Blues Guitar Lessons-Soloing With Major And Minor

Because they’re probably the first scales you learned, you might have studied them for a bit, got the shapes under your fingers, and moved on.

In this lesson, you learn how to build major and minor blues scales, apply them to soloing situations, and study classic blues scale licks.

Though this scale is relatively easy, and often left behind in place of more complex scales, over time the blues scale becomes like an old friend.

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To open new minor blues scale doors, or start you off on your blues scale journey, this section tackles this important scale from new angles.

In this section, you learn how to build and apply the minor blues scale, how to play it on the fretboard, and give you three licks to apply this scale to a soloing situation.

Now that you know how to build this scale, and how to apply it to chords, it’s time to take that knowledge to the fretboard.

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After you learn these minor blues box patterns, put on a backing track and use these scales to solo over chords and chord progressions in your studies.

After you’ve worked out these shapes from a technical standpoint, make sure that you put on a backing track and apply these shapes to your improvisational studies as well.

To help you take minor blues scales into your lead guitar studies, here are three licks that use this scale over different chords and progressions.

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Eric Gale Guitar Solo Transcription

Here you repeat a hammer-pull off phrase to start the lick, followed by a descending group of notes to end the line.

By working on small and large shapes, and using this scale to solo over a variety of chords, you always have a cool, bluesy sound at your fingertips.

The main goal is to be able to create solos such as this one in the moment, but if that’s tough at this point, writing them out is fine.

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The cool, swing, chicken picken’, jump blues sound that this scale produces makes a solid addition to the repertoire of any modern guitarist.

Before you begin taking this scale to the fretboard, you learn how to build and apply the major blues scale to your solos.

As well, the major 3rd means that it’s less versatile than the minor blues scale, especially in the case of the 12-bar blues form.

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For example, in an A blues you can play the A minor blues scale over the entire song and it sounds great.

Here, you have to play A major blues over the A7 chord, then D major blues over D7, and E major blues over E7.

It’s tough to get this scale into your lead playing, but it’s worth the work, as it gives you a new sound to use in your solos.

The Minor Pentatonic Scale

As was the case with minor blues box patterns, you’ll end up learning all 5 major shapes and then settle on 2 or 3 favorites.

Again, the red note is the root, so it’ll tell you which key you’re in as you move this scale around the fretboard.

After you learn any or all of these box patterns, put on a blues backing track and apply this scale to one, two, then finally all three chords in your solos.

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In those kinds of songs, larger scales will only hold you back, whereas smaller shapes are perfect to hit those chords in your lead guitar lines.

Again, learn these shapes in your technical studies and then take them to your lead guitar workout to cover them from a few angles in your routine.

As a reminder, these licks are only played over one chord at a time, compared to every chord in a blues with the minor blues scale.

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This means that if you have a G major blues scale lick, you use that over a G7 chord in a blues solo.

But, not to worry, with a little focused practice you can add these licks, and the major blues scale in general, to your solos with confidence.

Both of these concepts help you develop a mature sense of melody and phrasing with this, or any, scale in your solos.

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Because it’s such a popular lick across genres, it’s first in this chapter, and is essential to learn and add to your solos.

Here, you bend up from the 2nd note to the b3, the blues note in the major blues scale, as well as repeat the line in both bars.

But, repeating ideas in your solos helps establish a connection with the listener, as well as develops a sense of melodic phrasing in your solos.

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Work this line as written, then take this concept to your own solos as you repeat ideas to solidify them in your playing.

In this major blues lick you play the same start to both bars, but end differently in bar 1 compared to bar 2.

This is a common blues soloing technique, and one you can use to extend your ideas, as you don’t need two full ideas for two bars.

A Minor Penatatonic Scale For Blues Solo On Acoustic Guitar.

They can be used in a plethora of soloing situations, and both bring a different melodic sound to your lead guitar playing.

After you can play this solo from memory, write out a solo or two using the shapes and licks from this chapter.Remember when you first learned the minor pentatonic scale. You discovered how to improvise on guitar and before you knew it you were playing your own blues guitar licks. As much fun as learning to improvise on guitar in this way is, it’s important that you don’t get stuck in this phase where you are only using the minor pentatonic scale in your soloing. If you improvise using a 12 bar blues progression there are plenty of other options that you can choose from. In this article we are going to look at some of these so you can expand your options when you are playing blues solos.

Using the minor pentatonic scale to improvise over blues chords is the approach that almost every beginner blues guitar student learns. Yet this approach is only one of the many possible ways we can use and if overused it may appear to the listener that you play the same solo in every song.

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Many intermediate guitarists get stuck playing only the minor pentatonic scale over blues chords. But did you know that the minor pentatonic scale isn’t the best choice to play over a blues chord progression? It’s a fact that some of the notes in this scale will ‘clash’ quite a bit with the dominant seventh chord it’s being played over. This is also the reason why experienced guitarists don’t only rely on this minor pentatonic scale when their soloing in a blues context.

Let’s examine exactly why this minor pentatonic might not be the best option. One of the most important things that music theory will teach you is to spell out the notes in a scale and compare it to the underlying chord. For example, the notes in the A minor pentatonic scale are; A, C, D, E and G. Compare this to the A, C#, E and G note and you will find that the C note from the minor pentatonic scale is not present in the chord. In fact, the C note that is contained in the pentatonic scale will sound pretty harsh against the C# note that is found in the A7 chord.

You can try this out for yourself; play these two notes simultaneously on guitar and notice the dissonance between these two notes. It’s true that the minor pentatonic is the first scale that you’ll learn in blues improvising, but this doesn’t mean that we have to stay stuck only using this scale.

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Let’s look at how professional blues guitarists make use of the minor pentatonic scale to create advanced licks they use in their soloing. It’s a given fact that some guitarists like the dissonance that is cause by playing the C note against the C# note that is in the A7 chord. Still most experienced guitarists will choose to either:

It’s important that you understand that it’s perfectly legitimate to use the minor pentatonic scale to play over dominant blues chords. It’s just that there are many options that can be explored instead of using only the minor pentatonic scale in your soloing. Having the option to use more advanced scales leads to greater melodic freedom and is a great thing to have in general.

There are so many other scales that can be used in blues guitar soloing that it would be a pitty to only make use of the same scale all of the time. Advanced guitarists don’t use one single scale to play blues solos, but use a combination of many different scales, which makes their sound more advanced and highly personal. So

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