®

Table of Contents
Table of contents…….………………………………………………………………………………………………….2
Introduction………………………………….………….…………………………..…………………………..……….3
Notes on the fretboard………………………………………………………………….………………………………4
Scales defined…………………………………………………………………………………………………………..5
Minor pentatonic - the basic box shape………………………………..……………………………………………..6
String bending in minor pentatonic……………………………………………………………………………………7
Minor pentatonic - the five box shapes…………………………………………………………………..…………..8
Minor pentatonic - the expanded scales……………………………………………………………………………..9
Minor pentatonic & blues - the five box shapes…………………………………………………………………….10
Minor pentatonic & blues - the expanded scales………………………………..…………………….………..…11
The major pentatonic scale…………………………………………………………………………………..………12
The major pentatonic scale - key points……..……………………………………………………………..………13
The major scale.……………………………………………………………………………………………………….14
Major scale links across the fretboard …………………………………………………………..………………….15
The modes of the major scale - overview……………………………………………………………..……………16
The modes of the major scale - application……………………………….……………………………………17-18
The modes of the major scale - Dorian…………………………………………………..…………….….………..19
The modes of the major scale - Phrygian………………………………………………..…………….….………..20
The modes of the major scale - Lydian…………………………………………………..………….…….………..21
The modes of the major scale - Mixolydian…………………………………………………………………………22
The modes of the major scale - Aeolian ……………………………………………………..………….……….…23
The Harmonic Minor scale……………..…………………………………………………..……………….………..24
Harmonic Minor link & Phrygian Dominant..……………………………………….……..……………….……….25
Key signature & chord analyzing…………………………………………………………………………………….26
The choices when soloing…………………………………………………………………………………..………..27
Minor key soloing………………………………………………………………………………………………………28
Major key soloing……………………..………………………………………………………………………..…..….29
Practice items & tips………………………….……………………………………………………………………….30
Soloing review tips…………………………………………………………………………………………………….31
A few words of encouragement from the author David Taub.………………………………………….…………32

The content throughout this eBook are guidelines, not necessarily rules forged in stone. Often you have to
use your discretion when jamming and let your ear guide you. Remember, if it sounds good…..it is good.

Remember to experiment, be creative, and continually challenge yourself on the guitar. Be bold and try new
things and eventually come up with other lead guitar avenues that work within your playing style.

Keep in mind that after the theory, and the “why” things work, there needs to come a point when you take a
break from learning theory and scales and just play music.

Music is so much more than just the logical application of theories and melodies. There is a human emotional
element to music that you want to get across in your playing. So yes, practice and study up, but strike a
balance, be inspired, and then just get out there and jam and have fun.

You know what I always say, “If it’s not fun……..why do it?”

Copyright © 2024 Next Level Guitar Inc. Unauthorized replication or distribution prohibited
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 Next Level Guitar.com
Hello, David Taub here from Next Level Guitar. Welcome to our
“Scales & Soloing Strategies” eBook. This eBook contains a large
reference manual of scale diagrams and also soloing strategies that
will help you as you move forward throughout your guitar journey.
“Music gives a soul
We hope these materials help inspire your lead guitar soloing and to the universe,
improvisational skills. We feel you will find the content invaluable as wings to the mind,
you move forward honing your skills and developing your own style on
the instrument. flight to the
imagination, and life
In these lessons you will learn all kinds of scales, music theory, to everything.”
exercises, and soloing strategies. Throughout the eBook you will be
given a step by step breakdown of the soloing process as well as -Plato
various lead guitar avenues and pathways.

It’s an exciting time in your lead guitar journey and we are stoked to be
along for the ride. Remember that many of the new concepts and
techniques you will be learning will take some time to sink in and
become proficient at on the guitar. “Life without music
would be a mistake”
Stay positive and remember that your playing is an evolution that
takes time and patience. Chip away at these techniques a little each
-Friedrich Nietzsche
day and log your practice sessions and progress.

When practicing be sure to include some jam track work. Explore all
kinds of jam tracks. Jam tracks are an invaluable tool for the practicing
guitarist to work on application. As well as to apply what you are
learning in a musical situation. “I think it’s so cool
Be sure to use all kinds of jam tracks. Use tracks in different styles,
that you can pick up
different tempos, and different keys. You should also focus on jam the guitar and create
tracks that are specifically designed for learning and studying. You something that didn’t
want to use tracks that have basic chords in them and that leave lots
of open room so you can work on weaving a solo into the mix.
exist five minutes
ago. You can write
Remember that the more chords and more exotic chords in a track will something that no
limit your soloing avenues. You may want that later down the road, but
for now start simple and utilize tracks that sound killer and are built as one ever heard
learning tools - like the ones we craft here at Next Level Guitar. before. You have
music at your
Practicing and playing along to jam tracks helps develop and hone
your rhythm & timing, scale knowledge, technique, tone, creativity, fingertips.
musical awareness, and enhances your overall musical experience. -Michelle Branch
Practicing in a musical situation, like over jam tracks is a critical part of
your lead guitar and improvisational growth as a musician. So have
fun with it and keep honing your skills and refining your art!

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 Notes On The Fretboard:
6 5 4 3 2 1
Open Strings
E A D G B E Eddie Ate Dynamite Good Bye Eddie

F Bb Eb G# C F # = Sharp
b = Flat
F# B E A C# F#
The twelve-note scale consists of:
A, Bb, B, C, C#, D, Eb, E, F, F#, G, G#

G C F Bb D G Memorize the order of the 12-note scale as

the notes always appear on the guitar neck
in the above order.
G# C# F# B Eb G#
Examine the notes along one string
vertically. Notice how the notes always
A D G C E A repeat in this same order. The notes then
repeat every 12 frets.

Bb Eb G# C# F Bb
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.
B E A D F# B
Take it slow and work on one string at a
time. Start with the low E string. Once you
C F Bb Eb G C 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
C# F# B E G# C# same.

Once you have the E strings memorized

D G C F A D then move on to the A string, then the D
string, and so on. Chip away at getting
Eb G# C# F# Bb Eb each string down a little each day. Add
learning the notes to your daily practice
regimen - you can do it!.
E A D G B E
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 Scales Defined
Learning and understanding scales is a critical element in your guitar journey. Scales are the building blocks 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 utilized 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 all the chords are pulling toward.

When learning scales, always make mental notes as to where the root notes are in that scale. In all my
educational materials as well as 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 listed below in red text 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

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 Minor Pentatonic - The Basic Box Shape
Pentatonic scales are the most commonly used scales in most genres
of music. 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.
Minor
The minor pentatonic scale is constructed from five notes of the natural
minor scale. The intervals in minor pentatonic are root or 1, b3rd, 4th,
Pentatonic
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.

Minor Pentatonic - 5 applications:

1. Over all the chords in a minor key progression, (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 very
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 chord, not just the root.
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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 string tension-wise, as well as hear the bend in pitch match 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. This is
a very 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.

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 Minor Pentatonic - The Five Box Scales
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 you 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 the included 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, etc. Start by memorizing and
practicing the five applications for minor pentatonic as listed in this eBook on page six.

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 Minor Pentatonic - The Expanded Shapes
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, are 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.

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 a 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 a 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!

Practice in all keys and over jam

tracks. Put on the tracks and just
get lost in them!

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 Minor Pentatonic & Blues- The Five Box Scales
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 and add them to your soloing repertoire.

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 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 a G note. That makes the scale a 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.

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 within your
grasp, but these expanded scales really open the pathways and 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 practice regimen.

Like the box patterns these expanded scales are moveable with the root note determining the key.

Same principle applies to finding

the expanded scales in the
proper key. To play these scales
in G minor, 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 a
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 a 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!

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 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 major pentatonic scales all over the neck by going through the minor pentatonics. 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 sound. 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, 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). KEY POINTS:
1 2 3 4 5 6 7 = major scale
1 2 3 5 6 = major pentatonic scale
For every major key
1 2 b3 4 5 b6 b7 = natural minor scale
1 b3 4 5 b7 = minor pentatonic scale there is a relative
minor key with
Remember that you can find all the major pentatonics by going through exactly the same
the relative minor pentatonic scales. Just flip the minor pentatonic notes.
shapes to their relative major pentatonic and change emphasis notes.
Here are all the major keys and their corresponding relative minors:

A major = F# minor Bb major = G minor B major = G# minor

C major = A minor C# major = Bb minor D major = B minor When soloing in
Eb major = C minor E major = C# minor F major = D minor major key use major
F# major = Eb minor G major = E minor G# major = F minor
pentatonic over all
For that sweet major pentatonic sound utilize all of your minor the chords when
pentatonic scales, but emphasize the root major. For example, when playing what “relates
playing in D major pentatonic think of the relative minor B minor
pentatonic. Just start and emphasize on the D notes, not the B notes,
to all”. Also use it
to sound major. over any major type
chord when treating
The blue note does not always apply to major pentatonic and, at times,
can sound sour. Experiment with it and see how it sounds to your ears. each chord as a
“separate event”.
The major pentatonic lives three frets ahead of the minor pentatonic.
For example, if you want to play in D major pentatonic put your pinky
finger on the D note 10th fret low E-string. Using one finger per fret, the
relative minor will always be three frets back.

Your first finger will always fall on the relative minor. In this case, the B Find major pentatonic
note at the 7th fret of the low E-string. Find the relative minor of any scales by going
major key using this device. through the relative
There is not much room for error when soloing in major key as sour minor pentatonic
notes can really stick out. You also can’t slur passing tones like when scales. Memorize
when using minor pentatonic.
majors and their
Be careful with your note choices and let your ear help guide you. corresponding
Practice these scales in all keys and listen for the sound differences relative minors.
between minor and major. Its all about the sounds and moods that
these scales produce - stay creative and keep on rocking!
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 The Major Scale
All music theory compares back to the major scale. You are probably familiar with the sound of the major
scale – do, re, mi, fa, so, la, ti, do. 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.

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 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 lateral playing 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 or 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
this 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, let’s say 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 in previous lessons.

Convert both of these shapes

back to the parent scale of C
major and start on and
emphasize the A notes for A
Aeolian, (A natural minor).
Remember, its all about
emphasis and mood.

More to come on that device in

the “Modes” lessons coming up
later in this eBook. Rock on!

15 of 32
 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. KEY POINTS:
Modal playing is often thought as an abstract and mysterious entity, one
that requires a black belt in music theory to understand. That is not true.
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
the major scale and therefore produce unique sound qualities.
of 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
sounding. My modal methodology requires that you first know your major
scales. We will get to all seven modes through the major scales.
Anytime you play a
Think of the modes as being variations of the major scale. All you will be
doing is starting on and emphasizing a note in the major scale other than major scale and
the root note. start on and
There are seven notes in the major scale and each one corresponds with emphasize a note
a different mode. So there are seven modes of the major scale and they other than the root,
always appear in this order: Ionian, Dorian, Phrygian, Lydian, Mixolydian, you are playing in
Aeolian, and Locrian. Memorize the mode names and their order. The
order of the modes is very important. the modes.
Learn the major scales and how to link them as they are diagrammed out
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
of the major scale because you will be using those same major scale Each mode has its
shapes to play all the modes.
own unique sound
You will be starting on any of the six shapes on a note other than its root. or “mood” due to
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.
the unique interval
structure of each
Besides knowing your major scale, (Ionian Mode), get proficient with the
Aeolian Mode, Dorian Mode, Lydian, and then Mixolydian mode. These
mode.
modes are used most often in blues and rock and we will focus on them in
the coming pages of this eBook.

THE SEVEN MODES OF THE MAJOR SCALE

1st mode - Ionian (same as the Major scale)
Some modes are
2nd mode – Dorian (same as Aeolian but with a raised 6th)
more major
3rd mode - Phrygian (same as Aeolian but with a b2nd) sounding and some
4th mode – Lydian (same as Ionian but with a #4th) more minor
5th mode – Mixolydian (same as Ionian but with a b7th) sounding.
6th mode – Aeolian (same as Natural Minor)
7th mode – Locrian (dissonant, same as Phrygian with a b5th)
16 of 32
 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. KEY POINTS:
With any mode or scale it’s not enough just to know the scale, you also
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
interval difference. But these slight differences create unique moods and With any mode or
textures. Each mode has its’ own unique mood and tone. scale it’s not
The table below shows each mode and its interval structure. The last enough just to
column denotes which modes are considered major modes and which are know the scale
considered minor modes.
shape, you also
Memorize which are the major modes, Ionian, Lydian, and Mixolydian, and have to know how
which are the minor modes, Dorian, Phrygian, Aeolian, and Locrian.
to use it and apply
Knowing this will help guide you to utilizing the correct mode over a given
chord or progression. it in a musical
situation.
#mode name intervals type of mode
1 Ionian 1,2,3,4,5,6,7 major mode
2 Dorian 1,2,b3,4,5,6,b7 minor mode* Memorize which
3 Phrygian 1,b2,b3,4,5,b6,b7 minor mode are the major
4 Lydian 1,2,3,#4,5,6,7 major mode modes - Ionian,
5 Mixolydian 1,2,3,4,5,6,b7 major mode Lydian, and
6 Aeolian 1,2,b3,4,5,b6,b7 minor mode Mixolydian, and
7 Locrian 1,b2,b3,4,b5,b6,b7 minor mode which are the
minor modes -
*Dorian is considered a minor mode because it has strong elements of Dorian, Aeolian,
minor (b3, b7), along with major (2,6). However, it can be played in some
major key progressions. Phrygian, and
Locrian.
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 Each mode has its
chord. So, there is lots of room for creativity with the modes. own unique mood
Like with many lead guitar avenues, you have to use your discretion and and tone.
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 and get creative with them!

17 of
 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
over each chord independently, treating each chord as a “separate event”.
KEY POINTS:
2. Know and analyze the chords you are playing over. The chords
provide the complete roadmap to what you can utilize for soloing and
improvisation. Just knowing the key signature is not enough. Know what
chords are in the progression, and then analyze them to determine what Understand your
scales, modes, and landing notes to utilize. options when
soloing and
The “ACE” principle for modal playing: improvising. Know
and analyze the
Memorize these three steps for utilizing the modes, (the “ACE” principle):
chords you are
1. ANALYZE the chords and/or the progression to get the roadmap for playing over.
which modes you can utilize.

2. Once you determine which mode or modes to use, CONVERT that

mode back to its mother or parent major key.

3. Play the mode using the parent major scale patterns but shift to and
EMPHASIZE the root of the mode. To apply the modes
just remember
This is a very systematic and methodical approach to analyzing chords for
“ACE” – Analyze,
determining soloing options. Over time your ear will take you to the right Convert,
notes and this whole process will be more organic. However, at the start, Emphasize.
there is value in analyzing chords and progressions while honing your
skills to a sharp edge.

The above three steps are absolutely critical to your success playing in the
modes. This will take a good amount of practice. So chip away a little each
day and you will get it rocking very soon. Remember you are creating a
mood - feel it! Remember that it’s
all about MOOD and
EMPHASIS when
KEY PRACTICE: At first try playing a mode over the whole progression or
what relates to all the chords of a jam track.
playing in the
modes.
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.

18 of 32
 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

KEY POINTS:
the 2nd mode in any major 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.

I find myself using Dorian all the time as it sounds awesome in rock, hard
rock, blues, and even in some jazzy scenarios. Dorian is always
Utilize Dorian over all the chords in a minor key jam when there is a major IV the 2nd mode of
chord or a minor ii chord. You can also use Dorian over minor type chords
when treating each chord as a “separate event”.
any major key.
Remember Dorian is the 2nd mode in any major key. To play A Dorian the
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.

To play in A Dorian start on the 2nd note in a G major scale and play from the
A note till the next A note and you have A Dorian. You are playing a G major
Starting on and
scale from the A to the A and voila’, you have A Dorian. emphasizing the
2nd note of any
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 major scale
as A. G major and A Dorian are constructed from the same notes. produces the
G Major scale – G, A, B, C, D, E, F# Dorian Mode.
A Dorian scale - A, B, C, D, E, F#, G
Below are two common shapes for Dorian. 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 using your first finger on the low root.
Dorian has one
Start with these scales below, then learn all the shapes to play Dorian across note difference
the neck. Refer to the major scale lessons taught earlier in this eBook.
than Aeolian.
Dorian has a
natural 6th while
Aeolian has a b6.
Dorian has a bit
more sweeter,
mystical sound
than Aeolian.

19 of 32
 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 POINTS:
flamenco guitar. You don't hear this mode utilized 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
Phrygian has only one note different than the Aeolian. Phrygian has a flatted
always the 3rd
2nd, (b2), while Aeolian has a natural 2nd. The scale degrees of Phrygian are mode of any
1, b2, b3, 4, 5, b6, b7.
major key.
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 major scale is E. Play C major scales but emphasize the E notes. C
major and E Phrygian consist of the same notes.

C Major scale - C, D, E, F, G, A, B
Starting on and
E Phrygian - E, F, G, A, B, C, D
emphasizing the
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
3rd note of any
sound textures of each mode. major scale
Below are two common shapes for Phrygian. One has the low root note on produces the
the low E-string and the other has the low root on the A-string. Find these Phrygian Mode.
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. Try to get creative with Remember, it’s all
this mode and let your ear guide you to what sounds best - enjoy! about MOOD and
EMPHASIS when
playing in
the modes.

20 of 32
 The Modes Of The Major Scale - Lydian
The Lydian Mode is a seven-note scale often used in jazz and rock. Lydian
is 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
KEY POINTS:
one alteration gives the mode a very pretty, emotive mood, almost
mesmerizing. The Lydian mode scale degrees are 1, 2, 3, #4, 5, 6, and 7.

Lydian is not as commonly utilized as Ionian, but it brings a hip tension with
that sharp fourth interval. Simply raise the 4th degree of any major scale a
Lydian is always
half step, and you have Lydian. the 4th mode of any
Play this mode over maj7, maj9, maj6, and maj6/9 chords when treating each
major key.
chord as a “separate event”. Also try it over Lydian modal chord progressions,
power chords and major triads. Lydian also sounds great over rock ballads.

Lydian always is the 4th mode. To play in E Lydian ask yourself what major
scale’s fourth note is an E? The answer is B. The fourth note of a B major Starting on and
scale is an E note.
emphasizing the
Start on the fourth note in a B major scale and play from the E note to the 4th note of any
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. major scale
produces the
E Lydian = E, F#, G#, A#, B, C#, D# Lydian Mode.
B Major = B, C#, D#, E, F#, G#, A#
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. Lydian is often the
Below are two common shapes for Lydian. One has the low root note on the mode of choice
low E-string and the other has the low root on the A-string. As you can see
they are almost identical to a major scale except your play a #4.
over major 7th
and major 9th
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 chords.
in this eBook.

Remember, it’s all

about MOOD and
EMPHASIS when
playing in
the modes.

21 of
 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
in any major key. Often its the mode of choice played over dominant
chords, like dominant 7ths and 9ths.
KEY POINTS:
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 the 5th mode and the key is to shift the tonal center to the
root of the mode. For example, to play G Mixolydian over a G7 chord ask
Mixolydian is
yourself what major scale’s fifth note is a G? The answer is C. always the 5th
mode of any
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 major key.
Mixolydian consist of the same notes:

C Major scale - C, D, E, F, G, A, B
G Mixolydian - G, A, B, C, D, E, F
This is an incredibly useful mode, especially for blues and jazz playing. To Starting on and
play E Mixolydian over an E7 chord ask yourself what major scale’s fifth note
is a E? The answer is A.
emphasizing the
5th note of any
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 and E Mixolydian consist of the major scale
same notes. produces the
Remember, it’s all about MOOD and EMPHASIS when playing in the modes. Mixolydian Mode.
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 and try them in various
keys over jam tracks - and have fun! Mixolydian is often
the mode of choice
over dominant 7th
chords.

22 of 32
 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. KEY POINTS:
Aeolian produces a sad, dark, and mournful sound that is different than
minor pentatonic and Dorian. It adds melodic half steps and more lick and
string bending avenues. The scale degrees are 1, 2, b3, 4, 5, b6, and b7.
Aeolian is always
Play this mode over minor chords when treating each chord as a the 6th mode of
“separate event”. Also utilize Aeolian over ALL the chords in a minor key
any major key.
jam UNLESS the IV chord is major or the ii chord is minor.

If you want to play G Aeolian first utilize 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 a G? The answer is Bb. The sixth
note of a Bb major scale is a G note. Starting on and
emphasizing the
To play in G Aeolian start on the sixth note in a Bb major scale and play
from the G note to the G note and you have G Aeolian. As you can see 6th note of any
below, Bb major and G Aeolian are both constructed from the same notes. major scale
G Aeolian = G, A, Bb, C, D, Eb, F produces the
Bb Major = Bb, C, D, Eb, F, G, A Aeolian Mode.
major and relative minor
Remember, it’s all about MOOD and EMPHASIS when playing in the
modes. Depending on the note you start on and emphasize, gives you the
different moods and textures of each mode. Aeolian is also
Below are two common shapes for Aeolian. One has the low root note on called Natural
the low E-string and the other has the low root on the A-string. Find these Minor or Pure
patterns fast by using your first finger on the low root. Start with these, but Minor.
learn all the shapes to play Aeolian across the whole neck as per the
major scale lessons in this eBook.

Remember, it’s all

about MOOD and
EMPHASIS when
playing in the
modes.

23 of 32
 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.

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, KEY POINTS:
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
flatted seventh while Harmonic minor has a natural 7th. Remember the key note Harmonic Minor
in the scale is that 7th, and it is always a half step behind the root note.
produces a super
The scale degrees are almost the same as Natural Minor except for the 7th: cool and different
Harmonic Minor - 1, 2, b3, 4, 5, b6, 7 exotic tone.
Natural Minor - 1, 2, b3, 4, 5, b6, b7
The modal scales hidden within the Harmonic Minor scale are fantastic. One
awesome mode within is the Phrygian Dominant scale. This scale is the 5th
mode of the Harmonic Minor Scale and we get to that mode by going through the
Harmonic Minor Scale. Phrygian Dominant
Phrygian Dominant is always the 5th mode of the Harmonic Minor scale. To play
is always the 5th
in E Phrygian Dominant we have to determine what scales 5th note is an E. The mode of 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
Scale.
Harmonic minor also sounds great when played over a major V chord in a minor
key progression and over minor plus seven chords. Try resolving the 7th degree
to the root for a nice tension and release feel.

You can also play the scale over straight minor chords and over minor key
vamps, but it will sound a bit exotic. Experiment with the scale and see what
sounds best to your ears. Harmonic Minor
has just one note
Below are two scale shapes that you can grab fast and easy in any key. Play the
root note with your first finger on the 6th string root in the one shape and the 5th difference than the
string root in the other. Over time learn this scale over the entire neck as well as Aeolian mode.
the harmonic minor scale link diagrammed out in the next page in this eBook.
Harmonic Minor
has a major 7th
while the Aeolian
mode
has a flatted 7th.

24 of 32
 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.

A killer mode within the Harmonic Minor Scale is the Phrygian Dominant scale. This scale is the 5th mode of
the Harmonic Minor Scale and we get to that mode by going through the Harmonic Minor Scale. Phrygian
Dominant is more a major mode that sounds fantastic 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.

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!

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.
Get familiar with the sounds, experiment, and, as always, be creative.
25 of 32
 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 & Blues
dominant chords. But you want to have the tools to be able to solo over
Scales - four
both major and minor key.
great applications:
Knowing the key is important, and a good place to start. But to go
deeper you have to analyze the chords that make up the progression to
get the complete roadmap for soloing options. Always start with what 1. Over all chords in minor
are the chords and what is the key. key (except a major V chord).
Soon these techniques will become automatic. But first applying these
2. Over any minor type chord
concepts in a systematic and methodical approach will get you used to
when treating each chord as a
these devices.
separate event.
Remember there are many lead guitar avenues to choose from, so
3. Over all the chords in major
explore 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 are the soloing
avenues. It’s the chords that give the complete roadmap, the key
4. Over all the chords in rock
signature is only part of the equation.
jams or jams using power or
It’s important to understand why these principles and techniques work 5th chords, (except major
so that you can solo and improvise over any song or jam. Armed with sounding jams and ballads).
this knowledge and practicing in a musical context will give you the lead
guitar confidence to solo over any progression. Soloing in minor key:
When playing over all the
KEY POINT: Remember that as soon as you hear that very identifiable chords in minor key, what
major I-IV-V blues, swing, or shuffle, it is wide open and there will be “relates to all”, you can
many different soloing avenues to try. always use Natural Minor
Scales, (Aeolian Mode),
Key Points To Determine Soloing Avenues: UNLESS there is a major IV
chord or a minor ii chord, in
1. Determine the key signature - often you will be soloing in minor key those cases use the
or major key. Knowing the key is the first step. Even when you are just Dorian Mode.
noodling 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 a critical step to get the full lead
guitar picture.

The concepts listed throughout these materials are guidelines to get you
started, not rules forged in stone. Often you have to use your discretion.
You want to learn the principles and techniques so you have a solid
jump off point. Then you can get creative and start bending the rules as
you develop your own style.

26 of 32
 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 POINTS:
over all the chords. No matter what chord is sounding, play the
same scale over each chord. You play what works over ALL the There is no
chords.
substitute for learning
This is the most common choice and definitely what most players scales and studying
do when first developing their soloing skills. Start with what the sounds and
“relates to all”. Get proficient at this before moving on to the next relationships
choice described below. between
chords and scales.
Or you can:
2. Treat each chord like a “separate event” - this choice is Keep developing
more challenging but yields a very sophisticated sound. By your ear and practice
treating each chord as a separate event you solo with a different using jam tracks.
scale or mode over each chord and change the scale or mode Continually push
with each chord change. This techniques does not stay within the yourself to the next
confines of the same scale as with what “relates to all”. level. Stay positive
With this approach you must listen to what is going on underneath and remember…..
the soloing. You have to listen to which chords are sounding and YOU CAN DO IT!
also for the changes. Then time your playing and change scales
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.
At first practice with jam tracks that have 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 the possibilities. And give yourself
plenty of “fun time” on that guitar!

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 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
Minor Pentatonic & Blues Scales over ALL the chords, (with a few Scales - four
exceptions). great applications:
So minor pentatonic over minor key should be a default setting. As
soon as you hear or see minor key, you know one option is to solo 1. Over all chords in minor
over all the chords with Minor Pentatonic & Blues Scales as they key (except a major V chord).
“relate to all”.
2. Over any minor type chord
Also if it’s a major key bluesy I-IV-V progression, one option is to when treating each chord as a
solo over all the chords with Minor Pentatonic & Blues scales. An separate event.
exception to this rule is if it’s a minor key progression with a major
V chord. You have to be careful over that major V, one option is to 3. Over all the chords in major
use Harmonic Minor Scale over just that V chord. key I-IV-V blues jams, swings,
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 use the AEOLIAN mode, UNLESS there is a IV major chord or When playing over all the
ii minor chord, then use the DORIAN mode. (Exception - If there is chords in minor key, what
a V major chord then use Harmonic Minor over the V chord). “relates to all”, you can
always use Natural Minor
Aeolian mode is the same thing as Natural Minor or Pure Minor. Scales, (Aeolian Mode),
UNLESS there is a major IV
chord or a minor ii chord, in
Use Minor Pentatonic & Blues Scales (5 applications): those cases use the
1. Over all the chords in a minor key, (few exceptions). Dorian Mode.

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
chord, not just the root scale.

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 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 Scale
Major Pentatonic scales over ALL the chords. applications:
So major pentatonic over major key should be a default setting just like
minor pentatonic over minor key. As soon as you hear major key, you 1. Over all chords when in a
know one option is to solo over all the chords with Major Pentatonic, as major key.
it “relates to all” the chords.
2. Over any major type chord
Major pentatonic produces that sweet, bright, major sound. Be sure to
when treating each chord as a
play the scale and listen to the sounds created. Its a very different
separate event. (especially
sound than the bluesy Minor Pentatonic scale. Like I always say, its all
dominant 7th chords in blues
about the sounds and mood.
jams - very popular choice).

MAJOR KEY I-IV-V blues, shuffles, and swings: 3. Over all the chords in major
You will hear these rhythms all the time in blues music. If a progression key I-IV-V blues jams, swings,
is a major key I–IV–V blues, swing, or shuffle there are MANY avenues and shuffles.
to utilize when soloing and improvising, it’s wide open.
4. Over all the chords in rock
You can solo with what “relates to all” and also by treating each chord major sounding jams and
as a “separate event”. Here are some suggestions to try over these type especially major ballads.
very common progressions:

1. Try Minor Pentatonic & Blues scales over all the chords in the key
Soloing in major key:
Be careful as there is not as
of the progression. This yields that dark, bluesy, minor sound. (Minor
much room for error in major
Pentatonic & Blues – 1,b3,4,b5,5,b7)
key and “sour” notes will
2. Try Major Pentatonic scales over all the chords in the key of the really stick out. You can at
progression. This produces that sweet major sound ala BB King/Allman times combine major
Brothers. This will be a totally different sound than Minor Pentatonic. pentatonic with minor
(Major Pentatonic – 1,2,3,5,6) pentatonic to produce hybrid
scales with elements of both
3. Mix Minor Pentatonic & Blues and Major Pentatonic. You will hear minor and major.
this a lot in the lead playing of Eric Clapton and BB King. The switching
and mixing of Minor and Major Pentatonic is an awesome sound. (Minor
& Major Pentatonic 1,2,b3,3,4,5,6,b7)

4. Try the Dorian Mode over all the chords. Dorian is the second mode
of the major scale. It is considered more of a minor mode but it’s
intervals have elements of both minor, (b3, b7), and major (2nd, 6th).
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, its killer! (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
mode of the major scale – 1,2,3,4,5,6,b7).
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 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 your consideration. Work down the list and see which
you are comfortable with and which may need some work. Many of the below items will be addressed in
detail throughout this eBook.

Remember your guitar playing is an evolution. Use some of the below items to set musical goals and then
chip away at them a little each day. Set some goals, then get out there and achieve them!

- 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. Jam tracks are both an invaluable
practice tool and a lot of fun.

-Develop your ear, don’t rely solely on tablature. Try to learn songs and licks by ear. 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.

-And remember…………….you can’t learn less!

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 Soloing Review Tips
Key points to determine soloing avenues:
1. Determine the key signature - Most of the time you will be soloing in
KEY POINTS:
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 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
what scales, modes, and arpeggios you will want to utilize. The chords improvisation
also point to the strong notes to land on, resolve to, and emphasize. options.
Remember that you can mix soloing techniques. Mix what “relates to all”
with treating each chord as a “separate event”. Treat each chord as a
“separate event“, then switch it up and play what “relates to all”.

At times you can also use both major and minor scale elements as well as Take the listener
modal playing. In those examples you can throw a bunch of different on a musical
soloing applications into the soup.
journey - draw
A critical key in unlocking all the potential of these scales and modes is in them into your
learning their interval structure and listening to the mood of each one and
how it sounds over a given chord. This way you will know when it is solo and have
appropriate to apply each in a given soloing or improvisation scenario. them latch onto
what you are
Two goals of lead guitar playing: 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 Even when you
you are playing and to be on the edge of their seat wondering, “what will
they play next?” are just noodling
around on the
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 guitar, always
of melody. know what key
Remember to experiment, its okay to bend and break the “rules”. Nothing you are
is etched in stone. Work on developing your own style and pulling from all playing in.
your musical influences.

Keep up all that hard work on that guitar and keep honing your skills and
refining your art - YOU CAN DO IT!
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 ®

I hope this eBook, video lessons, and jam tracks help you along in your guitar journey. As a
teacher my goal is to educate, empower, and inspire students to help them reach their guitar
and musical goals.

I wish you the best in all your musical endeavors. Please feel free to email me any questions
at the email address listed below. Keep up all the hard work on that guitar and remember
that your guitar playing is an evolution. It takes time, patience, and dedication. Go after your
dreams like your life depends on it……because it does!

Take care, rock on, and swing for the fences!

David Taub
Next Level Guitar
“Rock On Good People” - on YouTube
“Epic Guitar Instruction” - on YouTube

Check out our full-on video instructional website at:

http://www.nextlevelguitar.com

The site has over 2000 video lessons, written lessons, jam tracks, and much more! Its a
complete structured guitar curriculum for all level players and all genres of music - check it
out today!

Questions? Email us at TheNextLevelGuitar@yahoo.com

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Next Level Guitar Inc. ®

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