and

EMPHASIS when

This is a very systematic and methodical approach to analyzing chords to playing in the modes.

determine soloing options. Over time your ear will take you to the right notes and this whole process will be more organic. However, at the start there is value in analyzing chords and progressions while honing your skills to a sharp edge.

These three steps are absolutely critical to your success playing in the modes. This will take a good amount of practice, chip away a little each day and you will get it. Remember you are creating a mood - feel it!



KEY PRACTICE: At first try playing a mode over the whole progression or what relates to all the chords of a jam track.

Eventually you will want to try and treat each chord as a separate event and play a different mode over each chord. Get creative and give it a try.

Take your time, don’t overwhelm yourself, and practice utilizing jam tracks. Really hone in and listen for the chord changes and the moods you create with the different modes, its all about the sounds.





The Modes Of The Major Scale - Aeolian


The Aeolian Mode is a seven-note scale often used in blues, rock, jazz, and many other musical genres. It is also called Natural Minor or Pure Minor. Aeolian is considered a minor mode and is always the 6th mode in any major key.



Aeolian produces a sad, dark, and mournful sound that is different than KEY minor pentatonic and Dorian. It adds melodic half steps and additional lick and string bending opportunities. The scale degrees are 1, 2, b3, 4, 5, b6, and b7.

Aeolian is always the

Play this mode over minor chords when treating each chord as a 6th mode of any major

“separate event”. Also utilize Aeolian over ALL the chords in a minor key key. jam UNLESS the IV chord is major or the ii chord is minor.



If you want to play G Aeolian over the G inspired Satriani jam track utilize Starting on and

the “ACE” principle as taught in the previous lesson. Aeolian is the 6th mode. To play in G Aeolian ask yourself what major scale’s sixth note is emphasizing the 6th

an G? The answer is Bb. The sixth note of a Bb major scale is an G note. note of any major

To play in G Aeolian start on the sixth note in a Bb major scale and play scale produces the

from the G note to the G note and you have G Aeolian. As you can see Aeolian Mode.

below, Bb major and G Aeolian are both constructed from the same notes.



Bb Major = Bb, C, D, Eb, F, G, A G Aeolian = G, A, Bb, C, D, Eb, F Aeolian is also called Natural Minor major and relative minor or Pure Minor.

Remember, it’s all about MOOD and EMPHASIS when playing in the modes. Which note you start on and emphasize give you the different moods and sound textures of each mode. Remember, it’s all

about MOOD and

Below are two common shapes for Aeolian. One has the low root note on EMPHASIS when

the low E-string and the other has the low root on the A-string. Find these patterns fast by using your first finger on the low root. Start with these, but playing in the modes.

learn all the shapes to play Aeolian across the whole neck as per the major scale lessons in this eBook.





27 of 35

The Modes Of The Major Scale - Lydian



The Lydian Mode is a seven-note scale often used in jazz and rock. Lydian KEY is considered a major mode and is always the 4th mode in any major key.

Lydian is very similar to a major scale, (Ionian Mode), except it has a #4. This one alteration gives the mode a very pretty, emotive mood, almost mesmorizing. The Lydian mode scale degrees are 1, 2, 3, #4, 5, 6, and 7. Lydian is always the

4th mode of any major

Lydian is not as commonly utilized as Ionian, but it brings a hip tension with key. that sharp fourth interval. Simply raise the 4th degree of any major scale a half step, and you have Lydian.

Play this mode over maj7, maj9, maj6, and maj6/9 chords when treating each Starting on and

power chords and major triads. Lydian also sounds great over rock ballads. emphasizing the 4th chord as a “separate event”. Also try it over Lydian modal chord progressions,

Try E Lydian over the E drone Satriani jam track. Lydian always is the 4th note of any major

mode. To play in E Lydiian ask yourself what major scale’s fourth note is an scale produces the

E? The answer is B. The fourth note of a B major scale is an E note. Lydian Mode.

Start on the fourth note in a B major scale and play from the E note to the next E note and you have E Lydian. As you can see below, B major and E

Lydian are both constructed from the same notes. Lydian is often the



B Major = B, C#, D#, E, F#, G#, A# E Lydian = E, F#, G#, A#, B, C#, D# mode of choice over major 7th and major 9th chords.

Remember, it’s all about MOOD and EMPHASIS when playing in the modes. Which note you start on and emphasize produces the different moods and sound textures of each mode. Remember, it’s all

Below are two common shapes for Lydian. One has the low root note on the about MOOD and

low E-string and the other has the low root on the A-string. As you can see EMPHASIS when

they are almost identical to a major scale except your play a #4. playing in the modes.

Find these patterns fast by using your first finger on the low root. Learn all the shapes to play Lydian across the whole neck as per the major scale lessons in this eBook.





28 of 35





The Modes Of The Major Scale - Phrygian


The Phrygian Mode produces a very distinctive dark, exotic, Spanish type of sound. Often its called the Spanish Minor Scale. Phrygian is a minor mode and is always the 3rd mode in any major key.



Often you will hear the Phrygian mode played in hard rock, metal, fusion, and KEY flamenco guitar. You dont hear this mode utilzed as often as Aeolian or Dorian, but it is super fun to experiment with and get some killer exotic tones. You can try this mode over minor chords, but it can sound a tad exotic, some may say dissonant. Often its the mode of choice when you see a b2 chord, or play it over a m7 chord, minor triad, or power chords.

Phrygian is always the

Phrygian has only one note different than the Aeolian. Phrygian has a flatted 3rd mode of any major

2nd, (b2), while Aeolian has a natural 2nd. The scale degrees of Phrygian are key. 1, b2, b3, 4, 5, b6, b7.

Try playing E Phrygian over the E drone jam track. Remember that Phrygian is always the 3rd mode in any major key. To play in E Phrygian ask yourself



what major scale’s third note is a E? The answer is C. The third note of a C Starting on and major scale is E. Play C major scales over the E jam track but emphasize the emphasizing the 3rd E notes. C major and E Pyrygian consist of the same notes. note of any major

C Major scale - C, D, E, F, G, A, B scale produces the

E Phrygian - E, F, G, A, B, C, D Phrygian Mode.

Remember, it’s all about MOOD and EMPHASIS when playing in the modes. Which note you start on and emphasize produces the different moods and

sound textures of each mode. Refer to the video lessons for Phrygian Remember, it’s all

examples and devices over the E drone jam track.

about MOOD and

Below are two common shapes for Phrygian. One has the low root note on EMPHASIS when

the low E-string and the other has the low root on the A-string. Find these playing in the modes.

patterns fast by using your first finger on the low root.

Don’t think of “shapes” or “positions” as modes. Get in the habit of looking at the entire fretboard as the vehicle for the mode, not just a certain position. Learn the mode and its interval structure across the entire fretboard. Start with the scales below, but learn all the positions as per the major scales lessons in this eBook to play across the entire neck.





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The Modes Of The Major Scale - Dorian


The Dorian Mode is a seven-note scale often used in blues, rock, and many other musical genres. Dorian is considered a minor mode and is always



the 2nd mode in any major key. KEY Dorian produces a mystical, minor sound that is a bit sweeter than Aeolian. The Dorian scale degrees are 1, 2, b3, 4, 5, 6, and b7. There is only one note difference between Dorian and Aeolian - the 6th.

Although you will probably utilize Aeolian over the Satriani inspired jam track, Dorian is always the

you still want to learn Dorian as you will be using it often in other scenarios. 2nd mode of any

Utilize Dorian over all the chords in a minor key jam when there is a major IV major key. chord or a minor ii chord. You can also use Dorian over minor type chords when treating each chord as a “separate event”.

Remember Dorian is the 2nd mode in any major key. To play A Dorian the Starting on and

question is what major scale’s 2nd note is an A note? The answer is G major. A Dorian would be converted back to its parent scale of G major. emphasizing the 2nd

To play in A Dorian start on the 2nd note in a G major scale and play from the note of any major

A note till the next A note and you have A Dorian. You are playing a G major scale produces the

scale from the A to the A and voila’, you have A Dorian. Dorian Mode.

Playing G major scales starting on the 2nd note and emphasizing the A notes, not the G notes, produces A Dorian. This establishes the tonal center as A. G major and A Dorian are constructed from the same notes.

Dorian has one note

G Major scale – G, A, B, C, D, E, F# difference than Aeolian.

A Dorian scale - A, B, C, D, E, F#, G Dorian has a natural 6th

while Aeolian has a b6.

Below are two common shapes for Dorian. One has the low root note on the Dorian has a bit more

low E-string and the other has the low root on the A-string. Find these sweeter, mystical

patterns fast using your first finger on the low root. sound than Aeolian.

Start with these but learn all the shapes to play Dorian across the neck as in the major scale lessons taught earlier in this eBook.





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The Modes Of The Major Scale - Mixolydian


The Mixolydian Mode is a seven-note scale often used in blues and rock.



Mixolydian is considered a major mode and is always the 5th mode KEY in any major key. Often its the mode of choice played over dominant chords.

Mixolydian is basically a major scale, (Ionian Mode), but with a b7. The scale degrees are 1,2,3,4,5,6,b7. Try this mode over dominant chords like 7th and 9th chords when treating each chord as a “separate event”. Mixolydian is always

the 5th mode of any

Mixolydian is the 5th mode and the key is to shift the tonal center to the major key. root of the mode. For example, to play G Mixolydian over a G7 chord ask yourself what major scale’s fifth note is a G? The answer is C.

The fifth note of a C major scale is a G note. Play C major scales over a G7 chord but emphasize the G notes for G Mixolydian. C major and G Starting on and

Mixolydian consist of the same notes: emphasizing the 5th

C Major scale - C, D, E, F, G, A, B note of any major

scale produces the

G Mixolydian - G, A, B, C, D, E, F Mixolydian Mode.

Although you probably won’t be playing Mixolydian over the Satriani inspired jam tracks, you still want to learn the mode as its super useful.



To play E Mixolydian over an E7 chord ask yourself what major scale’s fifth Mixolydian is often

note is a E? The answer is A. The fifth note of a A major scale is an E note. Play A major scales over an E7 chord but emphasize the E notes. A major the mode of choice

and E Mixolydian consist of the same notes. over dominant 7th

Remember, it’s all about MOOD and EMPHASIS when playing in the modes. chords. Which note you start on and emphasize produces the different moods and sound textures of each mode.

Below are two common shapes for Mixolydian. One has the low root note on the low E-string and the other has the low root on the A-string. Find these patterns fast by using your first finger on the low root.





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The Harmonic Minor Scale


While there is only one major scale there are three types of minor scales. Natural minor (Aeolian Mode), Harmonic Minor, and Melodic Minor. The Harmonic Minor scale is a very exotic sounding scale that will add color and



depth to your sound. KEY While you hear Harmonic Minor played often in neo-classical, metal, and shred guitar, the scale is also utilized in flamenco, East European, Middle Eastern, Indian music, as well as mainstream rock, jazz, and even bluegrass music. Harmonic Minor has a very distinctive tone, kind of Spanish or Middle Eastern sounding. It is a Natural Minor scale with a raised seventh. Natural minor has a Harmonic Minor

flatted seventh while Harmonic minor has a natural 7th. Remember the key note produces a super

in the scale is that 7th, and it is always a half step behind the root note. cool and different

Check out how the scale degrees are almost the same as Natural Minor except exotic tone. for the 7th degree:

Harmonic Minor - 1, 2, b3, 4, 5, b6, 7

Natural Minor - 1, 2, b3, 4, 5, b6, b7

The modal scales hidden within the Harmonic Minor scale are fantastic. In the Phrygian Dominant

video lessons we explore the Phrygian Dominant scale. This scale is the 5th is always the 5th

mode of the Harmonic Minor Scale. Over the E drone jam track E Phrygian mode of the Dominant sounds amazing! We can get to that mode by going through the Harmonic Minor Scale. Harmonic Minor

Over the E drone jam track try E Phrygian Dominant. Phrygian Dominant is Scale. always the 5th mode of the Harmonic Minor scale. So we have to determine what scales 5th note is an E. The answer is A. So to play in E Phrygian Dominant play

all your A Harmonic Minor scales but start on and emphasize the E notes. Harmonic Minor has

Harmonic minor also sounds great when played over a major V chord in a minor just one note

key progression and over minor plus seven chords. Try resoling the 7th degree to difference than the

the root for a nice tension and release feel. Aeolian mode.

You can also play the scale over straight minor chords and over minor key Harmonic Minor has

vamps, but it will sound a bit exotic. Experiment with the scale and see what a major 7th while the

sounds best to your ears.

Aeolian mode has a

Below are two scale shapes that you can grab fast and easy in any key. Play the flatted 7th. root note with your first finger on the 6th string root in the one shape and the 5th string root in the other. Over time learn this scale over the entire neck as well as the harmonic minor scale link diagrammed out in the next page in this eBook.





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Harmonic Minor Link & Phrygian Dominant

Now that you know a few Harmonic Minor scale patterns let’s link them together and play them laterally across the neck. Below is a three-octave Harmonic Minor scale link that will take you over half the neck.

This scale link is incredibly useful and easy to play as it utilizes repeated fingerings. Slide up a half step with your first finger when playing the low-E, D, and B strings. Shift up a half step, or one fret, with the first finger for the 1-1 finger combinations. Remember, the key note in Harmonic Minor is that 7th, and it is always a half step behind the root note.

Practice this link in all keys and be sure to make mental notes when passing through root notes. This scale link is moveable with the root note determining the key. To locate these scales fast, first find the low root note.

Now let's apply Harmonic Minor to one of the jam tracks. Like I always say, knowing a scale or set of scales is only half the battle. The other half is application. Knowing how to use the scale, what chords it works over, and how to apply it in musical situations is the other half.



Over the E drone jam track you can play E Phrygian Dominant. Phrygian Dominant is more a major mode that sounds awesome when played over a long ringing major chord.

Phrygian Dominant is also called the Spanish Phrygian Scale. Its like a major version of the Phrygian mode. Phrygian has a minor 3rd, while Phrygian Dominant has a major 3rd - all the other notes are the same.

Phrygian Dominant - 1, b2, 3, 4, 5, b6, b7

Phrygian - 1, b2, b3, 4, 5, b6, b7

Get to Phrygian Dominant by going through the Harmonic Minor scale. Phrygian Dominant is always the 5th mode of the Harmonic Minor Scale. So to play in E Phrygian Dominant you want to determine what Harmonic Minor scale's 5th note is an E. The answer is A.

To play this Harmonic Minor Scale link in the key of A start with your 1st finger on the 4th fret of the low E-string and play the shape. You start a half step below the root and slide with that first finger on the low E-string. Refer to the video lessons for Phrygian Dominant examples over the E drone jam track, sounds very Satriani-ish!

Utilize the 1-3-4 fingering to play the entire link and slide up a half step on the low E, D, and B strings. Find the root notes and blast away from there!

Play A Harmonic minor but start on and emphasize the E notes for E Phrygian Dominant. Keep going back to and landing on those E notes to emphasize E Phrygian Dominant.

To determine which parent scale to convert use the same techniques that we discussed in the modal lessons earlier on in this eBook. Utilize the Analyze, Convert, and Emphasize - the "ACE" principle.

Remember that it's all about the sounds and moods that you create. Be sure to listen to the sounds of harmonic minor and phrygian dominant and their textures over certain chords and chord changes. 33 of 35





Soloing Review Tips


KEY POINTS TO DETERMINE SOLOING

AVENUES:



1. Determine the key signature - Most of the time you will be soloing in KEY minor key or major key. Knowing the key is the first step. Even when you are noodling around on the guitar, always know what key you are playing. Many guitarists make the mistake of just looking solely at the key – that won’t give you all the needed information.

It’s the the chords that

2. Analyze the chord progression - It’s the chords that give you the give the complete

complete roadmap to what you can utilize for soloing and improvisation. roadmap to all the

Analyzing the chords is critical to get the full lead guitar picture. Knowing soloing and the key is only part of the equation. The chords provide the road map for improvisation options.

what scales, modes, and arpeggios you will want to utilize. The chords also point to the strong notes to land on, resolve to, and emphasize.

Take the listener on a

Remember that you can mix soloing techniques. Mix what musical journey - draw “relates to all”

with treating each chord as a “separate event”. Treat each chord as a them into your solo and

“separate event“, then switch it up and play what “relates to all”. have them latch onto

At times you can also use both major and minor scale elements as well as what you are playing.

modal playing. In those examples you can throw a bunch of different soloing applications into the soup.

Even when you are just

A critical key in unlocking all the potential of these scales and modes is in noodling around on the

learning their interval structure and listening to the mood of each one and guitar, always know

how it sounds over a given chord. This way you will know when it is what key you are

appropriate to apply each in a given soloing or improvisation scenario. playing in.



Two goals of lead guitar playing:

1. Compliment the song – in the end, no matter how great a solo is, it’s the song that will be remembered. Play for the song, not for yourself.

2. Draw people into your solo – you want the listener to latch onto what you are playing and to be on the edge of their seat wondering, “what will they play next?”

Take the listener on a musical journey with ups and downs, great emotion, and passion. Play from the heart while telling a story, and always be aware of melody.

Remember to experiment, its okay to bend and break the “rules”. Nothing is etched in stone. Work on developing your own style and pulling from all your musical influences.

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Keep up all that hard work on that guitar and keep honing your skills and

