This lick is a real showcase of how you can create legato runs using the pentatonic. Predominantly, legato patterns within the pentatonic consist of two-note-per-string pulls and hammers. I like to adopt a combination of this with a wide intervalic approach to add an extra note to the patterns.
This feeling of "hitting a wall" is something we've all gone through as musicians. Our initial reaction might be to quickly slap a Band-Aid over the situation and learn more licks or new scales. Sometimes that approach can help us get out of a slump. But in this situation, are we really addressing the student's concerns? No.
This lick is influenced by Paul Gilbert and Richie Kotzen and incorporates wide fret-hand stretches, string skipping, tapping and legato phrasing. It starts out with a three-notes-per-string A minor pentatonic [A C D E G] flurry played on the A, G and high E strings. To avoid injury, be sure to warm up your fret hand before diving into this lick.
Double stops are a great way to add a new texture to your jazz guitar chord soloing ideas, over Dominant 7th chords as in this lesson, or any harmony you are exploring. Also, they are less demanding technically, so they can juice up your chord-soloing lines at faster tempos when full chord shapes are too tough to grab on the neck.
So you’ve spent time learning some arpeggio shapes. Now what? Arpeggios are a great musical tool that allow you to make melodic statements using harmonic (chordal) information. When playing over chord changes, using arpeggios is the quickest way to navigate your way around them.
Think about the minor pentatonic scale; almost immediately, the mental image of that familiar box shape is probably conjured in your mind's eye. The fact that we can instantly recall various patterns due to their spacial layout over the fretboard is a great thing. But what if we're relying too heavily on existing scale shapes?
When learning how to play jazz guitar, one of the most commonly asked questions is, “How do I add chord extensions to my soloing ideas?” To help answer this question, in this lesson we’ll be looking at an easy, fun and effective way to bring extension notes into your jazz guitar solos — upper structure triads.
Around the release of his eponymous debut solo album, Slash took the time out to show us how to play some of his favorite riffs, both new and old. In the Guitar World video below, Slash talks about writing the classic Guns N' Roses tune "Paradise City." He also shows you how to play the key parts of the Appetite for Destruction track.
With no thirds, sevenths or other notes included in the backing power chords, I have the freedom as a soloist to inject minor or major thirds and sixth and sevenths into my solo lines without them clashing with the chords. In this month’s column, I’d like to focus on two of my favorite scales for soloing that include the above-mentioned intervals: harmonic minor and its fifth mode, Phrygian dominant.