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3NPS (three-note-per-string) scales, as used by legions of guitarists but popularized mainly by Joe Satriani, are one of the most efficient ways to navigate the fretboard and get your scales down IF you follow the guidelines in this book. As the name suggests, a 3NPS scale is any scale that contains three notes on each string, and as you'll see in this eBook, this makes for a very consistent way to map out scales on the guitar fretboard. What we’ve done here is revamped the 3NPS scale system and turned it into an incredibly effective means to learn a wide variety of scales all over the fretboard by streamlining the number of patterns, as well as the picking system. This is not a scale theory book, and contains no pentatonic scales. This is a quick and dirty (and very effective) method for learning 3NPS scales all over the fretboard; something to work on in the woodshed. It will improve your picking technique and speed. It does not require a great amount of thinking as you only need to learn two picking patterns, which is really one in two directions, and only three scale patterns instead of the usual seven per scale.
A lot of students ask me how they can take their improvisation skills to the next level and move beyond pentatonic scales and into modes and arpeggios. My response is to tell them not to abandon pentatonic scales in favor of modes and other soloing devices, but to use them as a springboard and a solid foundation from which to expand their harmonic awareness. If you play rock, blues and even jazz, you’ll be using pentatonic scales for the rest of your life, so there’s no need to discard them! In this book, we’ll be using the much-loved minor pentatonic scale as the basis for learning and having a quick way to access the modes of the major scale, as well as the basic seventh chord arpeggios. This means that when you go to improvise, you'll have a vast array of options with which to go beyond pentatonic soloing. Work through this book daily and I guarantee you a smooth and painless transition from pentatonics to incorporating modes and arpeggios into your playing.
Blues Soloing For Guitar, Volume 1: Blues Basics
This is a soloing system I came up with for intermediate guitarists based on exploring the sounds of blues-rock improvisation which involves minimal theory, while focusing on concepts you can apply to your playing right away. Here we dispense with scales, arpeggios and whatnot in favor of just 3 positions on the fretboard that will allow you to get a wide variety of blues-rock sounds under your fingers in no time at all. This is accomplished by focusing on a handful of intervals rather than endless scales, arpeggios and permutations; in other words, we’re going straight to the good stuff! This book is aimed at intermediate guitarists looking for a practical yet musical approach to blues-rock soloing with concepts and ideas you can get up and running on the fretboard without having to wade through a ton of theory and scale patterns. What’s more, there’s very little to remember as we learn how to connect sounds by starting off with a handful of notes and then navigating the rest of the fretboard with ease by connecting intervals. If you’re a high beginner-intermediate guitarist, I think you’ll like this approach, especially if you’ve gotten stuck in scale patterns/pentatonics and find yourself playing the same things over and over.
Ever since my first guitar teacher introduced me to the music of Allan Holdsworth in the late 90s, it has been an ongoing apprenticeship. I became fascinated, not only with his music, but with his approach to music itself, and the way he thinks about chords, scales and improvisation. Allan’s REH video was a blessing for me as I was able to glean enough insight into his playing to understand the way the great man thinks, and more importantly to begin to apply those concepts to my own playing. I struggled with music theory and orthodox approaches, so when Allan’s beautifully simple way of thinking about chords and scales clicked for me, I knew I had found something that finally made sense. I must admit, I couldn’t play you a single Allan Holdsworth lick, and I wouldn’t want to as the thought of dissecting his music in that way was always unappealing to me. What I wanted to do was get inside his head, grasp his way of thinking about music, and find out exactly how he was able to come up with such intricate yet outrageous lines and compositions. And that is precisely what this book is about. Allan’s playing looks incredibly complicated, and then some, to the innocent bystander, but the approach behind it is incredibly simple and easy to grasp. It’s so straightforward in fact that most players who have attempted to describe what he does completely miss the point. Once you do understand his approach, however, you’ll have a new appreciation for how far he’s taken it, and how far it can go. This book is not for the faint-hearted, but you shouldn’t be put off by thinking that you’ll be getting to grips with a lot of tricky concepts, because you won’t; Allan’s way of thinking is almost childlike in its simplicity, and when you glimpse it I can assure you that you'll be intrigued.
I actually wrote this book as a practice guide for myself because I wanted a way to get different and outside sounds using pentatonic scales, as well as to improve my chops and have a huge variety of new sounds at my fingertips to play over the chords you see 90% of the time such as major/major7, minor/minor7, and dominant chords, among others. As well as being a scales book Alternative Pentatonics is also a method to practice improvising over common chords using uncommon groups of five notes. Five notes are somewhere between an arpeggio and a scale, as well as being the ideal number of notes to craft some really nice phrasing (in my opinion), as I’m sure you realized when you first learned your minor pentatonic scale and started jamming over a 12-bar blues. This book contains 28 new pentatonic scales divided into chord types so that you’ll know exactly what chords you can use them over. For the intermediate player: this book will give you plenty of new and interesting options for playing over common chords and force you out of standard pentatonic scales and/or the major scale modes. For the more advanced player: this book could be more about exploring possibilities than learning scale patterns; in fact, I would suggest that advanced players avoid even remembering the patterns in this book. Instead, they can be used to explore the improvisational terrain and find new sounds, then filed away in your subconscious and allowed to seep into your playing while you’re in the throes of improvisation. So, if you’re stuck in a soloing rut or are looking for new sounds, outside sounds, exotic sounds, or even a few downright weird sounds, this is the book for you.
Have you ever seen those guitarists that sound like they know exactly what they’re doing when they’re improvising? They just seem to hit all the right notes while their playing sounds crisp and melodic, as if they’d planned it all out beforehand, or were born with a God-given sense of melody. I’d always wondered how on earth they were able to come up with such melodic and flowing lines, thinking that they must simply be gifted, or have done some serious woodshedding. Then, during one unforgettable class at music college the door was opened to a method for playing and thinking as melodically and as effortlessly as they did, and this is what I want to share with you in this eBook.
The most complete guide to jazz/blues soloing ever written! This comprehensive book details the sounds, elements, and approaches that make the blues such an integral part of the jazz vocabulary. Moving from blues progressions to fingerboard organization to phrasing, essential blues scales, riffs, lick development, and an array of advanced concepts and devices, including substitute scales & extended super arpeggios are covered. Throughout this process 38 solos, over 100 music examples, and hundreds of licks are featured. Written in notation and tablature.
The art of improvising chord-style solos is an important part of any musician's resources. This book has been written to improve that art for guitar, vibes and all keyboard instruments. A careful study of these solos will give you a thorough understanding of chordal playing and substitutions. It is great for voicing as well as improvisation.