Major Pentatonic Scale Solo

Lawnranger,

I would suggest you do a Youtube search for Blues Techniques, there are literally thousands of good videos out there on the topic.  You will get much more understanding from hearing and seeing the different approaches. 

 I would usually use a mixed Blues Scale approach combining the major and minor scales when playing the blues.  Don't forget the "Blue Note" which is the flat 5 of the scale.  Regarding your question about what to do for the D, do the same thing you did for the A chord, only up 5 frets.  In the key of D I might play a Dm Pentatonic/Mixed Blues scale, an Em Pentatonic or an Am Pentatonic.  I might also throw in a Bb Melodic Minor scale which sounds pretty cool over a D chord in the Blues..  Over the A chord, play a Am Pentatonic, Bm Pentatonic, Em Pentatonic, or F Melodic minor on the way back to the root (A).


Regards

First off do we agree that "music theory" is a method by which lesser musicians "explain" the creativity of (I hate to label it thus) "better" musicians?
What Danny says is "spot on", meaning "feel" it, don't "think" about it.
BUT, "drilling" scales will create the necessary muscle memory required to play "spontaneously"; at least that has been my experience.
As far as "blues scales" are concerned, I tend to solo (we are talking basic I IV V major key here) with what I refer to as the "advanced" blues scale:
I II bIII IV V VI bVII. I'm not a huge bV guy, usually only "sliding" through it; just me.
I do however, NEVER, dwell on the bIII without pushing it slightly sharp.
This is a technique I learned from Clapton and especially Beck.
Speaking of Clapton, "study" his solo's, and I think you'll find (Live Crossroads is a good example, his tribute to Albert King, Strange Brew, is another) he's playing in A the whole time. At least that's how I interpret it.
I like the II and VI across the IV chord, and if I was to "study" my playing across the IV, perhaps it could be interpreted as a "scale" change.
The II and VI are what I think of as the "sweet" tones. I think BB uses them frequently, maybe where I picked it up...
Just my "take" on blues soloing.
If I'm going good, and NOT thinking, I will take "scales", or "riffs" if you like, and create things spontaneously that I've never played before.
I've had to "learn" more than one "riff" from tapes of myself.

HTH

the ultimate idea is, for the player to practice 'scales' to the point, where they can be deconstructed in any manner, and re-created to voice the melody in your head.

there is no point in rote memorization of scales, except to get to the end result.

at that point, you stop thinking, and simply play.

Got to agree with DD and Bat....

Kind of like Jazz... you can't play the blues (or jazz) if you have to think about it.... you gotta feel it.

The great thing about blues is that you can freely move in and out of the pentatonic scale, as long as you keep that your home. Work the blue notes!

Flat 3rd (minor third)
Flat 7th (dominant seventh)
Flat 5th (the devils note)

In my own playing, I don't usually stay on these notes directly, I'll bend in and out of them to create the mood.

Back in the 80's I read a guitar player magazine article with Mark Knopfler. In that article he claimed the most magical place in the scale is between the minor & major 3rd (he actually likened it to an orgasm). Although he is not known as a blues guitar player he is very soulful, and works that spot tirelessly in almost every solo he plays.  (EDIT: DeeringAmps makes note of this very technique a few posts above in reference to pushing the flat 3rd slightly sharp as per Clapton and Beck)

Another great bend that will throw a twist into any blues solo (any solo for that matter) is hitting the #5 and bending it a half step to the 6th. When playing over an A chord, this would be a bend from F to F#. Don't hold it long, just fly through it (half bar at most) and watch the crowd squirm, and every musician go "WTF was that?" That bend is courtesy of the great Roy Nichols, but he likely stole it from Django

OK.  That's consistent with what I posted.  Just to make it extra clear for the group, if a dominant 7th chord is functioning as a V7, you can use the ascending melodic minor scale a 1/2 step above the dominant.

For example, in the key of C, the V7 - I chord progression is G7 - C major (or C minor).  So on the G7 chord you can play Ab ascending melodic minor scale.  This gives you a lot of the altered tension notes (b9, #9, b5, #5).   

Chappel,

Funny stuff.......  but why would you quit drinking?     All kidding aside, you probably wouldn't want to base an entire solo on this approach but it does add some nice color during transitions.   The video link above that has Larry's description sheds light on when and how to use the technique. 

Regards  

 I agree with Danny and bat up to a point. But for an inexperienced player, it's a oood idea to learn those basic scales even if only to have a frame of reference from which to stray. Sure, you're going to learn to use those off scale notes, or to implement more exotic scales, and to figure out that you can use any note in some context because it what sounds right. With those basic scales in hand, and learning to use them to play over the chords, you have a springboard to go where no guitarist has gone before. I think lawn is on the right track.

mcourter


 I agree with Danny and bat up to a point. But for an inexperienced player, it's a oood idea to learn those basic scales even if only to have a frame of reference from which to stray. Sure, you're going to learn to use those off scale notes, or to implement more exotic scales, and to figure out that you can use any note in some context because it what sounds right. With those basic scales in hand, and learning to use them to play over the chords, you have a springboard to go where no guitarist has gone before. I think lawn is on the right track.

Agreed, but keep in mind....he mentioned playing over 12 bar blues. If you get too scale oriented, you're toast. It's good to know some theory, but you also have to rely on your heart or it's not blues anymore. Sure it's all scales at the end of the day, but it's in the expression you deliver as well as not making something sound like a scale you learned out of a book. I've played for 32 years without any theory knowledge other than basic stuff and I have a pretty good ear. The thing I like best is what I don't know that I figure out on my own. If I knew the scales or analyzed a backing for everything I played, I definitely believe I would sound more mechanical. You can learn every scale known to man....it's all useless if you don't know how to phrase. I learned to phrase from copping lead vocal lines from popular songs on guitar before I knew a single scale. I like to listen to something, and hum a melody over it and then learn to play what I hummed. Most times, a good melody doesn't follow a set scale pattern...it jumps all over the place. Blues phrasing can't be taught. If you DO try to teach it, it's just a cop of someone else's feel. Blues is all about emotion and living a mood or feeling. If you can't feel it on your own and you can't phrase, any scale you play will sound meaningless and "for the sake of playing in key".
 
Now for other stuff, yeah, scales and theory are definitely important...but then again, it depends on the individual. I'm happy I don't know more theory. Most of the guys I know that know loads of it sound like robots that worry more about all the modes and crazy stuff than coming up with a catchy melody that has something to say with the right phrasing.
 
-Danny 

I'm not a guitar player, so I'm not terribly familiar with its idiosyncrasies,but the physical reality of mastering any instrument requires a deep knowledge of its rudiments. As the guitar is a fully capable chromatic instrument, that means you should be able to play all the various scales and arpeggios as well as the average qualified clarinet player, violinist, pianist, etc. With all the abundance of educational material available these days, there is simply no excuse for not having a command of the basics. I'm tired of the BS of "I play emotional whole-notes that have soul and those other guys who can play eighth notes are robots". The more deeply skilled you are at playing your instrument, the greater the chances are of you being able to communicate whatever you want out of your instrument.

jsaras


I'm not a guitar player, so I'm not terribly familiar with its idiosyncrasies,but the physical reality of mastering any instrument requires a deep knowledge of its rudiments. As the guitar is a fully capable chromatic instrument, that means you should be able to play all the various scales and arpeggios as well as the average qualified clarinet player, violinist, pianist, etc. With all the abundance of educational material available these days, there is simply no excuse for not having a command of the basics. I'm tired of the BS of "I play emotional whole-notes that have soul and those other guys who can play eighth notes are robots". The more deeply skilled you are at playing your instrument, the greater the chances are of you being able to communicate whatever you want out of your instrument.

Who said anyone had to master an instrument to play with a little feel while not relying on specific scale patterns? I know guys that know all their scales and arps that can't say a single thing emotionally on an instrument. They get too involved with the math and the rudiments to learn how to actually use them. How much theory do you think BB King knows? If he knows more than a pentecostal scale, it makes me wonder why I've never heard anything else but pents from him. Some would consider him a master of his instrument. Whatever the case, he's an innovator and a master of what he does. Look at Eddie Van Halen...he's no theory monster. He doesn't even know what he plays half the time. Master of the instrument? In his own way...definitely...innovator...without a doubt.
 
Now lets look at a player like Tommy Emmanuel. Theory genius that learned how to use it and can be so melodic, you don't know what the heck he's playing. Could all that be usefull for a blues solo? Maybe...maybe not. I'll tell you this though, I'd much rather listen to David Gilmore or Eric Gales that aren't theory buffs play the blues before I'd enjoy someone with a boat load of theory trying to play it.
 
Yngwie Malmsteen, John Petrucci...killer players that have shown both technique and feel several times. However, the majority of their solos sound like a math equation and sometimes lose a listener with "tech for the sake of tech." Mind you, I don't know the theory those guys know but I can play all that stuff when I need to. A solo is just a solo if there is no meaning behind it and it's a show of techical prowess. The one's that are melodic that also tell a story are the ones commons folks can sing along to and play air guitar with as they sing the solos. Gary Moore had it down for melodic blues. Anyone with massive amounts of theory would have made "Still Got The Blues" sound like "Look Mom No Hands". 
 
As for you not being a guitar player....that sums it up and I don't mean that sarcastically. If you can't walk in a guitar players shoes or experience it yourself first hand, you'll always be on the outside looking in with your theories. You can listen to and mix 3000 bands. It will not teach you a thing about guitar unless you live it yourself and see how much phrasing is important moreso than any scale you could learn. Theory is important too, I'm not downing it...but when you analyze a progression before you have even tried to sing a melody over it because you are thinking about what scales can be used over the backing, you've already lost in my opinion as well as my experience. Some can play that way...but the majority of those I've heard do it, sound like they are playing scales to me, not painting a melodic picture or making the solo "icing on the cake".
 
-Danny

Danny, in jsaras' defense, I don't think your musical philosophy can be restricted to guitar; it applies to any instrument.

Danny, I really liked your thoughts (because I think the same way, too). 

- So you want to play a solo. 
- What note should I start with?
- Why even play a note? What do you want to say with it? Why break the silence?

I read something like this from a jazz primer decade or two ago. I actually stopped thinking it! Do I play some notes on the scale and listen what I did or do I first make a little melody in my head and try to play it with my fingers?

-Panu

Just went back and reread all the posts. I really enjoy the conversations. I don't have a great ear so I am going to use the practical approach and use some scales and the great tips given by some of the entries. I am also going to use the inspiration from the other half of the posts to experiment and be creative. Thanks one and all! Wayne

When I have an area in a song that I might want to apply a solo; I typically sing several "guitar solo's" out loud before I even pick up the guitar.  Once I kind of have the voicing going in my head, I go find it on the neck.

After some practice, it almost happens on its own, with out singing out a "guitar solo" before hand.  It becomes more instinctive, that what you are hearing in your head, your fingers are moving to on there own.