Step 1 — Start playing the 1st shape starting on the 5th fret using alternate picking. Now if you practiced learning the notes across all six strings, you should find this fairly easy. Step 3 — Start playing the 2nd shape starting on the 8th fret using alternate picking.
Step 4 — Notice how the 1st shape and the 2nd shape seem to fit together like two pieces of a jigsaw. Step 6 — Repeat this process for positions 3, 4 and 5 until you have memorized them with absolute certainty.
E Blues Scale Guitar Tabs
You can also use my scale finder tool as a quick reference if you ever get lost or confused. All I want you to focus on is to be able to keep playing for an extended period of time , using the entire fretboard, while staying in key. The more you practice this, your hands and your brain will develop its own map of the fretboard which in time will help you play almost subconsciously without having to worry about what notes you should land on. The next thing I want you to do is to repeat this same meandering exercise, but this time using a metronome.
All I want you to work on is being able to play up and down the fretboard, in one particular key, along to the metronome. Once you feel comfortable in your ability to randomly meander across the fretboard to the metronome, I want you to start thinking about your phrasing and note durations. I also want you to start experimenting with adding pauses and breaks , all while playing to the metronome. This is the point that you can start thinking about making your meandering sound more and more melodic.
If you like you can even find a suitable jam track on YouTube and try playing along with it. For example, if you want to play in the key of G minor, all you have to do is move your 5 minor pentatonic shapes down two frets. Now we are going to expand upon that by adding a new note to the Pentatonic Scale, which teachers often refer to as the "Blue Note" , and give you some more techniques to work on, that will make your riffs much more dynamic.
A Blue Note is simply a flatted 3rd, 5th, or 7th note or raised 4th, depending on how you want to refer to it… , that adds a certain sonic dissonance, or "bluesy" sound to the music. So The blues scale is a six tone scale that we create by adding a flatted fifth note to either a major or minor pentatonic. Now what I want you to do first here is to simply play up and down the scale until you really start to be aware of the difference in sound and feeling that the blue note adds. The next thing that I want you to do is to then start meandering across the scale while experimenting with the blue note.
The point is to simply get your mind and your hands used to including the blues note into the pentatonic scale. But if you use the blue note as a transitioning note between other notes in the scale, this can result in a pretty interesting sound. The first exercise that I want you to work on in this lesson is to take all 5 positions of the A minor pentatonic scale, and meander across them while adding the blue note.
This is also called a raised 2nd or a flatted 3rd. The second exercise that I want you to work on for this lesson is to first meander across the 5 positions of the A major pentatonic scale, while incorporating the blue note into your passages. Once you feel confident that you can point out all the blue notes in all 5 positions of the A major pentatonic scale, I want you to move onto meandering across other major pentatonic scales while adding the blue note. Now the great thing about the minor pentatonic scale is that it can be used in a thousand different ways to express different emotions and feelings in a particular solo or lick.
And one of the best ways to go about doing this is by combining various notes of the minor pentatonic scale with notes from the major pentatonic scale.
The third exercise that I would like you to work on for this lesson is to practice ascending and descending using the minor and major pentatonic scales, in an alternating pattern for 5 minutes each. So for example, for 5 minutes practice ascending with the minor pentatonic and descending with the major pentatonic:. And then for 5 minutes practice ascending with the major pentatonic and descending with the minor pentatonic:. For the first part of this exercise what I want you to do is to practice meandering combining the 1st position of the A minor pentatonic and 2nd position of the A major pentatonic.
Do this to a metronome , while using pauses and stops, to create more melodic passages. The point of this exercise is to make you familiar with smoothly switching between notes from the minor pentatonic and the major pentatonic, while also improving your intuition of when to use notes from the minor pentatonic and when to use notes from the major pentatonic.
Another thing that I want you to start working on with this exercise is to start incorporating various techniques like string bending hammer-ons and pull-offs in your meandering. For example, in the first layer you should be able to see all the notes across your fretboard and in the second layer you should be able to visualize all the minor pentatonic and major pentatonic scale positions across the fretboard.
And then in the next visual layer you should be able to see where your blue notes are located, and etc. Hammer-Ons, Pull-Offs and Vibrato are all important techniques to learn if you ever want to play leads, or be able to embellish your music, even when just strumming chords. These techniques are used in just about every type of guitar music there is.
What Is a Scale?
This comes with practice. A Pull-Off is just the opposite of a Hammer-On, and they are used together frequently. Again, it comes with practice. One of the best ways I know of to practice these together is to Hammer-On on the G on the 6th string, and then immediately Pull-Off to the open E, 6th string, and repeat it.
You can go back and forth between those two notes forever, without ever touching the string with your right hand at all.
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Now you know how guitar gurus like Stevie Ray Vaughan, and Angus Young get those screaming, powerful lead riffs. Bending a note is simply pulling down or up on a string while you fret the note, in order to slide it sharp, then back down again to the original note, sort of like a steel guitar slide.
Vibrato is simply a variation of bending technique in which you bend the note ever so slightly, then return it to the original pitch, and repeat it rapidly to create a wavy-sounding dynamic.
It takes a little time to do, so it is usually added at the end of a line, or phrase. Vibrato adds incredible depth and character to your leads, and it is something you definitely want to learn. Sliding into and out of notes is also an important technique that you will use a lot.
The best way to make a clean slide is not to rush it. These techniques only work when they fit the music. And by now you should also have a basic feel for moving around the fretboard in a specific key, to a metronome, while paying attention to your phrasing and melodic sensibility. Now if you're fluent in your pentatonic scale knowledge , by this point you should know that the notes that we play in the A minor pentatonic scale A C D E G are the same as the notes in the C major pentatonic.
Whether the scale sounds more in the key of A minor or more in the key of C major depends solely on the notes that we choose to emphasize when soloing in this pattern. Now while the box shapes are great for navigating the fretboard, there are several advantages to familiarizing yourself with this spread fingering shapes:. The exercise I want you to work on now is to meander across the C major scale to a C major jam track. You see, when it comes to playing truly great guitar solos knowing all these scales and simply playing up and down them is pointless.
FreeHand Guitar Method: The E Blues Scale Sheet Music by FreeHand
The last area of knowledge that I want to touch on in this series is an extremely useful area of music theory called " modes " here a tool specifically conceived to help you understand modes on guitar. And whenever we are in a major key, the I, IV and V scale degrees are always major, the ii, iii and vi scale degrees are minor and the vii chord is a diminished. They are:. The second exercise that I would like you to work on for this lesson is to familiarize yourself with the seven modes and being able to quickly recognize which key someone is playing in when they call out a specific mode.
Step 1 — Practice and memorize the 7 spread fingering positions of any major key. You can start off with the G major scale and you can use the scale finder tool to familiarize yourself with each seven possible shapes of the scale. When doing this pay particular attention to the 7 scale degrees of the scale and corresponding chords. When meandering over this chord progression work on emphasizing the A notes on the G major scale. The first exercise that I want you to work on this week is to meander over a simple jam track , either in the key of C major or A minor and experiment with adding these notes to your pentatonic.
You might also notice that sometimes adding these two notes and playing through the entire diatonic scale can sometimes sound a little too straightforward and melodic, so what I really want you to work on is to get a feel of when to add these notes and when to stay away from them. A good starting point that you can check out is my free guitar scale eBook which has over 84 guitar scales and arpeggio patterns , with various fingering shapes, that you can use to bolster your theoretical knowledge of the fretboard.
If you are already a free member of this site , you can download the ebook from your personal download area as usual you should have received the link in your welcome email.