When someone says “guitar lessons," what kind of image does that conjure? I think of the dingy back room of a music store—and not quite enough space to disperse the body odor of the two people in there. And I think about the moment, 10 years later, when I had my own thriving lessons business. One amp, two folding chairs, a little more breathing room. And some air freshener.
In this lesson, I’m going to demonstrate some basic string-skipping patterns. These patterns are easy to link up with your pentatonic scales, and I think you’ll find them very useful for adding some flash into your riffs and solos. I’m going to play them separately at first, and then at the end of the lesson, I’ll string them all together into a chord progression.
Every great rock song has a great riff, be it a single-note melody or a chordal-based sequence, and that's probably what makes it a great song. Like a great frontman, a really good rock riff should have a hypnotic, star quality. A great riff can take you over; you might find yourself playing it repeatedly for ten minutes. There's something about it that makes you want to indulge in it.
When I was starting out as a guitar player, it took me a while to understand the ultimate purpose of playing guitar. During those early years, I had some chops and I knew some theory, but my playing felt like it lacked purpose. That’s because it took me a while to understand that the ultimate purpose of playing guitar, at least to me, was to make the instrument an extension of your own self.
While learning the Lydian scale itself is definitely one way to go when adding a maj7#11 sound to your solos, there’s another common and cool-sounding concept you can explore to bring this sound out in your lines. In today’s lesson, we’ll be looking at how you can apply a major pentatonic scale a tone above any maj7 chord to bring out a Lydian vibe in your jazz guitar solos.