MODULE 3 - SCALES & IMPROVISATION

TABLE OF CONTENTS

LESSON 39… PAGE 1

LESSON 41… PAGE 2

LESSON 42… PAGE 6

LESSON 45… PAGE 7

LESSON 46… PAGE 16

LESSON 50… PAGE 20

LESSON 52… PAGE 26

LESSON 53… PAGE 32

LESSON 55… PAGE 38

LESSON 57… PAGE 40

LESSON 59… PAGE 41

LESSON 60… PAGE 42

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MODULE 3 - SCALES & IMPROVISATION

LESSON 39 - 7 POSITIONS OF THE MAJOR SCALE

Here are the 7 positions of the C major scale. Move through them in order
from left to right starting from position 1.

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MODULE 3 - SCALES & IMPROVISATION

LESSON 41 - CIRCLE OF 4TH’S

HOW TO PRACTICE SCALES

The video for this lesson provides you with all of the key information you need
to know in order to understand how this scale practice method works, so
please be sure to watch it first, before attempting to practice it yourself.

I’ll start by saying that this method for playing scales in any key, in any
position on the fretboard can be applied to any scale.

For this lesson I will use the major scale as an example.

The idea behind practicing scales in this way is that it trains your mind to see
root notes all across the fretboard, and once you can see the root note of the
scale on all strings (not just the low E string…), you will be able to visualise the
rest of the scale position around it, enabling you to improvise freely and not
feel glued to the safety net of ‘position 1’ every time you take a solo.

Whilst it is good to be able to practice all 7 positions of the major scale by

starting with one position and then moving up to the next within one key, if
you only practice scales in this way, it is likely that you will find yourself stuck
in a rut of what I and many others call ‘pattern-based’ playing.

In the video I demonstrated this starting with an A major position 1, but just to
show you that this can be applied to any key and any position on the
fretboard, let’s start on the following page with an E major position 6.

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MODULE 3 - SCALES & IMPROVISATION

Step 1 - is to play through this scale position by ascending from the root note
on the lowest string, up to the highest note on the highest string, which in
this case also happens to be the root note.

Step 2 - is to pause and think about (or look at a diagram of) the circle of 4th’s,
to figure out the next key of the major scale that you’re going to play. Look at
the diagram below, and you will see that it’s A.

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MODULE 3 - SCALES & IMPROVISATION

Step 3 - scan the area of the fretboard that you’re currently in for root notes of
the following key in the circle of 4th’s (A)... Remember, you can’t jump up or
down the fretboard here. You want to scan the same four to six fret area that
you ended the previous scale in.

*Remember that the document for lessons 7-9 in the eBook for Module 1 contains a fretboard diagram
with a select few notes from the circle of 4th’s, which you can use to get started with if you’re still
working on memorising the note names on all six strings*

Step 4 - Once you have found root notes for the following key in the circle,
look at the scale diagram practice sheet for the scale you are practicing (these
are found within the eBook for this module - check the lesson titles to find the
scale you’re looking for).

(Continued on the following page…)

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MODULE 3 - SCALES & IMPROVISATION

Then, based on where the root notes are (meaning the strings they are on),
figure out which scale position matches perfectly with where your fingers
currently sit on the fretboard and descend that key of the scale using the
most suitable position…

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MODULE 3 - SCALES & IMPROVISATION

LESSON 42 - CIRCLE OF 4TH’S

THE MAJOR SCALE

Here you will find diagrams for all seven positions of the major scale and a
diagram of the circle of 4th’s. The fret numbers have deliberately been
omitted, as you are going to be playing through the scale in all twelve keys, as
opposed to moving through them in one key, one by one.

6
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MODULE 3 - SCALES & IMPROVISATION

LESSON 45 - THE NATURAL MINOR SCALE

& THE ‘RELATIVE MINOR’

As always, be sure to watch the video for this lesson first, before referring to
this eBook document, to ensure that you gain a solid understanding of the
material.

We have already covered several aspects of the major scale in this course so
far - its construction, the basic triads built from each degree and the diatonic
7th chords too.

The material on the major scale will have you well prepared to now learn
about a scale that is very closely related to it - that being, the natural minor
scale.

First, let’s look at the notes in the C major scale:

C Major Scale
CDEFGABC

A Natural Minor Scale

ABCDEFGA

The ‘relative minor’ of a major key is the minor key that shares the same key
signature (same sharps or flats). In other words, the relative minor is the sixth
scale degree of the major scale.

In the case of C major, the sixth note is A. So, A natural minor is the relative
minor of C major.

If we compare the notes of C major and A natural minor scales:

1. C Major: C D E F G A B C
2. A Natural Minor: A B C D E F G A

You can see that the notes are the same, but they start on different pitches.
The relative minor starts on the sixth degree of the major scale.

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MODULE 3 - SCALES & IMPROVISATION

This relationship is crucial in music theory because it means that these two
scales share the same key signature. If you see a piece of music written in C
major, you can also use the A natural minor scale to improvise or compose,
and vice versa.

The video for this lesson explains how and when to discern when to use and
visualise the root notes of the major scale versus the natural minor scale in
the relative minor key.

A helpful tip for remembering the relative minor key of every major key, is to
think of a note that is three semitones lower than the root of the major key.

So, on the fretboard, if you were in C major and couldn’t remember what the
relative minor key was, move down three semitones/frets and you’ll see that A
is the relative minor key of C major:

On the following pages, I will outline the construction of the natural minor
scale and provide fretboard diagrams both in one single key with fret
numbers, and ones without fret numbers and a circle of 4th’s diagram.

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MODULE 3 - SCALES & IMPROVISATION

Construction of the Natural Minor Scale

Though the notes of this scale are essentially the same as the relative major,
since the root note is different, the intervals that go into its scale formula are
different to that of the major scale.

You may recall in Module 1 - Theory Primer, that I outlined the construction of
the major scale both with its scale formula, and in terms of tones and
semitones.

I will do the same here for the natural minor scale.

Tones and semitones

TSTTSTT

Scale formula:

R 2 ♭3 4 5 ♭7

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MODULE 3 - SCALES & IMPROVISATION

11
 12

Major solo 1 from Lesson 45

bulletproof guitar player 2.0 - volume 1
Ross Campbell
Transcribed by Levi Clay
Standard tuning
= 90
F sl. C sl. P
sl.
1 2
od.guit.

sl. sl. sl. P

6 8 (8) 8 6 5
4 5 7

G F
H sl. P
3 sl. 4 H H

3
H sl. sl. P H H

8 5
(7) 5 7 7 9 9 7 5 5 7 5 5
5 7 7 5 7

sl. P H sl.
5
sl. P P sl. P
6
C sl. sl. sl. sl.

3
sl. sl. P P H P sl. P sl. sl. sl. sl. sl.

6 8 (8) 6 5
7 5 5 5 7 9 10
5 7 7 5
7 5 3 (3) 5 7 7 8 8 10 10 12 12 14

P sl.
G H
P F sl.

7 8

full full full

P
H P sl. sl.
15 13 12
13 15 (15) 15 (15) 13 13 (13) 15 12 13 15 13 15
12 14 14 14 14

P
P sl. P
P C
9 10

P
P sl. P P
15 17 20 19 17
17 20 17
20 19 17 19 17 17
19 17

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12
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Major solo 2 from Lesson 45

bulletproof guitar player 2.0 - volume 1
Ross Campbell
Transcribed by Levi Clay
Standard tuning
= 90
F C G H
sl. H sl. P
H
1 2 3
od.guit.

H
H sl. H sl. P
15 17 20 15 17 15 17 15
13 15 17 15 17 17 15 13
12 14 14 14 12

P P
F sl.
P C
P
sl. P sl.
4 5 6

3
P P
sl. P P sl. P sl.
15 (15) 15 12 13 12
13 13 15 17 13 15 13 12 13 (13)
12 14 12
14 12 10 12 14

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13
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Minor solo 1 from Lesson 45

bulletproof guitar player 2.0 - volume 1
Ross Campbell
Transcribed by Levi Clay
Standard tuning
= 90
G Am Em
H
sl. sl. sl. H sl. P
1 2 3
od.guit.

½
sl. H sl. sl. H sl. P

8 8 10 8
7 9 9 9 7 5 7 4 (4) 5 4
7 7 5 5
5 7 7 5 3
5 3

H P
F G sl.
Am sl. P
H sl.
P sl.
sl.
sl. sl.
4 5 6

full ½ full
sl. H P H sl.
sl. sl. sl. P sl. P sl.
8 10 12 10 1110 10 12 15
8 10 13 10 13 13 12 (12) 13 1210 12 13
9 12
5 5 7 7
3 3 5 7

Em F
P
sl.

7 8 H sl. P sl.

full
P sl. H sl. P sl.
(15) 15 12
15 (15) 13 15 13 12
14 14 12 12 12
12 14 14 12 (12) 10 12 10 12 14
12

G sl.
Am
sl. P

9 10

sl. P sl.
15 17 (17)
13 15 16 15 13 15 13 15 17
14 12 14 14
14

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14
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Minor solo 2 from Lesson 45

bulletproof guitar player 2.0 - volume 1
Ross Campbell
Transcribed by Levi Clay
Standard tuning
= 90
Am Em P P
P sl. sl. sl. P
1 2
od.guit.

½ P P
P sl. sl. sl. P
12 (12) 10 8 7 8 7 5
12 12 10 10 8 10 10 8 8 5 5 8 6 5
12

F G H sl.
sl. P
sl. P sl.
sl. H sl. P sl.
3 4

H sl.
sl. H sl. P sl. sl. P sl. sl. P
10 12 17 15
8 10 12 13 12 10 12 13 17 15 13 15
7 5 4 9 14 14
7 5 5 7 9 10 9 7 9 10
7

Am Em
P
5 6

¼
P

13
14 12 14

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MODULE 3 - SCALES & IMPROVISATION

LESSON 46 - THE MINOR PENTATONIC SCALE

The minor pentatonic scale is a five-note scale that is widely used in various styles of
music, especially in blues, rock, jazz and country. It is derived from a larger,
seven-note scale called the natural minor by omitting its second and sixth degrees.
The formula for constructing the minor pentatonic scale is as follows:

1. Root (1)

This is the starting note of the scale and sets the pitch for the entire scale.

2. Minor Third (♭3)

This interval is three semitones above the root, or one-and-a-half tones.

3. Perfect Fourth (4)

Four semitones above the root, or two whole tones.

4. Perfect Fifth (5)

Five semitones above the root, or two-and-a-half tones.

5. Minor Seventh (♭7)

Seven half semitones above the root, or three-and-a-half tones.

In terms of specific notes, if we denote the root as "R," the minor pentatonic scale can
be represented as:

R ♭3 4 5 ♭7

For example, if we start with the note A as the root, the A minor pentatonic scale
would consist of the following notes:

ACDEG

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MODULE 3 - SCALES & IMPROVISATION

On the following pages, you will find fretboard diagrams for the minor
pentatonic scale.

The first page will show all positions of the minor pentatonic scale with A as
the root note, so that you can see how each position connects within one key.

On the last page, you will find fretboard diagrams for the positions of the
minor pentatonic scale with the fret numbers removed and a circle of 4th’s
diagram at the bottom of the page.

The fret numbers have been removed on that page because the circle of 4th’s
scale practice routine has you playing through all twelve keys in one area of
the fretboard at a time.

If you need a reminder of how the circle of 4th’s scale practice routine works,
please go back to lesson 41.

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MODULE 3 - SCALES & IMPROVISATION

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MODULE 3 - SCALES & IMPROVISATION

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MODULE 3 - SCALES & IMPROVISATION

LESSON 50 - THE BLUES SCALE

The blues scale is a six-note scale that is very similar to the minor pentatonic
scale – the only difference is the addition of another scale degree, that being
the the ‘flat 5’ (♭5).

Let’s compare the scale formulas for each.

Minor pentatonic scale formula

R ♭ 3 4 5 ♭7

Blues scale formula

R ♭3 4 ♭5 5 ♭7

On the following pages are scale diagrams for the 5 positions of the blues
scale; the first of which has fret numbers for the key of A, the second of which
has fret numbers omitted and the addition of a circle of 4th’s diagram, should
you wish to practice it in all twelve keys.

To be honest with you, although they are - on paper - different scales, I don’t
really think about the minor pentatonic and blues scales as being separate
from one another.

Meaning, 99.99% of the time that I’m using the minor pentatonic scale when
soloing, I am throwing in those ♭5’s from the blues scale too.

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MODULE 3 - SCALES & IMPROVISATION

Position 1

Position 2

Position 3

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MODULE 3 - SCALES & IMPROVISATION

Position 4

Position 5

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MODULE 3 - SCALES & IMPROVISATION

23
 24

Solo from Lesson 50

bulletproof guitar player 2.0 - volume 1
Ross Campbell
Transcribed by Levi Clay
Standard tuning
= 85

( = )
Chords - Am - G vamp the whole way through
P P
sl. sl. sl. P
1 2 3
od.guit.

¼ ¼ ¼
sl. P P sl. sl. P
8 8
8 10 10 8 10 10 (10) 8 8
7 9 9 8 9 8 7 (7) 5 7 5 5
7

P P H
4 sl. P 5 H

¼ ¼ ¼
P P sl. P H H

5 7
7 5 7 7 (7) 5 5 7 5 7
7 5 3 5 5 3 3 6 7 7
5 3 5 (5)

H sl.
H
P sl.
6 7

1½
¼
H
P sl. H sl.
8 10 11 12 8 10 8
8 10 8 10 10 10 10 (10) 13
7 5 7 5 7 9 9 9
7

H H P P

P P sl. P
sl. P
8 9 sl.

6 6
6
6
H H P P
¼
P P sl. sl. P sl. P
10 11 12 11 10 10
10 13 13 10 13 10 13 13
12 12 9 12 14 14 12 14 14
12 13 12 10 12 10 12 14 14
12 12

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24
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sl. H H H H H
sl.

10 11

3
full 1½
sl. sl. H H H H H
15 15 15 15 15 15 17 (17) 17 15
15 16 17 16 17 16 17 16 17 16 17 16 17
(14) 17 17

sl. sl.

sl. P P sl. H sl.

12 13 14

¼ ¼ ¼
sl. sl. sl. P P sl. H sl.

17 15 17 15 13
14 12 14 12
14 12 10 12 10 12 13 14 10 7 (7) 5
12 12 10 12 12 10
12 10 8 9

2/2

25
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MODULE 3 - SCALES & IMPROVISATION

LESSON 52 - THE MAJOR PENTATONIC SCALE

Many guitarists are confused by the difference between the major pentatonic
and the minor pentatonic scale, due to the ‘shape’ of the scales being the
same. For example, look at the diagrams below for the C minor pentatonic
scale followed by the C major pentatonic and you’ll see this similarity yourself:

C minor pentatonic scale

C major pentatonic scale

Although they may look the same visually, the intervals that come after the
root note result in different scale formulas for each.

Now, I often like to think of pentatonic scales, both major and minor, as
‘skeletons’ of the larger, seven-note scales from which they are derived.

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MODULE 3 - SCALES & IMPROVISATION

For example, the major pentatonic is a scale that uses five of the notes from a
seven-note scale, that being the major scale. Below you will see the formula
for the major scale, with the five notes of the major pentatonic highlighted:

Major scale formula

R234567

As you can see, the major pentatonic takes the 1st, 2nd, 3rd, 5th and 6th notes
from the major scale, so the resulting scale formula is…

Major pentatonic scale formula

R2356

Compare this with the formula for the minor pentatonic, and you’ll see where
the differences lie:

Minor pentatonic scale formula

R ♭3 4 5 ♭7

On the following pages you will find fretboard diagrams for all five positions
of the major pentatonic scale, the first with fretboard numbers in one key, so
that you can see how the positions connect, and the second with fret
numbers omitted and a circle of 4th’s diagram included for practicing it in all
twelve keys.

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MODULE 3 - SCALES & IMPROVISATION

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MODULE 3 - SCALES & IMPROVISATION

29
 30

Major solo from Lesson 52

BULLETPROOF GUITAR PLAYER 2.0 - VOLUME 1
Ross Campbell
Transcribed by Levi Clay
Standard tuning
= 90
F C H G
1 sl. 2 sl. 3 sl.
od.guit.

full
sl. sl. H sl.

8 10 8 (8)
5 7 5 7 9 9 7 5 7 5
5 7 7 7
5 7

4
F H sl. sl.
5 P H sl. 6
C

full full
H sl. sl. P H sl.

8
(5) 5 7 (7) 7 (7) 5 5
5 7 5 5 7 5 5 7 5
7 5 3 5 7 7 5 3

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Minor solo from Lesson 52

BULLETPROOF GUITAR PLAYER 2.0 - VOLUME 1
Ross Campbell
Transcribed by Levi Clay
Standard tuning
= 90
P
sl. sl. sl. P
1 2 3
od.guit.

full full
sl. sl. P sl. P
5 5
8
5 7 8 7 5 7 5
5 7 7 7 5
7 5 3 5
5

sl. H P
P
sl. sl.
4 5

6
sl. H P
sl. sl. P
8 10 12 10 12 10 10
8 10 8 10 13 10 10 10 13
5 7 9 9 12 12
5 7 5 7
3 5 7 7

P P
P P
sl. P P
6 7 sl.

P P
P sl. P sl. P P
12 15 12 10
13 10 10 13 10 13 15 13
12 12 9 12 14 12
12 13 12 10 12 10 10 12 10 12 14 14 14
12

sl.
P
H sl. sl. P P sl. P
8 P 9 10

3
sl. P H sl. sl. P P P sl. P
15 17 20 17
15 17 20 17 8
7 5 7 5 7 9 9 7 5 7 5
7 7 7 5 7 5
7 7 5 3
5

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MODULE 3 - SCALES & IMPROVISATION

LESSON 53 - TRANSITIONING BETWEEN MAJOR

PENTATONIC & MINOR PENTATONIC SCALES
This lesson is about using both major and minor pentatonic scales when
playing in major progressions. You can use the major 3rd of the key to
transition between these scales when they share the same root note.

Please do not confuse this with relative minor and relative major scales, as
mentioned this lesson deals with pentatonic scales both major and minor
that have the same root note.

For example, in the video I demonstrated three solos over a progression in E

major; the third solo I played used a mix of E major pentatonic and E minor
pentatonic.

Using notes from the minor pentatonic scale over major progressions is
absolutely something you can experiment with in your major solos but the
key to making them sound ‘good’, is to stick with major tonality scales for the
most part and to only throw in notes from the minor pentatonic sparingly.

In the lesson video I mention that you can use the major 3rd from the major
and major pentatonic scales, as a ‘pivot point’ between major pentatonic and
minor pentatonic scale positions.

So with that in mind, I’ve created diagrams for all positions of the minor
pentatonic scale with major 3rd’s added, so that you can familiarise yourself
with the location of major 3rd’s in relation to minor pentatonic scale positions.

The TAB files for the licks and solos demonstrated in this lesson have been
included on the last pages of this document - please refer to the video for a
breakdown of each.

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MODULE 3 - SCALES & IMPROVISATION

Minor pentatonic scale positions with major 3rd added (highlighted in green):

33
 34

Licks from Lesson 53

BULLETPROOF GUITAR PLAYER 2.0 - volume 1
Ross Campbell
Transcribed by Levi Clay
Standard tuning
= 90
Lick #1
A sl. E A
P sl. sl.
1 2 3
od.guit.

full full
sl.
P sl. sl.
10 12 10 12
12 11 10 8 9
9 9 7 9 11 11 9
9 8 7 9 9
9 11

Lick #2
E A
P sl.
P
P H
4 5

full full
P sl. P
P H
17 (17) 15 17 15 16 12 14 (14) 12 12
17 17 17 15 12 14 14 14
16 15 14 12 13
14

Lick #3
sl. P
E sl. sl.
P P A H
6 7 P

sl. P
sl. sl. P P P H
7 9 12 9
5 7 9 12 9
4 4 12 11 9 9
2 4 6 11 9 9 11
12 10 11

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34
 35

Solo #1 from Lesson 53

BULLETPROOF GUITAR PLAYER 2.0 - VOLUME 1
Ross Campbell
Transcribed by Levi Clay
Standard tuning
= 90
E Asus
sl. P H sl. P H
1 2 3
od.guit.

full
sl. P H sl. P H

5 7 (7) 5 5 5 5
4 6 4 6 4 6
4 6 6 4 2 2 4 2
4 2 4


Cm B Asus
sl. P
sl. sl. P sl.
H sl.
4 5

3
full
sl. sl. P H sl. sl. P sl.
7 9 12 9
5 7 (7) 8 7 5 5 7 5 7 9 12 9 12
4 4 6 6 12 11 9 11 9 11 13
(2) 4 6 11

E P Asus P P
sl. P
P P
P
sl. P
6 7

6
full
P P P
P P sl. P P sl. P
12 14 (14) 12 14 16 19 16 14
14 12 12 14 17 17 14 17 14 12 14 12
16 16 13 13 11 9
11 9


Cm B Asus E
H sl. P sl.
P sl.
8 9 10

H P sl. P sl. sl.

12 12 12 12 12 10 9 9 (9)
9 11 9 9 11 13 13 13 13 13 11 9 9 (9)
11 11 9 9
11 9 7 9 11

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35
 36

Solo 2 from Lesson 53

bulletproof guitar player 2.0 - volume 1
Ross Campbell
Transcribed by Levi Clay
Standard tuning
= 90
E Asus
sl. P

1 2 sl. P sl.
od.guit.

full full ¼
sl. P sl. P sl.
12
15 15 12
14 15 14 12 14 12 14
14 14 12 12
14 12 10 12 10 12 14 14
12


Cm B Asus

P
3 4

¼ full full ¼ full

P
12 15 15 12 12 15 12 17
12 15 12 15
12 12 14 (14)
14 12 14

E Asus
sl. P
sl.
P sl. P
5 6

3
¼
sl. sl. P P sl. P
15
17 17 15 15
16 15 16 14 15 14 12 14 12
14 14 12 14 12
14 14 12 10 12 10
12 12 10 12


Cm B
sl. P
Asus sl. sl. P E
7 H 8 9

3
H sl. P sl. sl. P
10 12 15 12
8 10 1110 8 10 8 10 12 15 12
7 9 7 9 9 15 1412
7 8 9 9 9 14 12 14
7 10

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 37

Solo 3 from Lesson 53

bulletproof guitar player 2.0 - volume 1
Ross Campbell
Transcribed by Levi Clay
Standard tuning
= 90
E Asus
P sl.
1 H 2 3 H H
od.guit.

full full full

H P H H sl.
12 14
12 14 14
9 11 11 (11) 9 9 9 9 11 13
9 11 11 11 9 11 9 11


Cm B Asus
P
P sl. P sl.
4 5 sl. H

full full full

P
P sl. P sl. sl. H
(14) (14) 12 15 15 12
14 15 12 12
15 14 (14) 12 14 12 13 9 11 11
14 14 12 11 9 9
14 14 10 11

E H Asus
P sl. P
6 7 P P sl. P H

P sl. P H P P sl. P H

(11) 9 9 7
11 9 9 7 5 5 6 0 2
7 7 5 7 5
7 7 5 6 5 3 0


Cm B Asus E
sl. P P
H P P P sl. P P
8 9 10

full full full

H sl. P P P P P sl. P P
7 5
5 7 7 7 (7) 5 7 5 5
4 6 4 4 6 4 6 4
2 4 6 6 4 2 2
2 4 4 2

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MODULE 3 - SCALES & IMPROVISATION

LESSON 55 - INTERVALS IN IMPROVISATION

Intervals are a great way to make music with scales. I recommend practicing
scales using the following interval patterns to internalise the sound of moving
through a scale in 3rd’s, 4th’s, 5th’s and so on.

3rd’s

4th’s

5th’s

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MODULE 3 - SCALES & IMPROVISATION

6th’s

7th’s

39
 40

Licks from Lesson 57

BULLETPROOF GUITAR PLAYER 2.0 - volume 1
Ross Campbell
Transcribed by Levi Clay
Standard tuning
= 90
Lick #1
D A
H sl.
H sl.
1 sl. sl. sl. sl. 2
od.guit.

H sl. sl. sl. sl. sl. H sl.

12
3 5 7 9 10 12 14
0 2 4 4 6 6 7 7 9 9 11

Fm
Lick #2
Bm
P sl.
sl. sl. P
H P P H
3 sl. 4 sl.

sl. P sl.
sl. H P sl. P P H sl.
5 7 8 7 5
5 7 5 7 7 5 5
4 6 6 6 4 2 2 4 6
4 2 4

D sl. A
P sl.
P P
sl.
5 6

sl.
sl. P P P sl.
12 14 17
5 7 5 9 7 10 9 12 10 12 14
6 7 7


Lick #3
A Bm sl. P Fm D
sl. sl. sl. P P
sl. sl.
sl. sl. sl. sl. sl.
7 8 9 10

sl.
½ P
sl. sl. sl. sl. sl. P P sl. sl. sl. sl. sl.
17 16 14 12 10 9 10 9 7
1214 1412 1210 10 9 9 7 7 10 9 7 10 9 7
9 7 6 9 76 9 (9)
9 7 6 6 (6) 7 7 7 9 7 9 11
9

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Licks from Lesson 59

BULLETPROOF GUITAR PLAYER 2.0 - volume 1
Ross Campbell
Transcribed by Levi Clay
Standard tuning
= 90
Lick #1
A P Bm
P
1 H sl. 2
od.guit.

full full
H sl. P P
12
10 12 12 (12) 10 10 11 12
9 9 11 9
7 9 11

Lick #2
D A
H sl. P sl.
3 4

full full
H sl. P sl.

10 10
7 9 9 (9) 7
7 7 9 7 9 11
5 7 9

Fm
Lick #3
A Bm D sl. A
H sl.
H sl.
5 6 7 8 9

full full
sl. sl.
H H sl.
5 5 5 2 5 7 5 5 4 5 7 10 9 12 12
5 7 55 3 7 7 7 7 10 12 12
4 6 6 4 2 2 3 4 6 (6) 6 6 7 (7) 9
4

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41
 42

MODULE 3 - SCALES & IMPROVISATION

LESSON 60 - MOTIFS IN IMPROVISATION

A ‘motif’ is essentially a short musical phrase that you can alter in many
different ways as a means of beginning and developing a well crafted solo on
the spot.

Be sure to watch the video for this lesson to see me demonstrate examples of
motif development.

There are three main approaches that I personally like to bear in mind when
trying to develop a musical phrase.

These are:

• Melody-based
• Rhythm-based
• Technique-based

Melody-based motifs

This could be as simple as starting or ending the same phrase on a different

note. Or, you could end a motif low the first time and high the second time,
for example.

Rhythm-based motifs

Here, there are endless options but you could, for example, change the
placement of the first note in the bar, or play a motif using quavers/8th notes
the first time, and repeat the same notes with quaver/8th note triplets the
second time.

Technique-based motifs

For a technique-based development of a motif, you could use a technique like

a double-stop bend, and repeat it with different sets of notes in the same
scale.

42
 43

Solo from Module 3 Lesson 60

BULLETPROOF GUITAR PLAYER 2.0 - volume 1
Ross Campbell
Transcribed by Levi Clay
Standard tuning
= 130

( = )
A7
P P
1 2 sl. 3

3 3
od.guit.

P sl. P
5 5 5 5
8 5 5 8 5 5
7 5 6 7
7 5 7

sl. D7
4 5 sl. 6 sl.

sl. sl. sl.

5
5 7 8 5 6 7
5 6 7
7 5 4 2 3 4
5 5 5 3
5

A P E7 P

H
3 3
7 8 9

½ ½ ½ ½ ½
H P P

7 7 7
2 4 4 2 4 2 4 4 4 2 4 2
4 4 2 4 2
3 4

D7 A7 sl.
P sl.
P H
10 11 12

3 3 3 3
3
full full
P sl.
P H sl.
5 7 7 7 5 7 5 5 8 10 12
5 7 5 5 7 7 7 5 8 10 10
7 5 6 9

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43
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sl.
P
sl. P
13 14 15
3

3
3
full ¼
sl.
sl. P P
8 10 12
10 12 10 10 8
11 9 9 7 5
7 5 7

H P
sl. sl.
D7 P
16 17 18

3 3 3 3 3
3 3
½ full
sl. sl. H P
P
8 10 12 8 10 12 10 11 10 10
10 10 12 12 10 10 13 10 13
9 11 11 9
(7)

A E7
H P sl.
P P sl.
19 20
3 sl. 21

3 3 3 3
¼ ¼
H P P sl. sl. P sl.

(13) 13 10 13 10 10
12 12 9 9 9 12 12 9 10 11
12 10 11 10 11 12
12 9 12 12 10 11 11
12

D7 P
A7
22 sl. 23 24

3 3
¼
P sl.

10 13 13 10
11 12 9 9
12 10 11
12 12

2/2

44