icons of rock lead-guitar

8/12/2019 Icons of Rock Lead-Guitar

1/40

Lead Guitar:

This half of the course covers the basic stuff youre going to need to play solos,

lls, and, most of all, to understand why youre doing things as you do them. I nd

a lot of my students walking in able to play certain things by rote, like a monkey

doing a trick, but having absolutely no idea whats behind the trick. Get through

this material and youll be able to add onto the things youre playing and explain

why youre doing it.

Another huge problem with intermediate students is being stuck in Position One.

If youve been playing for awhile, youll play position one in this book and go A-HAAAA! I know that sucker! Its easy to play, its fun, and its really, really easy

to get stuck in. People are afraid to break out of that four-fret box. This course

will show you how to continue your ideas anywhere, up and down the neck, in any

key.

Most importantly, Ive tried to present this material in an easy-to-follow, fun

format. If Ive done my job, youll be able to appropriate ideas from these tunes

(appropriate sounds SO much nicer than steal, dont ya think?) and make them

your own, so other players can steal em from YOU. My private lessons are known

as the fastest half-hour on the planet. Hopefully, that feeling will translate well

onto the screen and the printed page.

OKenough talk. Lets pick..


2/40

Shape 1 (Em Shape):

Basic Em Pentatonic Scale:

Try to get a hook on this scale by thinking of the open strings just behind the nut

as kind of a visual straight-lined axis. Starting with the open sixth string, go up 3

frets to the next note. Go to the next string, play it open, and go up two frets. Look

at the notation; the pattern goes like this:

Memorize this pattern; it will become extremely useful to you as you move into

the next series of scale patterns in different keys.

Make sure to use the correct ngering, and keep things slow. I cannot stress this

enough; play these exercises really, really slow at rst, with emphasis on your left

hand ngering being clean and crisp.

Use downstrokes at rst (pick away from you). Youll be using alternating down

& up picking for more speed later.

Keep your left hand thumb at on the neck; dont grab the neck like a baseball

bat. Use the ngerTIPS on your left hand rather than the sides of your ngers, and

your notes will be clean, crisp, and condent sounding.

Look at an Em chord. Notice how 3 of the 5 notes of the Em pentatonic scale

form the chord shape. This is an important concept that will make it easier for you

to nd scale notes all over the neck.

E G A B D E G A B D E G0 3

0 2

0 20 2

0 3

0 3


3/40

The Em Pentatonic Scale with b5 added(The Blues Scale):

A diatonic scale is a full seven-note scale. In an Em diatonic scale, the fth note is

a B. (In our Em pentatonic scale shape, the B is found at the second fret of the fth

string and at the open second string.) The b symbol is a at sign. When you at

a note, you lower it by a half step. (A half step on the guitar is one fret.) So, if B

is at the second fret of the fth string, Bb would be at the rst fret of the fth string.

The other Bb would be at the third fret of the third string.

When you add the b5 (at ve) to the pentatonic scale, you add a note that is

very bluesy sounding. If you think of the pentatonic scale as a musical stew, the

at ve note is another spice to throw in. It can be sexy, aggressive, or downright

unsettling and ugly; it depends on how often you use it, and what other notes you

use it with.

Practice these scales daily. By doing them over & over, you will get them under

your ngers more quickly. Play them as steadily as possible, and rememberslo-

o-o-ow is go-o-o-od! Use the metronome to keep you steady and to gradually

increase your speed in a methodical manner.

Practice the blues examples to see how to use the scale notes as melodies.

Then, try making up your own melodies using the two scales. Try holding certain

notes for a long time, and picking other notes more quickly. Experiment, be

fearless, have fun! When youre playing solos, you dont want it to sound like

youre just playing scales. The scales are tools for you to help nd the sounds thatother players make and the sounds that exist in your head.


4/40

Basic Em Pentatonic Scales:

Em Pentatonic Scale

3

2

2

2

3

3

Em Pentatonic Scale w/b5 ("Blues" Scale)

3

1

2

2

2

3

3

3

1st Em Pentatonic Lick

Em Pentatonic Lick #2

Em Pentatonic Lick #3


5/40

Em Pentatonic Blues:

The marking at the left hand side of the title on these pieces is a metronome

setting. It shows a quarter note symbol, followed by an equals (=) sign, followed by

a number. On this piece, its telling you that you are counting at 120 BPM (Beats

Per Minute.) It would be a good idea to start slower than the suggested BPM. 120

BPM is the suggested performance tempo (speed); the learning tempo is up to

you. I have found that by taking the song at a much slower speed when in learning

mode, I am able to get my muscle memory together much more quickly.

I didnt add left hand markings; just use your rst nger at the rst fret, second

nger at the second fret, etc., etc., etc.


6/40

Em Position 2 (Dm Shape):

Position 2 is directly connected to position 1. I call it the Dm shape because the

body of the scale is very similar to the Dm chord shape. If you use your rst nger

and barre the strings and then create a Dm chord shape with your other ngers

you will see most of the notes used to create position 2.

Em Position 2 (Dm Shape) With Extension: 2 5 2 4 3 5 3 5 3 5 3 4 2 5 2

3 5

2 52 5

2 4

3 53 5 3

5 3

4

2 5 2 5 25 3


7/40

Slides, Hammer-Ons & Pull-Offs:

A great deal of learning these techniques is visual, and the DVD is indeed going to

be a huge asset.

SLIDES The main problem with sliding in the beginning is over or under shooting the

note youre aiming at, especially with slides that are several frets apart. Again,

be very slow and careful in the beginning, and eventually that muscle memory will

take over.

If your strings are dirty or sticky, or your ngers are unusually dry, it can be hard

or sometimes actually painful to slide. (I have seen people actually get cut while

attempting a slide on a particularly gross, rusty set of strings. Try explaining that to

the case worker at Workmans Comp.) You can lubricate your ngers by using the

oil at the sides of your nose or between your eyebrows. (See, you always knew

that stuff would come in handy someday!) There is also some great stuff called

Finger-Eze that you spray on your strings. Its kind of like PAM, that stuff you spray

on cookware so food wont stick, except for guitars. I always carry some in my

guitar case.

HAMMERS

Remember; its a HAMMER-on. Bring that nger down assertively; it needs

to be as loud as the picked note that precedes it. Thats especially important on

the slow/rhythmic hammers, and even more important if youre doing hammers in

conjunction with pull-offs.

PULL-OFFS

Again, remember the name; its a pull-off, not a lift-off. If you just kind of wimpily

lift your nger up off the string, youll getnothing, a sort of ghostly approximation

of what you need. Pull slightly away from yourself; you should really feel the string

dig into your nger. Youll hear the difference. It needs to be as loud as the note(s)

that precede or follow it.


8/40


9/40

Get the Hook!

This tune was inspired by one of my heroes, John Lee Hooker, AKA The Hook.

This has long been a huge favorite among my students, and I hope you have a

good time with it as well.

Listen very carefully on this tune. It has a kind of a blues shufe feel to it, which

I demonstrate on the DVD, and its important to the groove, or feel, of the song.

The shufe feel is indicated on the tab next to the tempo marking. There, in

parentheses, is a pair of eighth notes, with an equal (=) sign, followed by a quarter

note & an eighth note with a triplet sign over it. (A triplet is three notes played

evenly over the space usually occupied by two.) Note pairs are played with the

rst note being slightly longer than the second; again, listen carefully on this one.

The left hand ngerings are, as with much of the ngerings in this project,

suggested ngerings. If you have something that works better for you, go for it. A

lot of this tune is open for interpretation. However, on the answer part on the low

strings in the second measure, use your rst and third ngers. A lot of people try

using their second and fourth ngers, and its much harder, clumsier, and doesnt

sound as good.

On the triplet pull-offs starting in measure 13, I use my rst and second ngers

to do the phrase, as Im able to be aggressive and clean at the same time. You

really want that pull-off to be crisp and quick; if your second & third ngers get the

job done better for you, go for it! Measure 23 combines hammers & pull-offs to a

nice effect. The power chord stuff starting at measure 26 really relies heavily on

the shufe feel; again, rely on your ears to play this part correctly. You can use

all down strokes or down & up strokes to make this part groove right; try it both

ways.

Take your time on this one. There are some challenging passages, but when its

all done and ready to play, it rips! Its a great piece to whip out when people at a

gathering say, Say, you play guitar, dont you? thats when you.Get the Hook!


10/40

Get The Hook!

E5

----1-

G5

----31

A5

5

----31

A5

---1--

C5

---31-

D5

5

---31-

B5

---31-

E5

7

---31-

2

sl

2

2

E5

----1-

G5

----31

A5

5

----31

A5

---1--

C5

---31-

D5

5

---31-

B5

---31-

E5

7

---31-

2

1

3

E5

----1-

G5

----31

A5

5

----31

A5

---1--

C5

---31-

D5

5

---31-

B5

---31-

E5

7

---31-

sl

E5

----1-

G5

----31

A5

5

----31

A5

---1--

C5

---31-

D5

5

---31-

B5

---31-

E5

7

---31-

3

3

2

2

1

3

sl

3

2

2

2

2

sl

2

sl

2

P

1

p

1

3


11/40

sl

P

p

2

2

2

p

1

p

sl

P

p

3

sl

1

2

p

1

p

2

2

2

h

2

p

1

p

1

1

E5

G5

A5

E5

G5

A5

E5

G5

A5

E5

G5

A5

A5

C5

D5

A5

C5

D5

E5

G5

A5

E5

G5

A5

B5

D5

E5

A5

C5

D5

E5

G5

A5

E5


12/40

First Lead Position (Em Shape),Different Keys:

When you play an F major barre chord at the rst fret on the guitar, what you are

actually doing is taking the E major chord shape and then using your rst nger

behind the chord as a kind of esh-covered capo to move the entire chord up onefret. The sixth string is your reference point, telling you where the root note (the

name of the chord) is.

We discussed how the rst pentatonic position in the key of Em is physically

based on the shape of an Em chord. The same thing is going to happen as we

move the scales up and down the neck. With the Em scale, we have a parallel

line representing the open strings just behind the nut. Starting with the open sixth

string as your rst note, you go up 3 frets to get to your next note. Then, you go up

two frets on the fth string, two on the fourth, two on the third, three on the second,

and 3 on the rst. The same thing happens as we move up to the key of Fm. We

now have a parallel line on the rst fret. We start on the rst fret of the sixth string,

and then go up to the fourth fret (a distance of 3 frets) to get to the next note. We

then follow the exact same pattern that we did with the Em shape; starting with the

sixth string, it goes:

STRINGS 6th 5th 4th 3rd 2nd 1st

FRETS 3 2 2 2 3 3


13/40

The pattern stays exactly the same as you go from key to key, so that once

your ngers have learned what to do in one key, they know how to do it in all 12

keys. There are four other minor pentatonic positions, and this same positional

approach works for all of them. Its very important to get these patterns under

your ngers as quickly as possible by practicing these shapes every day. They

are all interconnected, and once you get them down, you will be able to play these

scales everywhere on the neck. There is no substitute for constant practice of

these scales; the sooner you learn them, the sooner youll be out there shredding

with the big boys!

Shape 1 (Em) Different Keys:

1

Fm Pentatonic Scale

4

1

3

1

3

1

3

1

4

1

4

1

4

1

3

1

3

3

3

1

4

1

Gm Pentatonic Scale

Am Pentatonic Scale


14/40

Blues In A:

So far, weve been treating these scales as exercises, playing the notes in a very

methodical manner, playing (hopefully!) as steadily and as cleanly as possible.

Now, were going to start grouping these scales into musical phrases. Instead of a

xed line of quarter notes or eighth notes, now the notes will have ebb & ow, room

to breathe. Although these early solos are very simple and short, pay attention to

some of the concepts they contain. In measure number four, for instance, there

is a whole note rest where the lead guitar doesnothing. Thats right, you kick

back and let the rhythm guitar do all the work for four beats. Dont feel like you

have to constantly ll space with your newly-learned notes. Think like a singer, or

a sax player. They have to stop and catch their breath occasionally, and it adds

humanity to their music. Try that same concept with your guitar solos.

Youll be amazed at how far you can take these simple scales with a little time,

taste, practice and, above all, imagination!

Blues in A:

A

D

A

D

A

E

D

A


15/40

Solo Over Power Chords:

This solo is over three basic power chords. Power chords are two note chords, or

diads, that are found everywhere in rock, blues, and pop music. They are simple

to play, and extremely useful musically. Because they are neither major nor minor,

you can play major OR minor scales over them. They are usually called 5 chords,

as in C5 or A5, because they consist of a root note and the fth note in the scale

of that root note. For instance, C5 consists of a C and a G note. You start at C, and

go up 5 notes.C, D, E, F, and G. As youll see later, you can double these notes

at different places and make power chords that use all six strings. (AC/DC are the

kings of ginormous power chords.)

In this solo, I start with a phrase that resolves with a whole note on the root in

the fourth measure. I start the same phrase in the fth measure, but I resolve it

differently, setting up a dynamic build-up utilizing high notes to create tension. I

also use eighth notes starting in measure ten to add more texture to the solo along

with the high notes. (When you play those eighth notes, try using down and up

picking. Itll help you achieve speed and smoothness. Try practicing your scales

using the down/up picking technique as well.) I end the solo using a phrase similar

to the one I started with.

Even though this little solo is short and relatively simple, I tried to make a musical

statement with it. Try to do the same thing with your solos, even at this early stage

in your playing. Sometimes just repeating the same note over and over can be

an effective way of creating tension within a solo; check out Neil Youngs one-note

beauty on Cinnamon Girl. It was a brilliant move, and it was the perfect solo for

that song. Over time, youll learn when to dazzle your audience with tsunamis of

hot licks and when to tease em with that ONE perfect note at just the right time.

Youre already on your way..


16/40

Solo Over Power Chords:

A5

5

----31

C5

---31-

G5

----31

A5

A5

5

----31

C5

---31-

G5

----31

C5

A5

5

----31

C5

---31-

G5

----31

G5

A5

5

----31

C5

---31-

G5

----31

A5

A5

5

----31

C5

---31-

G5

----31

A5

A5

5

----31

C5

---31-

G5

----31

C5

A5

5

----31

C5

---31-

G5

----31

G5

A5

5

----31

C5

---31-

G5

----31

A5

A5

C5

G5

A5

A5

C5

G5

A5


17/40

Shape 2 (Dm Shape):

The Dm shape works the same way as in the key of E we worked with earlier. Now

you can use the Dm shape as a base and move it up the fretboard. This exercise

is in the key of A. Moving the Dm shape up the fretboard extends your playing

positions and options.

7 10 7 9 8 10 8 10 8 10 8 9 7 10 7

8 10

7 10

7 10

7 98 10

8 10 8

10 89

7 10 7 10 710 8

With Extension:


18/40

Smoke It!

This piece actually uses three of the 5 lead positions. It starts with position #5, goes

quickly in to position #1, and then to position #2. Try to identify where the changes

take place, and how the ngerings are done so you can use them in making up

your own solos and licks. It is very uncomfortable at rst for players to get out of

position #1 which is kind of the comfortable old couch of lead scale positions. Try

some of these runs in different keys as well, so youll feel more condent in using

them.

There is no chord on the rst measure; that opening run, done in the fth position,

leads into the rhythm. (Also, watch the count on that run; it starts on the second

half of the rst beat and-2-and-3-and-4-and). That transition from position #5

to position #1 allows for lots of great slides that ordinarily would never be possible

when using our old four-fret buddy, #1 (specically, check out the very rst run in

the song. Try using it in different situations.). Likewise, there is a cool transition

from position #1 to position #2 in measure 5 that allows you a smooth entre to the

bends & licks that position 2 allows us to do.


19/40

Smoke It!

3

A

1

3

sl

1

3

3

sl

3

1

2

sl

2

1

3

1

3

D

3

1

3

1

3

sl

3

sl

3

A

3

p

1

2

sl

1

3

h

E

1

3

sl

1

3

1

3

h

1

3

sl

1

3

1

3

A


20/40

Shape 3 (Gm Shape):

The Gm shape is a little harder to visualize. It is loosely based on the Gm chord.

Take your time with these shapes and practice them in other keys. Simply keep

the same shape just move up or down the fretboard to play in other keys.

w5

3 5

2 5

2 53 5

3 5 3

5 35 2

5 2

5 35


21/40

Bends:

You can often tell who the guitarist is by the way they bend the notes. Bending is

generally used in half and full steps. The best way to check for sonic accuracy is

to play the note you want to bend and then play up a half step. Bend the rst note

until it matches the pitch of the half step note to which you are bending. For a full

step bend play the note two frets or a whole step up to nd the nal pitch to bend

to. On the 1st-3rd strings bend up towards the ceiling, and the 4th-6th strings bend

down towards the oor. When you bend the note your nger will touch the next

string. Use the esh of your nger to mute the next string as you touch it to prevent

you from creating unwanted noise. Check out the DVD to see and hear examples

of bending notes properly.

b (Half-step bend )

full

b (Full step bend )

full

b (Full step bend )

b Bend & Release

full

b Bend & Release 2

b

p

Bend/release w/Pull off

full

b

More bends...

full

full


22/40

Shape 4 (Cm Shape):

This shape is roughly based on the Cm chord. This example is in the key of A this

time playing the A or root note on the 12th fret.

12 10 12 9 12 10 13 10 12 10 13 10 12 9 12 10 12

10 12

10 12

10 12

9 1210 13

10 12 10

13 1012

9 12 10 12 1012 10

With Extension:


23/40

Sneakin Up on Molly

This song involves all the techniques weve covered so far; slides, hammers, and

LOTS of bends, both whole and half-step bends. Those rst half-step bends are

pretty easy, but watch out when you get to measure #4. Theres a whole-step bend

followed immediately by a 2-string barre, followed by a quick slide that goes all the

way up to that A note at the 10thfret of the second string. It all happens really fast.

I use my second nger to do the whole step bend, sort of roll my rst nger over

to hit that barre, and then my third nger is ready to fall in on that slide to the 10th

fret. This is a really common blues/rock run, and its a great arrow to have in your

quiver of licks.

Measures 9-14 give you an example of the comfortable ngering access that

position #2 allows you for doing Clapton/BB King type bends up there on the neck.

In measure 15, WATCH THE FINGERING CHANGE! You switch into position #3,

which allows for some bends using the root note (measures 17 & 18 are perfect

examples) that allow more chance for throbbing vibrato and meaty expression

than doing the same bends on the rst two.

Please, take your time on getting these bends down. Check the notes for pitch.

If theres a half step bend on the 7thfret of the third string, play the 8thfret on the

third string to check your pitch. A lot of checking out your bends involves listening

with your ear. Play these exercises with a backing CD or another guitarist. Having

those chords behind you will keep you harmonically honest. A whole-step bend

bent too high or too low will be really obvious with the correct chord behind you.


24/40

Sneakin Up on Molly

A5

--11--

C5

--431-

D5

3

--431-

A5

4411--

C5

41--3-

D5

421---

3

A5

1

3

A5

--11--

C5

--431-

D5

3

--431-

A5

4411--

C5

41--3-

D5

421---

C5

A5

--11--

C5

--431-

D5

3

--431-

A5

4411--

C5

41--3-

D5

421---

D5

A5

--11--

C5

--431-

D5

3

--431-

A5

4411--

C5

41--3-

D5

421---

full

2

A5

3

sl

A5

--11--

C5

--431-

D5

3

--431-

A5

4411--

C5

41--3-

D5

421---

A5

C5

full

full

3

D5

1

3

1

3

1

full

3

A5

1

1

1

3

1

3

sl

1

3

3

1

3

3

C5

3

1

full

3

D5

3

p

1

3

1

2

A5

3

1

2

1

3

1

3


25/40

3

sl

3

1

3

1

2

1

full

2

1

full

2

1

full

full

3

3

1

3

1

3

1

3

3

1

3

1

3

1

3

3

1

3

sl

3

1

3

1

2

sl

1

3

1

4

3

1

3


26/40

Shape 5 (A minor):

Look at an Am chord. Notice how 3 of the 5 notes of the Am pentatonic scale form

the chord shape.

12 15 12 14 12 14 13 15 12 15 12 15 13 14 12 14 12 15 12


27/40

Five Main Minor Pentatonic Positions:

There are ve main minor pentatonic positions. The rst, and most commonly

used one, is the one weve already studied, the Em position. The beginning, or

root note, naturally occurs on the sixth string. It is very important to keep track

of that root note. When we solo, phrases tend to begin and end on the root, as

it sonically denes the key were in. Its a solid, safe place to start and end our

musical thoughts.

These positions are loosely based on chord shapes. Weve already seen how the

rst position is structurally similar to the Em chord shape. When chords are built,

they use a triad, or three note, structure. All three of the triad notes tend to be

where phrases are begun and ended upon, as they dene the key were in. (They

are referred to as the I, III, and V notes, using roman numerals for 1, 3 & 5.) I want

you to be very aware of the location of the root note in all of these positions, as they

link the different shapes together.

For instanceI call position 2 the Dm position, as it has its structural basis in a

Dm chord shape. If you took a Dm chord shape and moved it up to where the rst

nger was on the eighth fret, youll have an Am chord using a Dm shape (your root

note would be on the seventh fret of the fourth string.) Position 3 is loosely based

on a Cm shape, position 4 an Am shape, and position 5 a Gm shape. (By the way,

the Cm and Gm shapes are virtually impossible to play as actual chords; I just use

them as ways to keep track of the triad positions.)

Keep very close track of where those root notes are located, as those are where

you can launch into the next position, which will carry you from one shape to

another. When Im in the key of Am, use the seventh fret of the fourth string as a

springboard to jump from the rst to the second position, which gives me access to

all those cool bends at the tenth fret on the rst string. EEEEE-hah! That root note

at the tenth fret on the second string also allows me access to the third position,

with all its wild bends on the second and third strings. The quicker you learn the

positions, the quicker you can get out of that boring rst-position ghetto.


28/40

Experiment with ways of getting from one position to another. The notes on the

bottom two strings in the second position allow you nice access to the third position,

for instance, which allows all kinds of neat slides that arent possible in the rst

position. Each position has its own set of tricks. Experiment! Go crazy! One of thereasons youre using this course is to get out of your comfort zone. Try to identify

how Im using transitions in some of the tunes and use them to create your own

ideas. Look for and identify these positions when youre guring out solos by other

players. Analyzing other guitarists brains is a great exercise!

So.when dealing with these positions, here are some important things to

ponder:

Make sure you know where the root notes are on each position! That will help

you know how to transition from one scale position to another.

Pay close attention to the suggested left hand positions! Its extremely important

in places like the second position. That third-string-to-second-string transitioning

is crucial in getting you set up to do some of those wicked bends and pull-offs!


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Five Main Minor Pentatonic Positions

1

Position 1, starting on root note (all notes)

4

1

3

1

3

1

3

1

4

1

4

1

4

1

3

1

3

1

3

1

4

1

1

Position 2, starting on root note

4

1

2

1

3

1

3

1

3

1

2

1

4

1

2

Position 2, all notes

4

1

4

1

4

1

2

1

3

1

3

1

3

1

2

1

4

1

4

1

4

2

3


1

3

1

3

1

3

1

3

1

3

1

3

1

3

1

3

1


3

1

3

1

3

1

3

1

3

1

3


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1

3

1

3

1

3

1

3

1

3

1

1


3

1

3

1

2

1

3

1

3

1

3

1

2

1

3

3

3

1

1


3

1

3

1

3

1

2

1

3

1

3

1

3

1

2

1

3

3

3

1

3

1

3


1

3

1

4

1

4

1

3

1

3

1

3

1

4

1

4

1

3

1

3

1


3

1

3

1

4

1

4

1

3

1

3

1

3

1

4

Page 2/2

1

4

1

3

Page 2/2

1

3

1


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Prozackly Blues:

I was listening to a blues band a couple of years ago at a local San Diego night

spot, and at some point they launched into a long, long, lo-o-o-ong minor blues

instrumental whose tempo moved at a glacial pace and whose length could be

measured in geologic time. A song title was born!

I based this short minor blues on the playing of one of my favorite guitarists,

Peter Green, who was the main picker for the early, non-Stevie Nicks version

of Fleetwood Mac. Brilliant player, the master of good taste and tone. This

one is played primarily in position 4, or what I call the Am position because it

corresponds to the shape of that chord. I LOVE this position, because there are

so many accessible bends; check out measure 10, for instance, where you do a

full step bend on the second string and then play fretted note on the rst string. Its

a very cool, bluesy sound that alludes to the sound of a seventh chord. (Try doing

this lick playing both notes at the same time, by the way.)

This one is pretty self-explanatory. Make sure you get those bends all the way up

to pitch, and try to play with some vibrato; it adds that human voice touch to the

proceedings. Play from your heart.


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Prozackly Blues

full

Am

Dm

Am

full

Dm

full

full

Am

full

Em

full

Dm

sl

full

Am


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A Visit to Major Pentatonic Scales

Minor sounds, in general, are sad tonalities (think Metallica). Major sounds are

happy, upbeat (think Allman Brothers on Ramblin Man). Ive tried to keep this

course simple and focused, and Ive found in teaching private lessons that most

of my students want to concentrate on the minor scales, at least at rst. However,

just for fun, I wanted to throw in a major pentatonic riff or two. This song is based

on the fth position major pentatonic scale in the key of A. It uses all the tricks;

hammers, pull-offs, and slides. Its a short piece, but its got some fairly tricky

things happening. Take it slow at rst; you may hear rubber squealing when you

rst take some of those corners on this tune.

Play the A major pentatonic scale this song is based on. Feel familiar? It should;

its the exact same ngering as the rst position Am pentatonic! The A root

note is on the fth fret of the sixth string. As a matter of fact, heres a great little

cheap trick you can use if you want to experiment more with major pentatonics in

your playing without having to work hard! Take any minor pentatonic scale, (take

position one of the Am pentatonic scale, in this case), and move the ngering down

3 frets (from the fth to the second fret). Finger that same scale shape. Youre still

in the key of A, but now youre playing in A major. Cool, huh? You can do that with

any of the scale positions youve learned so far. Go down three frets and, presto!

youve gone from some dark, spooky sonic place to a sunny peach orchard just

outside of Macon, GA. Aint music grand?


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A Major Pentatonic

Southern Style

A Major Pentatonic

3

sl "Southern Style"

A

1

3

1

G

3

1

3

D

1

3

1

A

3

1

1

A

3

G

1

3

1

1

sl

D

1

3

4

A

3

sl

A

1

3

1

G

3

D

1

3

1

A

4

A

1

4

1

3

G

1

h

3

p

1

3

1

1

D

4

1

4

A


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Slap Upside the Head

This tune uses all ve lead positions, in the key of Em. The rst eight measures

mix up the rst and second positions. Measures nine through fourteen use the

third position, and measures fteen through eighteen morph into the fourth shape.

Measures nineteen and twenty hit upon the fth position, and the song nishes

out using the rst and second positions again, but this time an octave higher.

Obviously, playing this a lot will give you a good perspective on transitioning from

one position to another, but try making a copy of the music and labeling exactly

where the changes take place and what position youre in.

I have also provided you with some alternate ways of doing power chords. Some

people mistakenly equate power chords with the standard two-nger-beginning-

of-Iron Man/Beavis & Butthead stuff. It doesnt have to be that way, bubba, as

you can see from the different takes on these simple chords. Use these to make

your rhythm playing more interesting and dynamic without having to buy that new

distortion pedal.


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Blank Manuscript Paper


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icons of rock lead-guitar

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