Last month we explored the concept of interjecting the major third[1] into solo lines based primarily on the minor pentatonic and blues scales. This results in...
Last month we explored the concept of interjecting the major third[1] into solo lines based primarily on the minor pentatonic and blues scales. This results in a chromatic row, from the minor third up to the fifth, which offers tremendous room for melodic experimentation.
In this lesson, we’ll explore that approach further and expand it across multiple octaves. In the key of E, the scale most often used for blues-rock-based soloing is the E blues scale (E G A Bb B D), which is intervallically spelled 1 b3 4 b5 5 b7.
The major third of E is G#, which is two whole steps above the E root. Adding the major third like this results in the note series E G G# A Bb B D, (intervallically spelled 1 b3 3 4 b5 5 b7), with a chromatic row between the minor, or “flatted,” third, G, and the fifth, B: G G# A Bb B.
FIGURE 1 is a 12-bar solo played over a slow blues groove in the key of E. For instructional purposes, I remain in fourth/fifth position for virtually the entire solo. Restricting oneself to a single position like this across an entire 12-bar solo forces the player to make the most of what’s available under your fingers on each string. I begin the solo with a reference to the major third by bending the minor third, G, up one half step to G#.
Keep in mind that G# is a chord tone for the one chord, E7, which is built from the notes E, G#, B and D. Bends like these work well to emulate the human voice, which is a key element in expressive blues guitar soloing. As you play through these initial licks, you’ll find some tricky rhythmic phrasings, so play