This half of the course covers the basic stuff youre going to need to play solos, fills, and, most of all, to understand why youre doing things as you do them. I find a lot of my students walking in able to play certain things by rote, like a monkey doing a trick, but having absolutely no idea whats behind the trick. Get through this material and youll be able to add onto the things youre playing and explain why youre doing it.
Another huge problem with intermediate students is being stuck in Position One. If youve been playing for awhile, youll play position one in this book and go AHAAAA! I know that sucker! Its easy to play, its fun, and its really, really easy to get stuck in. People are afraid to break out of that four-fret box. This course will show you how to continue your ideas anywhere, up and down the neck, in any key.
Most importantly, Ive tried to present this material in an easy-to-follow, fun format. If Ive done my job, youll be able to appropriate ideas from these tunes (appropriate sounds SO much nicer than steal, dont ya think?) and make them your own, so other players can steal em from YOU. My private lessons are known as the fastest half-hour on the planet. Hopefully, that feeling will translate well onto the screen and the printed page.
&
Memorize this pattern; it will become extremely useful to you as you move into I cannot stress this
Make sure to use the correct fingering, and keep things slow.
hand fingering being clean and crisp.
enough; play these exercises really, really slow at first, with emphasis on your left
Keep your left hand thumb flat on the neck; dont grab the neck like a baseball
bat. Use the fingerTIPS on your left hand rather than the sides of your fingers, and your notes will be clean, crisp, and confident sounding. Look at an Em chord. Notice how 3 of the 5 notes of the Em pentatonic scale form the chord shape. This is an important concept that will make it easier for you to find scale notes all over the neck.
By doing them over & over, you will get them under
your fingers more quickly. Play them as steadily as possible, and remembersloo-o-ow is go-o-o-od! Use the metronome to keep you steady and to gradually increase your speed in a methodical manner.
Practice the blues examples to see how to use the scale notes as melodies.
Then, try making up your own melodies using the two scales. Try holding certain notes for a long time, and picking other notes more quickly. Experiment, be fearless, have fun! When youre playing solos, you dont want it to sound like youre just playing scales. The scales are tools for you to help find the sounds that other players make and the sounds that exist in your head.
Em Pentatonic Scale
Em Pentatonic Lick #2
Em Pentatonic Lick #3
Copyright 2004 Sendyt Music All Rights Reserved - International Copyright Secured
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Em Pentatonic Blues:
The marking at the left hand side of the title on these pieces is a metronome setting. It shows a quarter note symbol, followed by an equals (=) sign, followed by a number. On this piece, its telling you that you are counting at 120 BPM (Beats Per Minute.) It would be a good idea to start slower than the suggested BPM. 120 BPM is the suggested performance tempo (speed); the learning tempo is up to you. I have found that by taking the song at a much slower speed when in learning mode, I am able to get my muscle memory together much more quickly. I didnt add left hand markings; just use your first finger at the first fret, second finger at the second fret, etc., etc., etc.
4 &4
2 5 2 4
4 &4
3 5 3 5
4 3 5 3 4
2 5 2
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&
5
5 5
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2
& 3
5 2
5 5
The main problem with sliding in the beginning is over or under shooting the
note youre aiming at, especially with slides that are several frets apart. Again, be very slow and careful in the beginning, and eventually that muscle memory will take over.
If your strings are dirty or sticky, or your fingers are unusually dry, it can be hard
or sometimes actually painful to slide. (I have seen people actually get cut while attempting a slide on a particularly gross, rusty set of strings. Try explaining that to the case worker at Workmans Comp.) You can lubricate your fingers by using the oil at the sides of your nose or between your eyebrows. (See, you always knew that stuff would come in handy someday!) There is also some great stuff called Finger-Eze that you spray on your strings. Its kind of like PAM, that stuff you spray on cookware so food wont stick, except for guitars. I always carry some in my guitar case. HAMMERS
to be as loud as the picked note that precedes it. Thats especially important on the slow/rhythmic hammers, and even more important if youre doing hammers in conjunction with pull-offs. PULL-OFFS
lift your finger up off the string, youll getnothing, a sort of ghostly approximation of what you need. Pull slightly away from yourself; you should really feel the string dig into your finger. Youll hear the difference. It needs to be as loud as the note(s) that precede or follow it.
Basic Slides, Hammer-ons & Pull & Offs: Basic Slides, Hammer-ons Pull-Offs
From Icons of Rock Lead Guitar DVD Greg Douglass
sl
(Quick Slide)
sl
(Rhythmic Slide)
sl
sl
sl
sl (Lick #1)
sl
(Lick #2)
sl
sl
(Lick #2A)
sl
sl
(Hammer)
h (Rhythmic Hammer)
(Hammer Lick #2)
p (Pull-off)
p (Pull-off Lick#1)
(Double Pull-off)
Copyright 2004 by Sendyt Music All Rights Reserved - International Copyright Secured
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A5
A5
C5
5
D5
B5
7
E5
- 1- - - -
13- - - -
1 3- - - -
--1---
- 13- - -
- 13 - - -
- 13- - -
- 13 - - -
sl
sl
sl
sl
sl
Copyright 2004 Sendyt Music All Rights Reserved - International Copyright Secured
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sl
p
p
sl
sl
E5
G5
A5
E5
G5
A5
2
2
1
E5
G5
A5
E5
G5
A5
A5
C5
D5
A5
C5
D5
E5
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E5
G5
A5
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E5
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(Em
Shape),
When you play an F major barre chord at the first fret on the guitar, what you are actually doing is taking the E major chord shape and then using your first finger behind the chord as a kind of flesh-covered capo to move the entire chord up one fret. The sixth string is your reference point, telling you where the root note (the name of the chord) is. We discussed how the first pentatonic position in the key of Em is physically based on the shape of an Em chord. The same thing is going to happen as we move the scales up and down the neck. With the Em scale, we have a parallel line representing the open strings just behind the nut. Starting with the open sixth string as your first note, you go up 3 frets to get to your next note. Then, you go up two frets on the fifth string, two on the fourth, two on the third, three on the second, and 3 on the first. The same thing happens as we move up to the key of Fm. We now have a parallel line on the first fret. We start on the first fret of the sixth string, and then go up to the fourth fret (a distance of 3 frets) to get to the next note. We then follow the exact same pattern that we did with the Em shape; starting with the sixth string, it goes: STRINGS FRETS 6th 3 5th 2 4th 2 3rd 2 2nd 3 1st 3
The pattern stays exactly the same as you go from key to key, so that once your fingers have learned what to do in one key, they know how to do it in all 12 keys. There are four other minor pentatonic positions, and this same positional approach works for all of them. Its very important to get these patterns under your fingers as quickly as possible by practicing these shapes every day. They are all interconnected, and once you get them down, you will be able to play these scales everywhere on the neck. There is no substitute for constant practice of these scales; the sooner you learn them, the sooner youll be out there shredding with the big boys!
Fm Pentatonic Scale
From Icons of Rock Lead Guitar DVD Shape 1 (Em) Different Keys: Greg Douglass
Gm Pentatonic Scale
Am Pentatonic Scale
Blues In A:
So far, weve been treating these scales as exercises, playing the notes in a very methodical manner, playing (hopefully!) as steadily and as cleanly as possible. Now, were going to start grouping these scales into musical phrases. Instead of a fixed line of quarter notes or eighth notes, now the notes will have ebb & flow, room to breathe. Although these early solos are very simple and short, pay attention to some of the concepts they contain. In measure number four, for instance, there is a whole note rest where the lead guitar doesnothing. Thats right, you kick back and let the rhythm guitar do all the work for four beats. Dont feel like you have to constantly fill space with your newly-learned notes. Think like a singer, or a sax player. They have to stop and catch their breath occasionally, and it adds humanity to their music. Try that same concept with your guitar solos. Youll be amazed at how far you can take these simple scales with a little time, taste, practice and, above all, imagination!
Blues in A
From Icons of Rock Lead Guitar DVD Greg Douglass
Blues in A:
D
From Icons of Rock Lead Guitar DVD Solo Over Power Chords:
Music by Greg Douglass
C5
G5
13- - - -
- 1 3- - -
13- - - -
A5
C5
G5
A5
A5
C5
G5
A5
A5
C5
G5
A5
A5
C5
G5
A5
Copyright 2004 Sendyt Music All Rights Reserved - International Copyright Secured
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4 &4
7 10 7 9
8 10 8 10
8 10 8 9
7 10 7
With Extension:
&
10
10
10
10
10
10
&
10
10
10
Smoke It!
This piece actually uses three of the 5 lead positions. It starts with position #5, goes quickly in to position #1, and then to position #2. Try to identify where the changes take place, and how the fingerings are done so you can use them in making up your own solos and licks. It is very uncomfortable at first for players to get out of position #1 which is kind of the comfortable old couch of lead scale positions. Try some of these runs in different keys as well, so youll feel more confident in using them. There is no chord on the first measure; that opening run, done in the fifth position, leads into the rhythm. (Also, watch the count on that run; it starts on the second half of the first beat and-2-and-3-and-4-and). That transition from position #5 to position #1 allows for lots of great slides that ordinarily would never be possible when using our old four-fret buddy, #1 (specifically, check out the very first run in the song. Try using it in different situations.). Likewise, there is a cool transition from position #1 to position #2 in measure 5 that allows you a smooth entre to the bends & licks that position 2 allows us to do.
Smoke It!
sl
Smoke It!
sl
sl
sl
sl
p
sl
sl
sl
Copyright 2004 Sendyt Music All Rights Reserved - International Copyright Secured
Page 1/1
4 &4
w
5 3 5 2 5 2 5 3 5 3 5 3 5 3 5 2 5 2 5 3 5
Bends:
You can often tell who the guitarist is by the way they bend the notes. Bending is generally used in half and full steps. The best way to check for sonic accuracy is to play the note you want to bend and then play up a half step. Bend the first note until it matches the pitch of the half step note to which you are bending. For a full step bend play the note two frets or a whole step up to find the final pitch to bend to. On the 1st-3rd strings bend up towards the ceiling, and the 4th-6th strings bend down towards the floor. When you bend the note your finger will touch the next string. Use the flesh of your finger to mute the next string as you touch it to prevent you from creating unwanted noise. Check out the DVD to see and hear examples of bending notes properly.
Bends
From Icons of Rock Lead Guitar DVD Greg Douglass
b (Half-step bend)
b (Full step bend)
full
full
full
More bends...
full
full
full
4 &4
12 10 12 9
12 10 13 10
12 10 13 10
12 9 12 10
12
With Extension:
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12
10
12
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12
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13
10
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12
&
12
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10
Sneakin Up on Molly
This song involves all the techniques weve covered so far; slides, hammers, and LOTS of bends, both whole and half-step bends. Those first half-step bends are pretty easy, but watch out when you get to measure #4. Theres a whole-step bend followed immediately by a 2-string barre, followed by a quick slide that goes all the way up to that A note at the 10th fret of the second string. It all happens really fast. I use my second finger to do the whole step bend, sort of roll my first finger over to hit that barre, and then my third finger is ready to fall in on that slide to the 10th fret. This is a really common blues/rock run, and its a great arrow to have in your quiver of licks. Measures 9-14 give you an example of the comfortable fingering access that position #2 allows you for doing Clapton/BB King type bends up there on the neck. In measure 15, WATCH THE FINGERING CHANGE! You switch into position #3, which allows for some bends using the root note (measures 17 & 18 are perfect examples) that allow more chance for throbbing vibrato and meaty expression than doing the same bends on the first two. Please, take your time on getting these bends down. Check the notes for pitch. If theres a half step bend on the 7th fret of the third string, play the 8th fret on the third string to check your pitch. A lot of checking out your bends involves listening with your ear. Play these exercises with a backing CD or another guitarist. Having those chords behind you will keep you harmonically honest. A whole-step bend bent too high or too low will be really obvious with the correct chord behind you.
Sneakin' Up on Molly
Sneakin Up on Molly
Music by Greg Douglass
A5
C5
3
D5
A5
C5
D5
- - 1 1- -
- 134- -
- 13 4- -
- - 114 4
- 3- - 14
- - - 12 4
A5
C5
D5
A5
sl
full
A5
C5
D5
full
full
A5
sl
C5
full
3
1
3
full
D5
A5
Copyright 2004 Sendyt Music All Rights Reserved - International Copyright Secured
Page 1/2
sl
full
full
full
full
sl
sl
Page 2/2
Shape 5 (A minor):
Look at an Am chord. Notice how 3 of the 5 notes of the Am pentatonic scale form the chord shape.
4 &4
12 15 12 14
12 14 13 15
12 15 12 15
13 14 12 14
12 15 12
Experiment with ways of getting from one position to another. The notes on the bottom two strings in the second position allow you nice access to the third position, for instance, which allows all kinds of neat slides that arent possible in the first position. Each position has its own set of tricks. Experiment! Go crazy! One of the reasons youre using this course is to get out of your comfort zone. Try to identify how Im using transitions in some of the tunes and use them to create your own ideas. Look for and identify these positions when youre figuring out solos by other players. Analyzing other guitarists brains is a great exercise! So.when dealing with these positions, here are some important things to ponder: Make sure you know where the root notes are on each position! That will help you know how to transition from one scale position to another. Pay close attention to the suggested left hand positions! Its extremely important in places like the second position. That third-string-to-second-string transitioning is crucial in getting you set up to do some of those wicked bends and pull-offs!
Copyright 2004 Sendyt Music All Rights Reserved - International Copyright Secured
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Page 2/2
Prozackly Blues:
I was listening to a blues band a couple of years ago at a local San Diego night spot, and at some point they launched into a long, long, lo-o-o-ong minor blues instrumental whose tempo moved at a glacial pace and whose length could be measured in geologic time. A song title was born! I based this short minor blues on the playing of one of my favorite guitarists, Peter Green, who was the main picker for the early, non-Stevie Nicks version of Fleetwood Mac. Brilliant player, the master of good taste and tone. This one is played primarily in position 4, or what I call the Am position because it corresponds to the shape of that chord. I LOVE this position, because there are so many accessible bends; check out measure 10, for instance, where you do a full step bend on the second string and then play fretted note on the first string. Its a very cool, bluesy sound that alludes to the sound of a seventh chord. (Try doing this lick playing both notes at the same time, by the way.) This one is pretty self-explanatory. Make sure you get those bends all the way up to pitch, and try to play with some vibrato; it adds that human voice touch to the proceedings. Play from your heart.
Prozackly Blues Prozackly Blues From Icons of Rock Lead Guitar DVD
Greg Douglass
full
Am
Dm
Am
full
Dm
Am
full
Em
full
full
full
Dm
Am
sl
full
Copyright 2004 Sendyt Music All Rights Reserved - International Copyright Secured
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A Major Pentatonic
A Major Pentatonic
A Major Pentatonic
From Icons of Rock Lead Guitar DVD Greg Douglass
sl
A Major Pentatonic sl "Southern Style"
sl
Southern Style
D A D A A G
A
G
D
A
sl "Southern Style"
sl
sl
h p
1
3
3 1
3 1 D
3
1
4 A
1
4
1
3 G
h p
1
1 4 D
Copyright 2004 Sendyt Music All Rights Reserved - International Copyright Secured
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Copyright 2004 Sendyt Music All Rights Reserved - International Copyright Secured
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A5
E5 (Alt.2)
G5 (Alt.2)
A5 (Alt.2)
-1----
13- - - -
13 - - - -
- 11- - -
13 4- - -
- - 11 - -
- 1 1- - -
1- - - 34
- - 11- -
sl
sl
sl
sl
sl
sl
E5
G5
A5
E5
E5
G5
A5
E5
E5 (Alt.1)
G5 (Alt.1)
A5 (Alt.1)
E5 (Alt.1)
E5 (Alt.1)
G5 (Alt.1)
A5 (Alt.1)
E5 (Alt.1)
E5 (Alt.2)
G5 (Alt.2)
A5 (Alt.2)
full
full
E5 (Alt.2)
p
p
p
G5 (Alt.2)
A5 (Alt.2)
full
Copyright 2004 Sendyt Music All Rights Reserved - International Copyright Secured
1
Page 1/2
3
E5 (Alt.2)
&
&
&
&
&
&
&
&
&
&
&
&
&
&
&