lessons

BEYOND BLUES VOL. 1

In-demand British instructor Levi Clay explores
five genre-busting approaches to playing, from
connecting chords and arpeggios to resolving
tension, using the CAGED system to liven-up solos,
and mastering guide tones and turnaround tactics.

Digital Press
 LEVI CLAY is a London-based guitar
player, teacher, and transcriber. His
unique approach to learning keeps him in
constant demand from students the world
over, and his expertise as a transcriber
has introduced his work to a whole new
audience. For more information, check
out leviclaycom.

premierguitar.com
II PREMIER GUITAR - DIGITAL PRESS LESSONS
 10 Ways to Resolve Your Tension
Chops: Intermediate
Theory: Advanced
Lesson Overview:
• Develop a better understanding of how to resolve your improvised lines.
• Create melodic phrases by combining blues clichés with more modern sounds.
• Learn how to apply the Super Locrian scale to a blues progression.

O
ne of the quickest ways to take your
blues playing to the next level is to
incorporate some of the harmonic
sophistication you might find in jazz-based
lines. This isn’t all-out jazz by any stretch of the
imagination, but at the same time, there’s a little
more to it than straight-ahead blues.
We’ve talked about scales a lot over the last
few years, and we’ve looked at chord progressions
in great detail—now it’s time to put those two
things together.
Essentially, music (and especially jazz) is about
tension and resolution, yet often people only
focus on the tension part—playing outside for
the sake of playing outside. It’s really important
to understand that we only create tension to
resolve it.
The first place you’ll learn to do this is over a
V chord that resolves to the I. Any dominant 7
chord that moves up a fourth (or down a fifth)
will have that feeling of tension and resolution.
Not every V chord resolves. For example, when
the V chord moves to the IV chord you don’t
get that satisfying sound of a resolution. On the
other hand when the I chord moves to the IV
it’s moving up a fourth—it’s resolving. I know
that sounds confusing, but if we look in terms
of chord names, it makes sense. In a blues in G,
the I chord is a G7 and the IV chord is a C7.
Now imagine if we were in the key of C—V
(G) to I (C). This shows that there’s a feeling
of heightened tension in the fourth measure of
a 12-bar blues, so if you choose to exploit that
tension, you’re going to get jazzy.
In this lesson, we’ll examine 10 different ways
to navigate the first eight measures of a standard
B% blues. If you’ve been paying attention to these
columns, you won’t be surprised to see I’m going
to use B% Mixolydian and the B% blues scales over
B%7 (the I), and E% Mixolydian over E%7 (the IV).
Remember: The key is resolution, so pay careful
attention to how these licks resolve to E%7.

“Essentially, music (and especially jazz) is about tension and

resolution, yet often people only focus on the tension part—
playing outside for the sake of playing outside.”

premierguitar.com PREMIER GUITAR - DIGITAL PRESS LESSONS 1

 < >
Ex. 1
Ex. 1 __ a 3 b
Moderately q = 120 q q = q e
Bb7
. ÍÍÍÍÍÍÍÍÍÍÍ .
b 4 ‰ bœ nœ œ œb œ œ œ œ œ nœ œ bœ œ
b
& 4 J
bœ
j
nœ œ bœj œ ˙ ‰ bœ nœ œ œb œ œ œ œ œ œb œ
œ J

ÍÍÍÍÍÍÍÍÍÍÍ
3 3
mf

6 7 7 6

˙
6 8 9 8 6 6 8 9 8 6 6 9 9
6 7 8 6 7 6 7 8 7
8 6 8
8

ÍÍÍÍÍ œ n ÍÍÍÍÍÍÍÍÍÍÍ
Eb7 Bb7
bœ bœ œ œ œ œ b œj œ œ œ œ
œ œ œ J œ œ œ J œ œ
bœ œ
b J J œ

—
&b 3 3
∑
3

ÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍ
1 1
1/4
6 9 6 6 9 6 6 9 9 10
8 8 8 11 9 11 9 9
10

Our first example (Ex. 1) features a simple B%7 arpeggio

starting with a half-step approach to the 3 (D) on the way up
to a %9 (A%). The %9 is the first alteration above the root and
offers a simple way to create an altered sound over the chord.

premierguitar.com
2 PREMIER GUITAR - DIGITAL PRESS LESSONS
 < q__q = aq eb >
Ex. 2
3

Moderately q = 120

œ.
Bb7

b 4 #nœœj œœ œ bœœ nœœ

‰ œ™
œœ j œœ bœœ nœœ
œœ nbœœ #nœœ œœ œœ œœ œœ
j j
b ‰ ¿ #nœœ œ
& 4 J J œ œ
J
mf

˙
5 6 8 5 6 X 4 5 6 5 6 8 5 6
6 7 8 6 7 7 5 6 7 6 7 8 6 7
8 8 8 X 8 8 8

ÍÍÍÍÍÍÍÍÍ œ
Eb7

œ bœ bœ œ bœ œ œ œJ œ œ œ œ bœ œ œ
b b œ nœ J œ bœ nœ
& b nœ J 3

ÍÍÍÍÍÍÍÍÍ
6 9 6 6 6 6 6 9 6
6 9 8 8 8 8 8
6 7 8 6 7
9

Bb7

b œ œ œ bœ œ bœ
3

&b J
Œ
—

1/4

8 8 6 8 11

In Ex. 2, we add in some Super Locrian flavors, but in

truth I’m focusing on adding alterations to a B%7 chord.
Here, we are using both the %9 and #9. As with Ex. 1, we’re
resolving to the 3 of E% (G) where we have a cool dominant
pentatonic idea.

premierguitar.com PREMIER GUITAR - DIGITAL PRESS LESSONS 3

 Ex. 3
__ a 3 b
Moderately q = 120 q q = q e < >
Bb7

b 4 bœ œ œ bœj œ œ œ. j bœ œ œ bœj œ œ œ.
œ œj bœ j
3 3

&b 4 j Œ
nœ
—

—
J œ œ bœ J

—
—
mf
1/4 1/4 1/4 1/4 1/4

˙
6 6
8 6 8 8 6 8 6 8 8 6
8 8 6 4 8 7
6 6 4

Eb7
bœ œ œ œ bœ œ
b œ bœ nœ nœ b œ n œ b œ œ œ œJ œ œ œ

—
œ J J
3
b
& œ bœ 3

1/4

7 6 6 6 9 9 6 9 6 6
9 8 8 8
5 8 6 7 9 8
6
8

Bb7
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
bb œ bœ œ œ œ™ œ
J
&
1
6 6 6
9

Ex. 3 deals with superimposition, which is the art of

playing over chords that aren’t there. In this case, I’m
imagining an Fm7–E7–E%7 (hello, tritone substitution!)
leading into the IV chord. As we move to the IV chord
we highlight several altered tones, including the %5 and %9,
before resolving to the 5 of E% (B%).

premierguitar.com
4 PREMIER GUITAR - DIGITAL PRESS LESSONS
 Ex. 4
__ a 3 b
Moderately q = 120 q q = q e< >

œ b œ œ
Bb7
j
b j œ œ œ œ bœj nœ œ œ
bœ
4 bœ nœ
&b 4 Œ
œ bœ Œ Œ j œ œ œ œ Œ

—
mf
1/4

˙
6 8 9 8 6
6 7 7 8 6 7
8 8 6 6 8 6 6 8

ÍÍÍÍÍÍÍÍÍÍÍ œ
Eb7

b œ œ b œ n œ n œ œ b œ b œ nœ œ œ b œJ œ œ œ
&b b œ nœ œ bœ œ œ nœ

ÍÍÍÍÍÍÍÍÍÍÍ
3

6 9 10 7 9 6
6 8 6 9 6 6
6 7 7 9 6 6 7 8 8 10
8

ÍÍÍÍÍÍÍÍÍ œ œ
Bb7

œ bœ œ œ bœ œ œ œ œ
b J J ‰ J
&b 3 3
Œ

ÍÍÍÍÍÍÍÍÍ
18 18
11 9 9 14 11 11 11
12 12

We pick up the pace in Ex. 4 with a 16th-note run based

on arpeggios from the Bb half-whole diminished scale
(B%–B–C#–D–E–F–G–A%). The double-time phrase starts by
approaching a B% triad from the %3 before shifting into a G
triad and a partial B%dim7 arpeggio. Finally, it chromatically
resolves to E% before moving up the neck melodically with a
classic B.B. King lick. Old meets new!

premierguitar.com PREMIER GUITAR - DIGITAL PRESS LESSONS 5

 < >
Ex. 5
Ex. 5 __ a 3 b
Moderately q = 120 q q = q e

. œ œ œ œ. œ œ œ ÍÍÍÍÍÍÍÍÍ .
Bb7

b4 œ œ œ œ œ œ œ œ œ œ œ œ
&b 4 Π3
Œ

1
ÍÍÍÍÍÍÍÍÍ

˙
11 11 13 13 11 13 11 11 11 11
12 12 12 12 12

ÍÍÍÍÍÍÍÍÍÍÍÍÍ 3
Eb7
n œ b œ œ b œ b œ n œ b œ œ bœ
bb nœ œ œ œ œ œ bœ nœ œ œ bœ nœ
& œ bœ œ
ÍÍÍÍÍÍÍÍÍÍÍÍÍ 1/2

12 14 12 11 12 11
13 13 11 11 13 11
12 12 12 11
14 13 13 9
11 9 11

ÍÍÍÍÍÍÍ ˙˙ ™™
Bb7
œ
˙™
œ ˙ œ œ j œ œœ
bb Œ œ œ œ œ bœ nœ
œ œ
3

& œ bœ nœ œ œ
¿
ÍÍÍÍÍÍÍ
3 3
1/2 let ring

6 8 10 8 6
X X X 6
7 8 10 8 6 7

11 14 11 11

I took inspiration from Scott Henderson for Ex. 5. Here,

we use the Super Locrian scale to lead into the 5 of E%7.
It’s rhythmically interesting, melodically unpredictable, and
resolves smoothly before going back to the B% with some
sixths and a triad.

premierguitar.com
6 PREMIER GUITAR - DIGITAL PRESS LESSONS
 Ex. 6
Ex. 6
Moderately q = 120
Bb7

œ œ œ b œ œ œ. n¿. .
bb œœ bœœ œ œ . bœ œ œ œ bœ œ œ
bb4 bœ J n¿ œ œ nn¿¿ J
& 4 3
J J 3
mf
1 1
6 9 6 6 X 6 6 6 X 6 9 6 6

˙
9 6 X X X X X 9 6
8 6 3 3

ÍÍÍÍÍÍÍÍÍÍ
Eb7
œ œ œ bœ
b bœ œ œ œ œ b œ nœ
j
bœ nœ bœ
& b ‰ œ bœ œ œ bœ nœ 3
œ bœ œ œ œ œ nœ
3

ÍÍÍÍÍÍÍÍÍÍ
3 3

1/2 1/2
8 6
7 7 9 9 7 8
7 7 9 8 6 8
8 8 8 4
6 4 6 6 4

ÍÍÍÍÍÍÍÍÍ
Bb7

b
&b bœ œ œ j j Ó
œ bœ œ œ œ œ œ
—

1/4
ÍÍÍÍÍÍÍÍÍ

6 4 6 6 9 6 4 6 6 6

The inspiration for Ex. 6 comes from players like Oz

Noy and uses notes of the B% whole tone scale (B%–C–D–E–
F#–G#) to provide an augmented edge. This scale has such
a calculated quality to it that some find it hard to use, but
there’s no denying the tension it creates. Again, we’re resolving
this to the 5 before a slippery little pentatonic phrase similar
to something Jimmy Herring might play.

premierguitar.com PREMIER GUITAR - DIGITAL PRESS LESSONS 7

 Ex. 7
Moderately q = 120 < q__q = aq eb >
3

# œ œ ™™
Bb7
œ ˙
j œ œ nœ œ œ œ œ œ
bœ
œ
b4 j
nœ nœ œ œ bœ œ œ œ
&b 4 Œ J Œ Œ

¿
mf
let ring 1
1
6 9 10 9 8 6 6

˙
X X X 13 13
6 7 9 10 9 8 7 7

Eb7
œ nœ œ bœ nœ œ œ œ bœ œ œ œ
b bœ œ œ n œ b œ œ œ bœ nœ œ J œ
&b 3

11 12 13 9 10 10 13 10 11 13 11 11
11 9 12 11
10 13 10 11 12 12 12

# œ œ n œ.
j Bb7

œbœ œ œ œ œ ˙ ˙
b œ
J œ œ œ œ ˙ ˙
&b J

14 15 13 11 11 10 10
X X X X X
14 15 13 12 12 10 10

We combine a pair of eighth-note phrases in Ex. 7. The

first one is based out of Mixolydian with some chromatic
passing tones, and the second is based around a dominant 7%9
arpeggio. It has a country-meets-Gypsy vibe.

premierguitar.com
8 PREMIER GUITAR - DIGITAL PRESS LESSONS
 Ex. 8
Moderately q = 120 < q__q = aq eb > 3

Bb7
bœ œ œ œ™ œ œ œ œ œ œ bœ bœ œ ˙
b 4 J J
&b 4 3 J Œ Œ
3

mf

9 6 6 6 6 6 6 4 9 6 6

˙
8 8

n œ b œ n œ b œ b œ n œ b œ œ bœ nœ bœ Eb7

b nœ bœ œ. œ œ œ œ
&b Œ

10 9 7 6 7 6
9 9 7 8 7 6 6 6
9 8 8 7

ÍÍÍÍÍÍÍÍÍÍ
Bb7

b œ œ j
& b bœ œ bœ nœ œ œ bœ
nœ
3
œ œ
j œ œ œ œ
J
ÍÍÍÍÍÍÍÍÍÍ
6
6 5 6 7
8 6 7 8 8 6 8 8 6 6
8

Ex. 8 revisits the sound of the Super Locrian scale, but

adds the 13 to help with the line’s flow. You could see this
as another blend of old and new, as the first half is so classic
blues, while we’re using classic bebop licks over the E%7 chord.

premierguitar.com PREMIER GUITAR - DIGITAL PRESS LESSONS 9

 Ex. 9

Moderately q = 120 < q__q = aq eb >

3

Bb7
ÍÍÍÍÍÍÍÍÍÍÍÍÍ
b4 œ œ bœ œ œ ˙ œ bœ bœ
œ œ
3
œ œ
&b 4 Œ œ œ Œ
j
œ œ œ

—
ÍÍÍÍÍÍÍÍÍÍÍÍÍ
mf
1 1/2
1 1/4

˙
8 8 8 8 6 6
8 6 8 8 6
8

ÍÍÍÍÍÍÍÍ
Eb7

b bœ œ œ œ œ œ œ nœ bœ œ œ œ œ
&b œ bœ nœ bœ nœ bœ bœ œ J œ

ÍÍÍÍÍÍÍÍ
3

6 7 6
9 9 6 6 9 9 6
8 7 6 6 8 6 6
9 6 7 8 8

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
Bb7

b #œ
j œ œ œ bœ œ œ bœ œ œ œ œ nœ œ ˙ œ
J
&b ‰ J
3 3
‰ Œ Ó

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ 1 1

11 13 14 13 11 11 11 13 13 13
11 12 13

Ex. 9 doesn’t really fit into a scale, it’s closer to pentatonic

with the added 3 and %9th—this is definitely the sort of
thing Jimmy Herring would play though, especially with this
articulation. I find that when you take something like Super
Locrian and pick two notes on each string you can get some
really refreshing ideas.

premierguitar.com
10 PREMIER GUITAR - DIGITAL PRESS LESSONS
 < >
Ex. 10
__ a 3 b
Moderately q = 120 q q = q e

ÍÍÍÍ ÍÍÍÍÍÍÍÍÍ
Bb7

b4 j3 j3 j3
&b 4 Œ œ bœ œ b œ œ œ b¿.
bœ
Œ Œ œ bœ œ œ nœ
— œ bœ œ œ

—
ÍÍÍÍ ÍÍÍÍÍÍÍÍÍ
mf 1/4 1/4 1/4 1/4

˙
X
6 4 4 6 4 6 6 7
6 4 6 6 4 6 6 9

b œ œ œ ÍÍÍÍÍÍÍÍÍÍÍÍ
Eb7

œ œ œ œ
b œ n œ b œ œ œ œ œ

—
b œ nœ
& b bœ nœ bœ œ 3
J
3
3 3
3

ÍÍÍÍÍÍÍÍÍÍÍÍ
3
1/4

10 13 13 11
9 12 11 14 11 14 11 11 13
7 10 9 12
6 9 8

. ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
Bb7
b œ œ œ œ. œ œ œ œ œ œ œ bœ œ œ œ
bœ nœ
œ
b œ J J
j j
& b ‰ ‰ J œ bœ œ Œ
3
3

1/2 1/2

13 13 11 13 11 11 11 11 8 8 6
12 8 6 7
8 6 6

Finally, in Ex. 10 we’re using the B% tritone scale,

something Gary Campbell writes about in his book
Expansions. The name is a little deceptive though, as it’s more
of an arpeggio approach since it combines a pair of major
triads that are a tritone apart (in this case, B% and E). These
notes are also contained in the diminished scale, so it’s all a
case of perspective and how you choose to see it.
Hopefully these licks have given you something to practice and
haven’t left you too confused. Remember, it’s all about resolution,
so once you hear those the rest will come together. Listen closely
to some of your favorite jazz-blues solos, and hopefully your ears
will tune into the concept more clearly now!

premierguitar.com PREMIER GUITAR - DIGITAL PRESS LESSONS 11

 Bridging the Gap Between Chords and Arpeggios
Chops: Intermediate CAGED SYSTEM
Theory: Intermediate
Lesson Overview: The CAGED system
is a subject we’ve
• Learn how to map out the neck with five CAGED shapes. explored many
• Create melodic lines by targeting chord tones on strong beats. times before in
Beyond Blues,
• Discover how to enhance your phrases with chromatic notes. and as you may
know, it plays a big
role in the way I

T
his CAGED approach doesn’t often key to breaking out of this teach. If you need
generate resistance, but when it does, rut. I had to learn which a quick refresher,
or if you’re totally
I usually find that it’s because of a notes were chord tones new to the CAGED
misunderstanding of the system—there’s a lot more and which notes served as concept, read “A
to it than just barre chords. While we’ve discussed melodic embellishments. Guitarist’s Guide to
the CAGED System”
arpeggios and scale fingerings several times over This meant I’d be able to hit for an overview.
the years, this lesson will finally bridge the gap all the important notes at
between those two. all the important times! No
When I was first learning the CAGED system, more landing on the 4 of a chord and suddenly
there was a time when I lacked harmonic panicking.
grounding. For example, I’d be improvising over In previous columns, we’ve focused heavily on
an F Lydian vamp and once you removed the arpeggios, and if you’ve been following this series
chords, my lines would sound like A minor. This you’ll hopefully have a solid grounding in these
proved that although I was able to navigate the patterns. But to be sure you’re clear on the details,
neck well enough, there was no sense of hierarchy let’s highlight these again using the “C” shape of
in my phrasing. I was viewing all the notes in a the CAGED system.
particular scale as equals. Over time I discovered As you can see below, we’ve got three things to
that laying a foundation in chord tones was the learn, but really they’re all very similar since the

premierguitar.com
12 PREMIER GUITAR - DIGITAL PRESS LESSONS
 Ex. 1
#4 œ nœ œ œ œ œ nœ œ œ œ œ œ œ œ
& 4 œ œ œ œ œ nœ œ œ œ œ œ
œ œ œ œ œ nœ œ

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

# nœ œ œ œ nœ œ œ œ œ œ œ œ nœ
& œ œ œ œ œ œ œ œ œ
nœ œ ˙ Ó

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

arpeggio contains the chord and the scale contains the arpeggio and the scale. You’ll start to see the
the arpeggio—that’s very important. Your goal is scale, but won’t lose sight of where the chord tones
to be able to see the chord right away and instantly are. I’ve done this for eight measures, but you
fill in the arpeggio and the scale around it. could easily do it for 100. Remember that it’s not
In my experience, confusion can sometimes about numbers, you’re not learning patterns or
come when guitarists move between the chord, thinking about tab, you’re seeing the two pieces
scale, and arpeggio. To deal with this, I came up of information and how they sit—and work
with a little exercise (Ex. 1) that alternates between together—with each other.

Now if we transfer this arpeggio-scale relationship to other shapes of the CAGED system, you might
find yourself in the “E” shape, which would look like this:

premierguitar.com PREMIER GUITAR - DIGITAL PRESS LESSONS 13

 Ex. 2

#4 œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ
& 4 nœ œ œ œ nœ œ œ œ œ nœ œ œ
œ œ œ œ œ
3

˙
3 3 6 6 5 3
4 2 4 5 4 2 4 5
3 2 3 5 5 3 2 3 5 5
2 5 5 3 2 5
3

# œ nœ œ œ œ œ œ œ œ œ œ
& œ œ œ œ Ó
nœ œ œ œ
œ œ nœ œ œ ˙

3 7 5 3
3 6 6 5 3
4 4 2
5 3 2 3 5 5 3 2 5
5 3 2 5

The next step would be to transfer the concept a mode. For example, even though I’m technically
from Ex. 1 into the “E” shape (Ex. 2). playing C Mixolydian in the second measure,
Now check out how this would work in the I’m just thinking of C7. I see the chord and the
“G” shape with the corresponding diagrams and arpeggio and just fill in around it. Simply look for
exercise in Ex. 3. the chord shape.
Now we can apply these ideas to some actual That’s the way to do this: Look for the chord
music. Ex. 4 shows a 12-bar blues progression in shape, make sure you land on a chord tone when
the key of G. We’re using the shapes we outlined the chord changes, and allow the scale to fill in
above and simply moving them around the neck around it in that position. This strategy really gives
as needed. I’m still thinking of the relationship us the sound of each chord as we move through
between the chord, arpeggio, and scale, rather than the progression.

premierguitar.com
14 PREMIER GUITAR - DIGITAL PRESS LESSONS
 œ œ œ œ œ œ œ nœ œ œ œ œ œ
Ex. 3
# 4 œ œ nœ œ œ œ œ œ nœ œ œ œ œ œ œ nœ œ œ
& 4 œ

13 15 13 12

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

# œ œ nœ œ œ nœ œ œ œ nœ œ œ œ œ œ ˙
& œ œ œ nœ œ œ œ œ œ Ó

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

Ex. 4

# 4 œ œ nœ œ œ œ œ œ œ œ b œ œ œ nœ œ œ œ
G7 C7 G7
œ
& 4 œ œ nœ œ œ œ œ œ œ œ
œ œ œ nœ

˙
8 11 10 8
7 10 9 7 9 10 9 7 7
9 10 9 10 9 9 10 9 7
10 10 8 7 8 10
10 8 7 10
Ex. 3
#
C7
œ œ b œ œ œ œ œ œ nG7
œ œ nœ œ œ
b œ œ œ nœ œ œ œ œ œ œ œ œ œ œ
& œ nœ œ œ œ

8 12 10 8 7
8 8 11 11 8
9 10 9 7 9 10 7 10 9 7 7
8 10 10 9
10 10 8 10 8 7
10

#
D7
œ œ
C7
œ œ b œ œ œ nœ G7nœ œ œ œ œ œ œ D7
œ
G7
œ œ œ bœ œ œ œœœ
& œœœ œœœœ Ó
˙
7 10 8 7
7 8 11 10 8 8 10 7
7 9 7 9 10 7 10 7
7 10 10 8 10 10 7
9 9 7
10 8 7

premierguitar.com PREMIER GUITAR - DIGITAL PRESS LESSONS 15

 Ex. 5

#4 œ nœ œ œ œ bœ œ œ nœ œ œ œ œ bœ nœ nœ œ œ œ œ œ
& 4 œœ bœ nœ nœ œ œ œ œ bœ n˙ Ó
œ

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

In the final few examples, we’ll use the same
approach but add in some chromaticism to
enhance the lines. This highlights the fact that
we’re not thinking about scales. In fact, we’re
so focused on chord tones that we play melodic
embellishments even if they aren’t diatonic to
the key of G. Check out the last note of the first
measure in Ex. 5. The B% doesn’t actually fit over a
G7 chord, but we don’t have to worry about that
since we’re targeting a chord tone on the first beat
of the next measure.
In Ex. 6 we take the same approach, but in
the “E” shape with a few additions. In measure
two, approach the chord tone on the downbeat of
measure three from above. Going into the fourth
measure, we descend chromatically from the b7
to the 5 and add some chromatics in the fourth
measure before resolving on the 3.

Ex. 6

#4
& 4 œ œ œ œ œ œ#œ nœ œ œ nœ œ œ œ#œ nœ œ œ Ó
œ nœ œ œ# œ œ nœ nœ œ# œ n œ
œœ #œ ˙
3

˙
3 3 6 6 5 4 3
4 5 4 4 4
3 5 3 2 3 5 6 5 5 3
2 5 4 5 5 4 3 1 2
3

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16 PREMIER GUITAR - DIGITAL PRESS LESSONS
 Ex. 7
œ œ œ œ œ œ #œ nœ œ œn œ œ # œ n œ œ œ œ œ
#4 œ nœ œ œ#œ nœ nœ nœ œ œ
& 4 œœ œ#œ ˙ Ó

13 15 14 13 12

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

We use the “G” shape for Ex. 7. It’s the same between changes. Take this one slowly and try to
thing as before, only we’re using an enclosure at come up with some of your own ... then apply
the end. These are all concepts we covered in my them while playing over the backing track below.
previous column on chromatics, so be sure to If you devote time to this technique in all five
check that out! CAGED areas, you’ll open up your knowledge of
Our final example (Ex. 8) applies our chromatic the fretboard in a significant way. You’ll soon be in
approach notes to a 12-bar blues progression—an control of your phrases, no matter where you are
approach that really helps to smooth things over on the neck. So good luck and get practicing!

Ex. 8

# 4 œ œ nœ œ œ œ œ bœ œ œ œ b œ œ œ nœ œ nœ œ œ œ œ œ
G7 C7 G7

& 4 œ œ œ nœ
œ œ œ œ œ bœ

˙
8 11 10 8 8
7 10 9 7 9 10 10 7 7
9 10 9 8 10 9 10 9 7
10 10 8 7 8 9
10 7 10

C7
œ œ b œ œ œ œ œ # œ G7
œ œ nœ œ œ œ œ œ œ
#
b œ œ œ nœ œ œ œ œ œ œ œ œ nœ œ
& œ

8 12 10 8 6 7 7
8 8 11 8 8 10 8 6
9 10 9 7 9 10 7 10 9 7 7 10
8 10 10 9
10

œb œ n œ b œ n œ œ nœ œ
D7 C7 G7 D7 G7
# œœœ œœ œ œ œ#œ œ œ œ œ œ œ œ œ
& œ œ œ œ bœ œ œ ˙ Ó

7
7 8 9 10 11 8
7 9 10 7 7
10 7 10 9 7 8 10 10 7 8 9 10 7 7
9 10 9 10 9 7 10

premierguitar.com PREMIER GUITAR - DIGITAL PRESS LESSONS 17

 CAGED Developments
Chops: Intermediate
Theory: Intermediate
Lesson Overview:
• Improve your understanding of the CAGED system.
• Connect fretboard patterns to create longer lines.
• Learn how to use Lydian dominant and diminished scales.
O
ver the years I’ve received many
questions about the CAGED system,
and that’s why I continue to emphasize
this approach so much. Typically the questions
come from people interested in learning what all
the fuss is about—and this can be especially true
if they’ve encountered someone who is critical
of the CAGED approach. A detractor might say,
“Do you want to be stuck in a cage?” or “You
can’t play fast using CAGED.” (Speed is the end
goal of playing music?)
Generally, the most vocal arguments come from
those who don’t actually understand how the
system works. That would be like me saying flour,
water, yeast, and salt can’t help hunger because I
never learned how to bake bread. In this lesson
we’ll revisit the time-tested technique to discover
how useful it can be. If CAGED is entirely new to
you, take a moment to read “The Guitarist’s Guide
to CAGED” before going any further.
It’s incredibly important to remember that
knowledge can never harm you. You can
learn about anything and then decide it isn’t
relevant in your day-to-day life. When it comes
“You may think the CAGED system
is about chords, but it’s not.”
18 PREMIER GUITAR - DIGITAL PRESS LESSONS
to learning about the guitar neck, I learned
pentatonic scales like everyone does and found
the three-note-per-string patterns via Zakk Wylde
and Paul Gilbert. From there I picked up triad
arpeggios from Jason Becker, 7th-chord arpeggios
from Mike Stern, Frank Gambale’s economy
picking, and even Derryl Gabel’s “313313”
pentatonic system. Exploring these methods
doesn’t hurt, and I still use them, but I find that
as a player and teacher the tool I use the most
and that had the biggest impact on my playing is
the CAGED system.
You may think the CAGED system is about
chords, but it’s not. In the same way that a car
consists of a lot more than the body, the chordal
principals of CAGED are its foundation, but the
system goes so much further than that.
Instantly knowing all the notes of a scale all over
the fretboard appears to be a feat of superhuman
memory, but:
• If you can see root notes, then you can see chords.
• If you can see chords, then you can see arpeggios.
• If you can see arpeggios, then you can see scales.
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 From this perspective, learning scales or
improvising doesn’t have to be stressful. You’re at the
9th fret and you need to play A Lydian dominant?
No problem. I can see the root note, the A7 chord,
the A7 arpeggio, and I can see the scale. If you’re
struggling to see any step, then it’s as simple as
working on the previous stage until it’s effortless. In
the diagram above you can see how we would handle
A Lydian dominant from root to scale.
Of course, it doesn’t matter if you use the term
CAGED or not, CAGED is merely a method of
communication. If you play the pentatonic scale
in five shapes, you’re using CAGED. If you play
barre chords, you’re using CAGED. Going back
to our bread analogy, you may think of yeast as
magic smelly brown powder—you don’t need to
understand what it is or why it works to use it.
In my experience as a transcriber, there are very
few players—maybe fewer than five—who don’t
demonstrate any trace of CAGED in their playing.
Allan Holdsworth and Pat Metheny are the two
who first come to mind.
So how does this all apply to us actually playing
the guitar, and what benefits are there? I’ve played
and transcribed three solos below with each one
becoming progressively more harmonically complex.

premierguitar.com PREMIER GUITAR - DIGITAL PRESS LESSONS 19

 < >
Ex. 1
__ a 3 b
Moderately q = 120 q q = q e
A7
ÍÍÍÍÍÍÍÍÍÍ œ D7
œ
A7

œ œ œ œ œ œ.
œ
4 œ #œ œ œ œ œ œ ¿ œ œ œ œ
j œ j

—
&4 J ¿¿ Œ ≈

ÍÍÍÍÍÍÍÍÍÍ
3
mf 1/4 1

5 8 8 8 5 8

˙
5 8 10 10 X 5 8 10 10 10 10
5 6 X
X

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
D7

bœ
œ œ œ
œ
j
& œ œ œ œ j œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ

—
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍ 1/4 1/4
5 5
10
8 7 5 5 5 7 5 5 5
7 7 5 7 7 7 5 7 7 7
7

A7
œ œj œ ¿ œ nœ # œ œ œ nœ # œ œ œ œ œ œ œ bœ œ œ œ œ œ
œ #œ œ
œ
& œ
3 3 3 3 3 3
3
1/2 1/2
1
5 X 8 5 8 5 5 7 5 6 5 5
5 8 10 5 5 5 8 8 8 5
5 6

œ ÍÍÍÍÍÍÍ
œ™ œ
E7 D7
œ œ œ œ œ œ
œ œ œ œ œ œ œ œ #œ œ œ œ
œ
œ
*

—
œ
&
3 3 3

ÍÍÍÍÍÍÍ
1
1 1/4
1 1 1/2
5 5 8 8 10 10 8 8
5 8 5 8 10 10 8 10 10 10
7

*Catch finger on 2nd string.

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
A7 E7 A7

bœ
œ œ œ œ ¿ ¿ j
œ œœ œ #œ œ ˙
& œ œ w
œ

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
3 3

10 8 8 X
X 8 7 5 7 7 8 9
7 5 7
7

premierguitar.com
20 PREMIER GUITAR - DIGITAL PRESS LESSONS
 In our first solo (Ex. 1) we’re sticking almost
exclusively to the A minor pentatonic scale (A–C–
D–E–G). This is something you might expect from
one of the great blues-rock players like Eric Clapton
or Stevie Ray Vaughan.
The solo starts in the “E” shape, which is closely
related to the minor pentatonic box shape in 5th
position. Clapton’s influence is extremely apparent
in the phrasing here. In the first four measures we
move between the “E” shape and “D” shape. It’s
a great example of moving between positions by
sliding up the 2nd string.
We are sticking with these two shapes for the IV
chord (D7), but I’m also adding the %5 (E%) for a
little Stevie Ray Vaughan-style lick. The phrasing
here is simple, just using the notes of the minor
pentatonic scale with some interesting rhythms to
keep the solo moving. Never forget the power of
this scale no matter how much you learn. It’s always
going to be a major contender for the best option
when soloing.
More SRV influences start to appear in the
seventh measure. Notice the %3-to-3 hammer-on
over the A7 before a triplet-based line that also
touches on the %9 (B%). This is obviously classic
Stevie, and it’s very much a case of, “It sounds
good, so it is good.” The CAGED system just
allows me to better visualize it.
To finish the solo, we’re just using more of the
minor pentatonic scale. There’s nothing really
complicated in this solo—apart from perhaps the
pace—but it’s a great place to start before developing.

premierguitar.com PREMIER GUITAR - DIGITAL PRESS LESSONS 21

 < q__q = aq eb >
Ex. 2 3

Moderately q = 120

ÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍÍ
A7 D7 A7
œ #œ œ #œ œ nœ œ œ
4 #œ œ œ œ #œ œ œ œ
j
#œ œ
&4 œ œ œ œ œ™ nœJ
3
mf

1/2 1/2
ÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍÍ
12 14

˙
13 12 12 10 10 8 7 5
11 7 5 6 5
7 5 7
7

œ œ œ œ™ œ œ œ
j œ œ ™ œ œ œ œ œ œ œ #œ
œ œ œ œ #œ œ œ œ œ œ œ #œ
D7

& #œ 3 3
3 3
3 3

5 5 5 8 5 5 8 10 8 8 8 8 8 9
5 8 5 7 5 5 7 8 7 7 7 10 10 10
6 7

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ œ
A7 E7

œ œ™
œ œ œ œ œ œ œ.bœj œ œ œ #œ œ
3
œ
& œ œ œ œ #œ œ #œ J

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
3
3

10 8 10 8 6
9 9 8 7 5 6 9 7
7 5 7 7 6 6
7

D7 A7 E7 A7
œ ¿j œ
#œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ #œ œ ˙
—

& ‰ J ˙™ œ
rake ¿ 3 3
3
1/4
1
5 8 8 5 5
7 7 X 8 5 8 5
7 7 5 7 8 9
7 7 7 7

In Ex. 2 we’re using more of the Mixolydian scale. When you compare the minor pentatonic (1–%3–4–5–
%7) with the Mixolydian (1–2–3–4–5–6–%7), you’ll notice the only additions are the 2, 3, and 6. If you can
learn where these notes are in relation to each chord, you’ll be able to use them freely.

premierguitar.com
22 PREMIER GUITAR - DIGITAL PRESS LESSONS
 In measure one we start in the “A” shape with a
bend from the %3 to the 3 before touching on the
5 (E) and 6 (F#) on the 1st string. For the “quick
change” in the second measure, I move down to
the “A” shape in the key of D and descend through
D Mixolydian (D–E–F#–G–A–B–C) scale before
sliding into the 3 (C#) of the A7 and resolving to
the root.
Measure four features some straight-up
Mixolydian playing over the A7 that targets the 3
(F#) of the D7 chord in the next measure. Over
the next few measures we’ll take simple fragments
and move them through the CAGED shapes. I
start with a three-note fragment based around the
3, 5, and %7 of D7 before moving up to the “G”
shape and focusing on the root, 5, and %7. The
resolution into the A7 comes with a simple move
up to the 3 (C#).
Technically, we move to the “D” shape here
which isn’t one of my favorite places, so the move to
the “E” shape is quick. Check out how I touch on
the %5 (E%) on the way down. I’m comfortably back
in the A blues scale here.
Over the E7 we target some chord tones based
in the “A” shape before moving down and hitting
the 5 and %7 of the D7. For me, this is where the
system really took my playing to the next level.
Suddenly I was able to outline chords very simply,
and with time that became more sophisticated.

premierguitar.com PREMIER GUITAR - DIGITAL PRESS LESSONS 23

 Ex. 3
Moderately q = 120

ÍÍÍÍÍÍÍÍÍÍÍ œ œ œ œ œ #œ œ œ.
A7 D7 A7
j
j #œ œ œ œ ™ œ œ # œ œ œ #œ œ œ œ œ ™
4 #œ œ œ œ œ
& 4 œJ J
3
J
3 3

ÍÍÍÍÍÍÍÍÍÍÍ
3
mf
1/2
10 8 9

˙
10 10 12 12 10 10 10 10 10
9 10 11 11 12 10 11 11 11 11
10 11

œ b œ œ b œ # œ œ #œ
D7

#œ œ œ œ œ œ nœ œ #œ
œ nœ œ œ œ
& #œ 3
#œ nœ œ œ #œ
œ œ œ #œ œ 3 3
3 3 3
3 3

8 11 8 6 9 6 4 7 4 8 7 5
7 5 8 6 7
8 9 9 6 5 4 5
7 5 4 4 6 7
5

A7 E7
œ œ œ
œ œœ œ # œœ œœ œ #œ œ œ œ œ œ #œ œ # œ œ # œ n œ #œ œ #œ
œ œ œ œ. nœ
& #œ ‰ J 3 3 3 3 3
3
1 hold bend

5 7 8 9 12 10
12 12 12 12 10 10 11 12 11 10 8 9
7 8 9 11 11 9 7 9 10
9

D7 A7
j œ œ œ œ #œ
#œ œ œ œ
nœ #œ œ œ œ #œ
& 3
œ œ #œ
J
œ
J J J
3
3
3
let ring ¿ let ring ¿
10 12 12 13 12 10 10 14
11 12 10 11 13
12 10 11 11 14
12

E7 A7
œ œ œ œ #œ ™ ˙
œ #œ nœ œ
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
j
œ œ #œ œ œ #œ
J
& 3 3 3 3
let ring ¿
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
12 13 12
15 12 14
13 12 12 12 13 14
15 13 14

premierguitar.com
24 PREMIER GUITAR - DIGITAL PRESS LESSONS
 The final solo (Ex. 3) isn’t balanced at all—
there are far too many triplet runs—but it
showcases how we can use the system to outline
chord changes, and also bring in new sounds,
either in the form of superimposed harmony or
chromaticism. The CAGED system will make sure
you never lose sight of the chord sound.
The solo starts in the “C” shape and moves
up the A major pentatonic scale (A–B–C#–E–F#)
before changing to the D Mixolydian scale for the
IV chord. In the fourth measure, we’re treating the
A7 as an altered chord and choosing notes from
the A half-whole diminished scale (A–B%–C–D%–
E%–E–F#–G). I’m using simple triadic concepts
that are loosely based around C major and minor
triads before moving down to an F# triad (which
gives us an A13%9 sound). We then resolve the
tension over the D7 with our trusty Mixolydian
scale in the “A” shape.
For the second half of the D7 chord, we use
the jazzy-sounding D Lydian dominant scale
(D–E–F#–G#–A–B–C). Although this is a mode
of the melodic minor scale, using the CAGED
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system and knowing the intervals makes it easier
to put into practice. (It helps to think of this scale
as a Mixolydian scale with a #4.) I know where
the root, chord, and arpeggio are so I only need
to focus on one note (G#) to get that sound. Over
the IV chord, it has a real Robben Ford or Scotty
Anderson sound—especially when we resolve to
the sliding sixths in the “C” position.
For the E7 chord, we start in the “G” shape and
descend chromatically playing the %5 and the %3 in
the “A” shape. This combination of the Mixolydian
and blues scale is a staple of any fusion player.
We use a similar approach over D7. By sticking
tightly to the D Mixolydian scale and adding the
occasional chromatic approach note (F to F#), we
ultimately land on the 3 of the A7. For our final
E7 chord, we enter the “E” shape and use notes
that fit within the E half-whole diminished scale
(E–F–G–A%–B%–B–C#–D) to create tension that
resolves upward to the A7.
Now, it’s your turn: Use this simple backing
track in A to not only practice some of the licks in
these examples, but to also create your own.
PREMIER GUITAR - DIGITAL PRESS LESSONS 25
 How to Use Guide Tones
Chops: Intermediate
Theory: Intermediate
Lesson Overview:
• Learn how to target the 3 and 7 of each chord.
• Make your improvised lines more focused.
• Use motifs to create a more cohesive solo.
W
e’ve looked at numerous ways to solo
over a blues, and we’ve talked about
methods for outlining chord changes,
but none are more focused and to the point than
guide tones. When we think of any seventh chord,
we think of four notes (root, 3, 5, 7). The guide
tones are the 3 and 7 because they give you the most
information about the quality of the chord. The
root establishes the chord’s overall tonality and the
5 is mostly padding. The 3 determines whether a
chord is major (3) or minor (%3). The 7 defines the
type of seventh chord—major 7 (7) or dominant 7
(%7). Even extended and altered chords build on this
26 PREMIER GUITAR - DIGITAL PRESS LESSONS
essential foundation. Here’s another way to look at
it: Without the 3 and 7 you no longer have a major,
minor, or dominant chord. Heck, you can play
entire jazz standards using only the 3 and 7 of each
chord and it will sound just fine!
The first goal here is coming to grips with what
guide tones look like on the fretboard, so you can
play them as harmonic shapes. In theory if you’ve
practiced your arpeggios, you’ll already know where
the guide tones are, but I also think of these as
chord shapes that I’ll use. I’ve put in the bass notes,
but you don’t need to play them, just don’t lose
track of where the root is.
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 Ex. 1

n ˙˙ n ˙˙ # ˙˙ n# ˙˙
A7 D7 E7 A7 A7 D7 E7 A7 A7 D7 E7 A7
# #4 ˙ n˙˙
n˙˙
#˙˙ #n˙˙˙
& # 4 n˙˙ n˙˙
˙ #˙˙ n#˙˙ ˙
˙ ˙ ˙ ˙ ˙ ˙
˙ ˙

˙
14 13 15 14
6 5 7 6 12 11 13 12 12 11 13 12
5 4 6 5 11 10 12 11
5 7 12 12 12 12
5 5 10 12 10 12

In Ex. 1, we can see a few of these shapes over a I-V-V progression in the key of A. I put the root
notes in parentheses for reference. On the recording, I played the bass notes so you can hear the shapes
in context.
Our first real example (Ex. 2) presents a chordal idea: We comp through a 12-bar blues using just the
guide tones. This is a creative and authentic way to approach rhythm guitar on a blues, and it sounds
much more interesting than playing big, boxy 6-string chords.

Ex. 2
Moderately q = 120
A7 D7 A7
# #4
& # 4 nœœ. œœ
.
œœ
.
œœ
.
nœœ
.
œœ
.
œœ
.
œœ
. n#œœ œœ œœ nœœ n#œœ œœ œœ œœ
sim.
mf

˙
6 6 6 6 5 5 5 5 6 6 6 5 6 6 6 6
5 5 5 5 4 4 4 4 5 5 5 4 5 5 5 5

D7 A7
##
& # nœœ œ
œ
œ
œ nœœ
nœ
#œ
œ
œ
œ
œ
œ
œ n#œœ œœ œœ nœ
œ n#œœ œœ œœ œœ

5 5 5 4 5 5 5 5 6 6 6 5 6 6 6 6
4 4 4 3 4 4 4 4 5 5 5 4 5 5 5 5

E7 D7 A7 F#7 B7 E7 A7
### œ œœ œœ nœœ œœ #œœ œœ
& #œ nœ
œ
œ
œ
œ
œ
œ
œ n#œœ n#œœ œœ #nœœ œœ nw
w

7 7 7 6 5 5 5 5 6 6 9 9 8 8 7 7 6
6 6 6 5 4 4 4 4 5 5 8 8 7 7 6 6 5

premierguitar.com PREMIER GUITAR - DIGITAL PRESS LESSONS 27

 You may also notice I’m not simply playing
guide tones like I’d play chords. For example, at
the end of the third measure I move down a half-
step before returning to the A7. The beauty of an
approach like this is that when you’re just playing
two notes it’s easy to treat your rhythm parts like
a melodic improvisation. Simple little chromatic
embellishments are just that—embellishments—
and if they sound good, I say use them.
Our next example is actually identical to
the previous one in terms of pattern, but we’re
imagining it around the shape based in 11th
position. The main difference between this and
the previous example is we’ve simply flipped the
order of the 3 and 7. That’s the other beauty of
this approach. When you play just two notes, they
could be so many chords. Playing a G and C#
could be an A7, or an E%7, or a B%m6, or it could
work in a bigger setting—an A7%5#9 or even an
E%13%9, for example.
I’ve also included a backing track of the click
with the bass so you can try these ideas yourself.

Ex. 3
Moderately q = 120

### 4 nœœ. œ. œ. œ.
A7 D7 A7
. . . . nœ œ œ #œ nœ œ œ œ
& 4 œ œ œ n#œœ #œœ #œœ #œœ #œ œ œ nœ #œ œ œ œ
mf sim.

˙
12 12 12 12 11 11 11 11 12 12 12 11 12 12 12 12
11 11 11 11 10 10 10 10 11 11 11 10 11 11 11 11

D7 A7
### n#œœ #œœ #œœ nœœ n#œœ œœ œœ œœ #nœœ œœ œœ n#œœ #nœœ œœ œœ œœ
&

11 11 11 10 11 11 11 11 12 12 12 11 12 12 12 12
10 10 10 9 10 10 10 10 11 11 11 10 11 11 11 11

E7 D7 A7 F#7 B7 E7 A7
### #œœ œœ œœ nœœ n#œœ #œœ #œœ #œœ #nœœ œœ # œœ œœ #n œœ œœ n#œœ œœ nw
w
&

13 13 13 12 11 11 11 11 12 12 15 15 14 14 13 13 12
12 12 12 11 10 10 10 10 11 11 14 14 13 13 12 12 11

premierguitar.com
28 PREMIER GUITAR - DIGITAL PRESS LESSONS
 < q__q = aq eb >
Ex. 4
Ex. 4 3

Moderately q = 120

#œ nœ ™
A7 D7 A7 D7

œ nœ œj nœ ™ ˙
# #4 nœ
j ˙ nœ œ nœJ #˙ nœ
j
#œ nœ œ˙ œ nœ œ œ œ œ nœ
&#4 J J J J
mf

˙
8 7 6 7 8 8 7 8 7 5
5 6 5 5 6 6 7 6 5 5
7 5 4

When it comes to improvisations, guide tones When we go back to the A7 we repeat the idea
can be either incredibly restrictive or a great before playing something a little more akin to the
indicator of what to target. Improvising with two Mixolydian scale, but with the intention of targeting
notes a tritone apart could be very difficult, but the 3 and %7 of the D7 chord when it changes.
once you understand the relationships between While you can see I’m using arpeggios and
these guide tones, the technique turns into a scales in Ex. 5, I want to draw attention to the fact
powerful tool. that I’m still targeting the guide tones. The same
In our first lick (Ex. 4), we begin by sliding into thing happens when we move from the A7 to the
the 3 and hitting the %7 of A. We then play the %7 D7 in the final two measures. I use the A minor
and 3 of D before approaching the 3 chromatically. pentatonic scale (A–C–D–E–G) before hitting
This does sound quite boring, but it has a place. some guide tones on the D7.

__ a 3 b
< >
Ex. 5
Ex. 5
Moderately q = 120 q q = q e
A7 D7 A7
# #4 œ œ
&#4 œ
œ œ
nœ œ ™
j œ
j nœ œ™ œ #œ nœ œ œ œ
œ œ nœ œ J
mf
5

˙
5 8 8 5
6 6 4 5 5 6 6
5 5 4 5 7

Ϫ
D7
nœ œ œ œ œ nœ ˙
### nœ J nœ #œ œ
& J

8 5 5 5 5 5 8
8 6 7 7

premierguitar.com PREMIER GUITAR - DIGITAL PRESS LESSONS 29

 < q__q = aq eb >
Ex.
Ex. 66 3

Moderately q = 120
A7 D7
### 4 nœ #œ œ œ nœ œ œ œ nœ #œ nœ œ
& 4 J œ nœ œ œ™ J
3
mf

˙
5 7 8 7 5
5 6 7 5 6 5 5
7 5 4

A7 A+7 D7

## œ œ nœ œ œ œ œ œ nœ œ n œ b œ œ œ nœ œ
& # #œ nœ
J œ™ ˙
3

5 8 6 5
5 7 8 7 5 5 8 8 6
6 7 6 6 5
4

Our next lick (Ex. 6) has a bit more to play, but the principal of the guide tones is still there. We start by
hitting the 3 of the A7 (C#), then play a Mixolydian-esqe phrase that resolves to the %7 in D7 (C), and finally
move down the scale to rest on the 3 (F#).
We then repeat the same idea for the A7 chord, but this time when we hit the %7 (G), we’ll play some
notes from the A Super Locrian scale (A–B%–C–C#–D–E–F#–G#) before landing on the guide tones of
the D7 chord. The note choices may have been jazzy, but my road map was simply looking for a creative
way to connect the guide tones.

premierguitar.com
30 PREMIER GUITAR - DIGITAL PRESS LESSONS
 < q__q = aq eb >
Ex. 77
Ex.

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
3

œ œ™
Moderately q = 120

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
A7 D7

œ œ™
# #4 œ nœ œ œ œ œ nœ œ nœ
J œ
&#4 J J

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
3
mf

12

˙
14 14 14 13 10
11 12 12 12 11 11

ÍÍÍÍÍÍÍÍÍÍÍÍÍ œ œ œ # œ œ n œj # œ ÍÍÍÍÍÍÍÍ

### nœ œ œ œ œ œ ™ œ™
A7 D7
œ nœ œ œ nœ œ œ
& J J
3

ÍÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍ
3
1
10 11 12 8 9 10 10
10 12 10 13 13
12 12 11
11 11

Our final lick (Ex. 7) sits a little higher on the neck and starts with a slide into the %7 of A7 (G) on
the 3rd string. This resolves by hitting the %7 of D7 and walking down to the 3. The resolution to the
%7 and subsequent 3 of A7 should come as no surprise, but now would be a good time to point out
that when we use an approach like this, it should be part of a balanced diet, not something you restrict
yourself to. In a real life, to keep your soloing fresh you might only use a concept like this for a few
chords to maximize its effect before using another idea.

premierguitar.com PREMIER GUITAR - DIGITAL PRESS LESSONS 31

 Tunaround Tactics
Chops: Intermediate
Theory: Intermediate
Lesson Overview:
• Learn how to tweak vanilla turnaround progressions to make them more intriguing.
• Create logical lines that weave through the harmony.
• Develop a chord tone-based approach to soloing.

I
n past lessons we’ve spent a lot of time
experimenting with the basic I-IV-V chord
progression to see how we could expand on
it and make things a little more jazz-inspired.
As part of that process, we’ve explored quick
changes, altered chords, 7#11 sounds, IIm-V
cadences, and more. So now it makes sense
that we put some time into the final part of the
progression—the turnaround.
As its name suggests, a turnaround is designed
to complete a progression and send it back to
the start of the form. For example, in a standard
12-bar blues in the key of E, the turnaround often
appears as B7 (the V) in measure 12. This creates
a nice V-I movement when the progression starts
again on E7 (I). And it works fine, but when you’re
playing from a more jazz-oriented perspective, it’s
nice to have more chords in the turnaround—an
expanded harmonic bed to weave melodies over.
The starting point for our examples in this
lesson will be a I-VI-II-V progression in the key
of B%. This translates to B%-G-C-F. If we include
diatonic extensions (other notes that fit in the key
of B%), we get B%6-Gm7-Cm7-F7. Ex. 1 shows an
easy Freddie Green-inspired way of approaching
these chord changes.

Ex. 1
B¨6 G‹7 C‹7 F7 B¨6 G‹7 C‹7 F7
b4 œ œ œœ œœ œœ œœ œ œ œ œ
& b 4 œ œ œœ œœ œ œ œ œ
œ œ œ œ œ œ œ œ
œœ œœ œ œ
œ œ œ œ œ œ œ œ œ œ

˙
7 7 3 3 8 8 8 8 7 7 3 3 3 3 2 2
5 5 3 3 8 8 7 7 5 5 3 3 1 1 1 1
8 8 3 3
6 6 3 3 8 8 6 6 3 3 1 1

“As its name suggests, a turnaround is designed to complete

a progression and send it back to the start of the form.”

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32 PREMIER GUITAR - DIGITAL PRESS LESSONS
 Ex. 2
B¨7 G7 C‹7 F7 B¨7 G7 C‹7 F7
b4 œ œ bœœ œœ œœœ œœœ
& b 4 bœ œ nœœ œœ bœœ œœ nœœ œœ œ œ œœ œœ
œœ œœ
œ œ œ œ œ œ œ œ œ œ œ œ

˙
7 7 4 4 8 8 8 8 7 7 4 4 3 3 2 2
6 6 3 3 8 8 7 7 6 6 3 3 1 1 1 1
8 8 3 3
6 6 3 3 8 8 6 6 3 3 1 1

You could experiment with that all day long and go
further with diatonic extensions, maybe B%6-Gm9-
Cm11-F7sus, for example. That said, this progression
sounds very vanilla—there’s nothing bluesy about
it. But this is Beyond Blues, so we can’t just settle for
bland! That’s why I borrowed a few chords from
other keys to make Ex. 2 more interesting.
The two main differences happen in the first
measure. I changed the B%6 to B%7, which is nice
and bluesy, and swapped out the Gm7 for a G7.
This creates a greater sense of resolution as we
move towards Cm7. Try alternating between the
two and describing the difference. It’s subtle, but
important enough to be significant.
For our final progression (Ex. 3), we’ve gone
all the way and made all four chords dominant.
Again, this has a slightly different feel to it, with a
constant sense of forward motion. G7 resolves to
C, C resolves to F and then F brings us back to B%.
You may remember looking at ideas like this in our
cycle of fourths lesson many moons ago [“12 Keys,
Five Shapes, and the Blues”].

Ex. 3
B¨7 G7 C7 F7 B¨7 G7 C‹7 F7
b4 œ œ bnœœ œœ bœœœ œœœ bœœ œœ nœœ œœ
& b 4 bœ œ nœœ œœ œ œ nbœœœ œœœ bœœ œœ
œ œ œ œ œ œ œ œ œ œ

˙
7 7 4 4 9 9 8 8 7 7 4 4 3 3 2 2
6 6 3 3 8 8 7 7 6 6 3 3 2 2 1 1
8 8 3 3
6 6 3 3 8 8 6 6 3 3 1 1

premierguitar.com PREMIER GUITAR - DIGITAL PRESS LESSONS 33

 Ex. 4
œ
œ b œ œ b œ œ œ bœ nœ œ œ nœ œ œ œ œ œ
B¨7 G7

bb4 œ œ œ œ
& 4 œ œ bœ œ nœ œ nœ œ
œ
6 7 10 7

˙
6 9 9 6 8 8
7 8 6 7 7 10 10 7
6 8 8 9 10 8 9
5 8 10 10
6

C‹7
œ œ œœ œ œ
F7
œ œ œ œ œœ œ
b œ œ œ nœ bœ œ
&b œ œ œ œ nœ bœ
œ œ œ
œ œ

8 8 11 8
8 11 11 8 10 10
8 8 8 10 10 9 8
8 10 10 9 8 7 10 10 7
10 8
8 11

It’s important to revisit our arpeggio patterns fingering. Practice changing after eight, four, or
while we prepare to solo over these progressions. even two notes. The more you do this, the faster
For Ex. 4 I wrote out a quick fingering for each you’ll be able to make music.
chord. With two chords per measure, you don’t As a starting point, you may want to take
have much time to reflect on the chord before the notice of just how many of the notes are chord
next one comes around. There really isn’t time to tones. There are a few other notes, but we can
be thinking in terms of scales—we need to quickly look at these in a lot more detail when we start to
boil things down to notes that sound like the incorporate altered chords and substitutions into
chord. It doesn’t get better than arpeggios for that. the turnaround.
I’ve opted to use the B%7-G7-Cm7-F7 variation Ex. 5 opens by approaching the 3 of B% from
here because there’s a better resolution leading into a step below and moving down a B% triad before
Cm7. It’s worth practicing with a C7 too. Once shifting up to a G7 arpeggio. To cover the Cm7
you go up and down each one a few times, try to F7 section, I played a cliché IIm-V phrase that
changing chords at the top and bottom of each relies heavily on chord tones.

Ex. 5
B¨7 G7 C‹7 F7
b 4 bœ nœ œ œ œ œ œ œ œ œ
&b 4 œ œ nœ œ œ œ œ Œ Ó

˙
6 7 7 10 8 7
8 9 8 10 8 7 8
8 10 10 8

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34 PREMIER GUITAR - DIGITAL PRESS LESSONS
 Ex. 6

œ b œ œ
B¨7
n œ œ œ œ
G7 C‹7
œ œ œ œ F7 œ
b4 œ œ
b
& 4 œ œ œ Œ Ó

6 7 8 11 10

˙
6 9 9 8 10
7 10 8 7 10
8
10

In Ex. 6 we begin by moving up a B%7 arpeggio, then coming down a G7 idea that includes A% to
give the lick a G7%9 sound. We’ve got another nice phrase over the IIm-V that starts out the same as the
previous one, but resolves higher up after traversing a F7 arpeggio.
Ex. 7 opens with a descending B%7 arpeggio, then moves to the G7 and targets the 5 (D) by circling it
with a note above and then below. Over the Cm7 we have a basic Cm7 arpeggio that moves to a simple
idea over the F7 that actually features the major 7. This is a common passing note to add between the
root and the %7.

Ex. 7
œ bœ œB¨7 G7 C‹7
œ œ nœ bœ œ
F7
b4 œ bœ nœ nœ œ œ œ œ œ Œ
&b 4 œ Ó

˙
9 6 8
8 6 7 8 10 9 8 10 7
9 8 10 8
10

Ex. 8 begins with a simple motif of descending three notes for an arpeggio. We then jump up and move
down five notes to outline the next chord. This sort of playing gives your lines a direction—something the
listener can latch onto rather than simply experiencing a stream of seemingly random notes.

Ex. 8

b 4 œ œ œ b œ œ œ œ nœ œ œ œ œ œ œ œ œ
B¨7 G7 C‹7 F7

b œ Œ Ó
& 4

˙
6 9 8 8 11 10
7 10 7 8 10 8 7
8 9 10 10

premierguitar.com PREMIER GUITAR - DIGITAL PRESS LESSONS 35

 Ex. 9
œ nœ œ œ œ F7œ œ
b œ œ œ œ œ
B¨7 G7 C‹7
b 4 œ œ œ œ
&b 4 œ Œ Ó

6 7 6 10 8

˙
6 9 8 6 8 10 11
7 8 10 8
8

Ex. 9 moves up a B%7 arpeggio, and then dives
into a G7 arpeggio via some chromatic notes.
Next, over the Cm7 we outline an E%maj7 sound
(this yields a nice Cm9 effect) and finally resolve to
an F7 arpeggio.
Finally, Ex. 10 features more chromatic
approaches to chord tones. This really highlights
the fact that players in this style often think in
terms of chord tones, rather than scales. If you
think of scale tones as notes that live around chord
tones, you’ll generate lines with a strong harmonic
contour. We conclude this lick with a classic
bebop ending that outlines both the Cm7 and F7
quite nicely.

Ex. 10

b 4 œ bœ nœ œ nœ œ œ b œ
B¨7 G7 C‹7 F7
œ œ œ œ œ nœ bœ œ œ œ Œ
b
& 4 Ó

˙
6 9 8 8 8
6 7 7 10 8 10 9 8 7
8 9 10 8

I’ve provided a little track you can play these ideas over (or toss in some of your own), but it’s worth
noting this has a swing feel. These ideas will also work in a straight rhythmic context, so don’t be afraid
to try them in any blues setting. Just make sure the band is playing a standard turnaround. Have fun and
I’ll see you next time.

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36 PREMIER GUITAR - DIGITAL PRESS LESSONS
 Digital Press
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