Major Minor Blues Shapes TM

Combining Major And Minor Blues Sounds In All 5 Fretboard Regions

By
Griff Hamlin

Thank you to my wife, Laura, and my family for your continued support and patience.
Also, a special thanks to all of my students, past and present, who continue to push me
in discovering new and better ways to teach. Thank you to all of my customers and fans
of my music. Without you, none of this would be possible.

Griff Hamlin’s Guitar Unleashed, Inc.

387 Magnolia Ave., Ste. 103-412
Corona, CA 92879

Copyright © 2015 by Griff Hamlin

International Copyright Secured. All Rights Reserved

No part of this publication (music, video, audio, or written) may be reproduced in any
form or by any means without express written consent of the publisher.
 Table of contents
Introduction............................................................................................................. 4

Section 1............................................................................................................. 6
Example 1-1...................................................................................................... 6
Example 1-2...................................................................................................... 6
Example 1-3 Minor............................................................................................ 7
Example 1-3 Major............................................................................................ 7
Example 1-4 Minor............................................................................................ 7
Example 1-4 Major............................................................................................ 7
Example 1-5 Minor............................................................................................ 8
Example 1-5 Major............................................................................................ 8
Solo 1.............................................................................................................. 10

Section 2........................................................................................................... 12
Example 2-1.................................................................................................... 12
Example 2-2.................................................................................................... 12
Example 2-3 Minor.......................................................................................... 13
Example 2-3 Major.......................................................................................... 13
Example 2-4 Minor.......................................................................................... 13
Example 2-4 Major.......................................................................................... 13
Solo 2.............................................................................................................. 14

Section 3........................................................................................................... 16
Example 3-1.................................................................................................... 16
Example 3-2.................................................................................................... 16
Example 3-3 Minor.......................................................................................... 17
Example 3-3 Major.......................................................................................... 17
Example 3-4 Minor.......................................................................................... 17
Example 3-4 Major.......................................................................................... 17
Solo 3.............................................................................................................. 18
 Table of contents
Section 4........................................................................................................... 20
Example 4-1.................................................................................................... 20
Example 4-2.................................................................................................... 20
Example 4-3 Minor.......................................................................................... 21
Example 4-3 Major.......................................................................................... 21
Example 4-4 Minor.......................................................................................... 21
Example 4-4 Major.......................................................................................... 21
Solo 4.............................................................................................................. 22

Section 5........................................................................................................... 24
Example 5-1.................................................................................................... 24
Example 5-2.................................................................................................... 24
Example 5-3 Minor.......................................................................................... 25
Example 5-3 Major.......................................................................................... 25
Example 5-4 Minor.......................................................................................... 25
Example 5-4 Major.......................................................................................... 25
Example 5-5 Minor.......................................................................................... 26
Example 5-5 Major.......................................................................................... 26
Solo 5.............................................................................................................. 28

cd track listing
Solo 1 Slow Speed................................................................................................. 1
Solo 1 Full Speed................................................................................................... 2
Solo 2 Slow Speed................................................................................................. 3
Solo 2 Full Speed................................................................................................... 4
Solo 3 Slow Speed................................................................................................. 5
Solo 3 Full Speed................................................................................................... 6
Solo 4 Slow Speed................................................................................................. 7
Solo 4 Full Speed................................................................................................... 8
Solo 5 Slow Speed................................................................................................. 9
Solo 5 Full Speed................................................................................................. 10
Jam Track............................................................................................................. 11
Major Minor Blues Shapes Griff Hamlin

Introduction
One of the biggest points of confusion for guitarists looking to play the blues and sound
really authentic, is the mixing of what are commonly called the major blues sound and
the minor blues sound.

Because we tend to learn the sounds in “box” patterns, there are several tricks to
change from the major to minor blues sounds… things like the “3 frets down” trick come
to mind.

But the problem is that most of those tricks involve at least one extra mental step, which
I call mental gymnastics, and inevitably they take your attention away from the proper
root note.

For example, if you want to play the A major blues sound you can just drop the A minor
sound down 3 frets… but now you’re in F# and the root notes will all be wrong and a lot
of your licks will likely start and end in the wrong place.

In other words, while those tricks will work, getting things to sound just right, (as
opposed to not wrong,) is more luck than plan.

I cover the process for translating between the major and minor blues sounds in my
course, Blues Guitar Unleashed, and in that course there are quite a few different
examples and 3 complete solos that do show a lot of options when it comes to this
approach.

But many students simply want and need more practice with it to really get it down… so
that’s what we’re here for.

Now, to be fair, much of what we’ll talk about here is also covered in another course I
have called The Slow Blues Supplement, but the primary difference is the difficulty of
the solos… these are considerably easier.

So think of this as a bridge between Blues Guitar Unleashed and The Slow Blues
Supplement. Many people may not need more than is covered here and there is a lot of
music that can be made with this technique and approach.

You’ll notice that while these solos should be fairly easy to play, they sound really nice
because they outline the chords so well. That is what you should strive for and listen for
when you play them.

There are 5 solos, each one lining up with one of the 5 “box” regions of the fretboard.
This is so that, regardless of what shape you start in, you won’t get lost when you need
to change sounds in the middle of a solo.
4 Copyright © 2015 Major Minor Blues Shapes
Major Minor Blues Shapes Griff Hamlin

At the beginning of each section, or solo, we’ll cover the major and minor shapes for
that region… and you’ll also see how the shapes interconnect using the root notes as
“pivot points.”

After that I’ll play through the solo once so you can hear it, and then we’ll break down all
of the licks in the solo note for note and step by step so you can see where each sound
is being used and where the transitions occur.

Take your time, enjoy the sounds, and let’s get started!

Copyright © 2015 Major Minor Blues Shapes 5

Major Minor Blues Shapes Griff Hamlin

section 1
By and large I’ll approach this from the minor perspective first. So I’ll say this is the “box
1” region.

We’re going to be in the key of G for all of the solos, so that means we’ll be going back
and forth between the G minor and G major sounds.

G Minor Blues, when we play box 1, looks like this:

Example 1-1

Example 1-1 G Minor "Box 1" (root notes are in parenthesis)

° œ œ œ bœ œ œ œ œ
& œ # œ œ œ œ bœ nœ#œ #œ nœbœ œ œ
œ # œ n œ
Ó
œ bœ bœ œ
3 6 6 3

¢⁄
3 6 6 3
3 5 6 6 5 3
3 5 5 3
3 4 5 5 4 3
3 6 6 3

Notice the roots because those are going to be your “pivot points” when changing from
one sound to the other. We use the roots because there is guaranteed to be a root in
both sounds. There isn’t a 3rd, for example, and there isn’t a b7th in both sounds. So
those don’t make good pivot points.

The G Major Blues box that falls in this same general area is box 2 and looks like this:

Example 1-2

œ œbœ œ œ œ œ
Example 1-2 G Major "Box 2" (root notes are in parenthesis)
° œ œ
& œ œ œ œ bœ nœ nœbœ œ œ œ
œ j‰ Œ
œ œbœnœ 3 5 6 5 3
nœbœ œ œ

¢⁄
3 5 5 3
2 3 4 4 3 2
2 5 5 2
2 5 5 2
3 5 6 6 5 3

Of course, the roots are all in the same place – G’s don’t move around!

The first thing you need to try is playing the boxes from some note other than the lowest
or the highest. This is the way we commonly play the blues scale, but what you really
want to get used to doing is playing from the roots.
6 Copyright © 2015 Major Minor Blues Shapes
Major Minor Blues Shapes Griff Hamlin

So let’s take the lowest root first, this is easy in this position because we’re used to it:

Example 1-3
Example 1-3 Minor Sound (root notes are in parenthesis)

° bœ œ œ œ
b œ nœ#œ œœœ œ#œ nœbœ Ó
& œ œ œ œ œ œ
œ bœ œ#œ 3 6 6 3
#œnœbœ œ

¢⁄
3 6 6 3
3 5 6 6 5 3
3 5 5 3
3 4 5 5 4 3
3 6 6 3

œ œbœ œ œ œ œ
Example 1-3 Major Sound (root notes are in parenthesis)
° b œ nœ œ œ nœbœ œ œ
& œ œ œœ œ œ j‰ Œ
œ œbœnœ 3 5 6 5 3
nœbœ œ œ

¢⁄
3 5 5 3
2 3 4 4 3 2
2 5 5 2
2 5 5 2
3 5 6 6 5 3

Now the middle root:

Example 1-4

° bœ œ œ
Example 1-4 Minor Sound (root notes are in parenthesis)

œ œ œ œ#œ nœ bœ j‰ Ó
& œ bœ œ#œ œœ œ œ œ
#œnœbœ œ œ œ#œ œ
3 6 3

¢⁄
3 6 6 3
3 5 6 6 5 3
5 5 3 3 5
5 4 3 3 4 5
6 3 6

° œ œ bœ œ œ œ œ
Example 1-4 Major Sound (root notes are in parenthesis)

œ œ j‰ Œ
& œ œbœ nœ nœbœ œ œ
œ œn œ b œ œ œ b œ n œ œ œ œ
œ
3 5 6 5 3

¢⁄
3 5 5 3
2 3 4 4 3 2
5 5 2 2 5
5 2 2 5
6 5 3 5 6

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Major Minor Blues Shapes Griff Hamlin

And finally from the highest root – not all regions will have 3 roots, most will only have 2.

Example 1-5

° œ œ œ#œ nœ bœ bœ
Example 1-5 Minor Sound (root notes are in parenthesis)

b œ nœ #œ œ œ œ œJ ‰ Ó
& œ œ œ# œ n œ œœ
bœ œ œ œ#œ œ
3 3 6 3

¢⁄
6 3 3 6
6 5 3 3 5 6
5 3 3 5
5 4 3 3 4 5
6 3 6

° œ œ œ nœbœ œ œbœ œ œ
Example 1-5 Major Sound (root notes are in parenthesis)

œœœ œbœ nœ œ œ J‰ Œ
& œn œ b œ œ œ œ œ n œ œ œ œ
3 3 5 6 5 3

¢⁄
5 3 3 5
4 3 2 2 3 4
5 2 2 5
5 2 2 5
6 5 3 5 6

So now that you see the options, here’s a solo in this region where I’ll go back and forth
between the two sounds. After you take a listen we’ll break down the sections and you’ll
see which of the roots we are centered around for each phrase.

8 Copyright © 2015 Major Minor Blues Shapes

 This Page Left Blank
Intentionally To Avoid
Page Turns
Major Minor Blues Shapes Griff Hamlin

solo 1
Lick 1 Lick 2

qaa z=[qp ]e G7
° # 4 Œ ‰bœnœ œ œ œ b œ œ œnœ Œ Œ ‰bœnœ œ œ œ œ n œ œ œ œ œ œœ œnœ ˙ Œ ‰b œJ
C7 G7 C7
& 4 J J 3
full full
full

3 6 6 3 3 5 5 3 5 3 3 6

¢⁄
3 5 6 3 5 5 6
3 4 3 4

° #<b> œ œ nœ œ œbœ
Lick 3 Lick 4

œ œ œ œ œ œ nœ œ bœ ‰ œJ
nœ
G7
D7
œ nœ œbœ nœ Œ Œ ‰ bœJ nœ œ œ
j
&
full

6 3 3 3

¢⁄
6 3 3 5 3 5 3 6 6 6
5 3 3 4 3 4 5 3
5 3 5

Lick 5 Lick 6
D7 b œ œ œ
° # œ œ nœ œ bœ œ œœœœœœ œ
C7 G7 G7
œ
œ nœ œ ™bœ nœJ ‰ œJ Œ ‰ J ‰ J
j
&
full full

3 3 6 6 3 3 3 3

¢⁄
6 3 5 5 5
5 3 3 4
5 3 5

10 Copyright © 2015 Major Minor Blues Shapes

Major Minor Blues Shapes Griff Hamlin

solo 1
Lick 7 Lick 8 Lick 9

° # œnœ œb œ ‰ œJ ‰ œJ œ œ œ œ œ œ œ œ ‰ œ œ œ ‰ œnœ œœ nœ œœ œ œœ œ œœ œ œœ
C7 G7 C7
& J J
full full full full full

3 3 6 3 3 3 3 3 3 3 3 3 3 3 3

¢⁄
6 5 5 3 5 3 3 6 6 6 6 6

Lick 9(cont'd) Lick 10

° # nœ œ œ bœ œ
G7
œ œ bD7
œ œ œ
& œ nœ œbœ nœ Œ Œ ‰ œj œ œ œ bœ nœ
j œ œ‰ œ
J
3 6 6 3

¢⁄
6 3 3 5 3 3
5 3 3 4 2 3 4
5 3 5 2 5
5

Lick 11 Lick 12

° # bC7
œ œ œ œ œ œ nœ D7 G7 G7
& œ œ bœ nœ ‰ j bœ œ œ Œ Ó
œ œ œ nœ
1/2

6 6 3 6 3 3

¢⁄
3 6
5 3 3
5 3 5
5 5

Copyright © 2015 Major Minor Blues Shapes 11

Major Minor Blues Shapes Griff Hamlin

section 2
Now we’ll look at the “box 2” region between roughly the 5th and 8th frets.

G Minor Blues, when we play box 2, looks like this:

Example 2-1

bœnœ#œnœ bœ œ œ
Example 2-1 G Minor "Box 2" (root notes are in parenthesis)

° b œ nœ #œ œ œœ œ#œ nœbœ œ
& œœ œ œ# œ n œ j ‰ Œ
bœ œ#œ œ bœ
6 8 9 8 6

¢⁄
6 8 8 6
5 6 7 7 6 5
5 8 8 5
5 8 8 5
6 8 9 9 8 6

The G Major Blues box that falls in this same general area is box 2 and looks like this:

Example 2-2
Example 2-2 G Major "Box 3" (root notes are in parenthesis)

° œ œ œ œbœnœbœ œ œ œ œ
& œ œ œ œbœ nœ nœbœ œ œ
œ œ j‰ Œ
œbœnœ nœbœ œ
5 6 7 6 5

¢⁄
5 8 8 5
4 7 7 4
5 7 8 8 7 5
5 7 7 5
5 6 7 7 6 5

And again, let’s look at them played from the various roots…

First, the lowest root at the 4th string, 5th fret:

12 Copyright © 2015 Major Minor Blues Shapes

Major Minor Blues Shapes Griff Hamlin

Example 2-3

nœ#œnœbœ œ
Example 2-3 Minor Sound (root notes are in parenthesis)

° b œ œ#œ œ œ œ bœ œ œ#œ nœbœ j‰ Œ

& œ œœ œ# œ n œ b œ œ œ
œ#œ œ
6 8 9 8 6

¢⁄
6 8 8 6
5 6 7 7 6 5
5 8 8 5 5
8 5 5 8
9 8 6 8 9

Example 2-3 Major Sound (root notes are in parenthesis)

° œ œ œ œ bœnœbœ œ œ œ œ j‰ Œ
& œ œbœ nœ nœ bœ œ œ œ
œn œ b œ œ b œ n œ œ œ œ
5 6 7 6 5

¢⁄
5 8 8 5
4 7 7 4
5 7 8 8 7 5 5
7 5 5 7
7 6 5 6 7

Now the higher root… there are only 2 roots in this region.

Example 2-4

bœ nœ#œnœbœ œ
Example 2-4 Minor Sound (root notes are in parenthesis)

° œ œ œ#œ nœbœ œ œ œ
& œ œ œ# œ n œ œ # œ œ œ œ bœ nœ#œ J‰Œ
bœ
6 8 9 8 6

¢⁄
8 6 6 8 8
7 6 5 5 6 7
8 5 5 8
8 5 5 8
9 8 6 8 9

Example 2-4 Major Sound (root notes are in parenthesis)

° œ œ œ nœbœ œ œ œ œ bœnœbœ œ œ
& œœœ œ œ œbœ nœ J‰Œ
nœbœ œ œnœ œ œ
5 6 7 6 5

¢⁄
8 5 5 8 8
7 4 4 7
8 7 5 5 7 8
7 5 5 7
7 6 5 6 7

Copyright © 2015 Major Minor Blues Shapes 13

Major Minor Blues Shapes Griff Hamlin

solo 2
So now that you see the options, here’s a solo in this region where I’ll go back and forth
between the two sounds. After you take a listen we’ll break down the sections and you’ll
see which of the roots we are centered around for each phrase.

Lick 1 Lick 2
qaa z=[qp ]e
b œ n œ œ b œ œ™ b œ n œ œ œbœ
° #4 Œ œ
G7C7 G7
œ œ œ œ nœ œ œ œ œ
& 4 Ó ‰ bœ nœ
J
1/2

5 6 7 8 6 6 5 6

¢⁄
8 5 8 8 6 8 8 8 5 8
4 7
8

Lick 3 Lick 4

° #<b> œ œ Œ ‰ œ nœ œ b œ œ œ œ œ bœ nœ Œ Œ ‰ j œ œ œ œ œ œ b œ
C7 G7

& J œ œ
6 6 6

¢⁄
8 6 8 8 6 5 8 5 8
7 7 5 4 4 7
8 5 7

Lick 6
Lick 5

° #<b> œ œ nœ œ™ b œJ C7
D7
œ œ nœ œ b œ œ ˙
G7 D7 œ œ™ œ œ œ œ b œ
& Ó Œ
full full

6 6 6 6 8 8 8 6

¢⁄
8 6 8 8 6 8 8 8

14 Copyright © 2015 Major Minor Blues Shapes

Major Minor Blues Shapes Griff Hamlin

solo 2

Lick 7 Lick 8

° #nœ œ œ ‰ Ó b œ ™ œ nœ
G7 C7 G7

& ‰ œ œbœ nœ œ Œ Œ ‰ j œ œ œ bœ œ œ
J œ œ œ œ
7 6

¢⁄
8 8 6
7 7 5 3 4
5 5 5 7 8 7 5
5 7 7 7

Lick 9 Lick 10

b œ n œ b œ n œ bœ nœbœ nœ œ œ
° #
C7 G7
œ nœ œ œ œ œ œ œ
& œ œbœ Œ ‰ œJ #œ Œ Œ Œ Œ ‰J

6 7 6 7 6 7 6 7 8

¢⁄
6 6 8 8 8
5 6 7 7 7 7
5 5
8

Lick 11 Lick 12

œ œbœ œ œ C7œ œ b œ œ œ G7œ™ b œ n œ œ œ D7˙™ bœnœ œ

° #
D7 G7
œ w
& ‰ J J ‰ J
full full full 1/2

8 6 8 8 6 6 7 8 8 6

¢⁄
8 5 8 8 8

Copyright © 2015 Major Minor Blues Shapes 15

Major Minor Blues Shapes Griff Hamlin

section 3
Now we’ll look at the “box 3” region between roughly the 8th and 11th frets.

G Minor Blues, when we play box 3, looks like this:

Example 3-1

nœ#œ œ œ nœbœ œ œ
Example 3-1 G Minor "Box 3" (root notes are in parenthesis)

° bœ
b œ nœ#œ œœœ œ#œ nœbœ
& œ#œ œ œ œ œ œ œ# œ n œj ‰ Œ
8 9 10 9 8

¢⁄
8 11 11 8
7 10 10 7
8 10 11 11 10 8
8 10 10 8
8 9 10 10 9 8

The G Major Blues box that falls in this same general area is box 4 and looks like this:

Example 3-2

bœnœ œ œbœ œ œ œ
Example 3-2 G Major "Box 4" (root notes are in parenthesis)

° œ œ œ
& œ œ œ bœ nœ œ œ nœ bœ œ
œ œ œ j‰ Ó
œ œ nœ
7 10 7

¢⁄
8 10 11 11 10 8
7 9 9 7
7 8 9 9 8 7
7 10 10 7
7 10 10 7

And again, let’s look at them played from the various roots…

First, the lowest root at the 5th string, 10th fret:

16 Copyright © 2015 Major Minor Blues Shapes

Major Minor Blues Shapes Griff Hamlin

Example 3-3

nœ#œ œ œnœbœ œ œ
Example 3-3 Minor Sound (root notes are in parenthesis)

° œ œ œ bœ œ#œ nœbœ j‰ Œ
& œ bœ œ#œ œœ œ# œ n œ # œ œ œ œ
8 9 10 9 8

¢⁄
8 11 11 8
7 10 10 7
8 10 11 11 10 8
10 10 8 8 10
10 9 8 9 10

œ bœnœ œ œbœ œ œ œ
Example 3-3 Major Sound (root notes are in parenthesis)

° œ œ j‰ Ó
& œ œ bœ nœ œ œ nœ bœ œ œ
œ œn œ œ œ œ
7 10 7

¢⁄
8 10 11 11 10 8
7 9 9 7
7 8 9 9 8 7
10 10 7 7 10
10 7 10

Now the higher root… there are only 2 roots in this region.

Example 3-4

œ#œ œ œnœ œ œ œ
Example 3-4 Minor Sound (root notes are in parenthesis)

° œ bœ œ#œ nœbœ b œ nœ#œ œ œ œJ ‰ Œ

& œ œ œ# œ n œ # œ œ œ œ
8 9 10 9 8

¢⁄
8 11 11 8 8
10 7 7 10
11 10 8 8 10 11
10 8 8 10
10 9 8 9 10

œ
Example 3-4 Major Sound (root notes are in parenthesis)

° œ œ b œ n œ œ b œ œ œ œ œ nœ bœ b œ nœ œ œ œJ ‰ Ó
& œ œœ œ œœœ œ
nœ
7 10 7

¢⁄
8 10 11 11 10 8 8
9 7 7 9
9 8 7 7 8 9
10 7 7 10
10 7 10

So now that you see the options, here’s a solo in this region where I’ll go back and forth
between the two sounds. After you take a listen we’ll break down the sections and you’ll
see which of the roots we are centered around for each phrase.
Copyright © 2015 Major Minor Blues Shapes 17
Major Minor Blues Shapes Griff Hamlin

solo 3
qaa z=[qp ]e Lick 1 Lick 2 Lick 3

œ # œ n œ b œ œ G7œ œ œ n œ œ œ
° # 4 ‰ œJ œ œ œ œ œ œ Œ œbœ œ œ œ
G7 C7
‰J œ œ Œ Ó
& 4
full full full full 1/2

10 9 8

¢⁄
8 8 10 10 11 8 8 8 10 10 10 10 8
9 9 9 9

Lick 3 (cont'd) Lick 4

° # œ nœ œ œ œ œ bœ œ bœ œœœœœœœ
C7 G7

& œ nœ œ œ œ œ nœ Œ Œ ‰ b œ nœ
J

¢⁄
8 8 8 8 10
10 7 10 7 7 9 9
10 8 10 8 8 10 8 9 8 9
10 8 10

Lick 5 Lick 6

œ D7 œ œ œ œ
b œ œ œ b œ n œ œbœ œ
D7
° # œ œ œ
G7
œ J œ nœ œ œ œ™ J
& ‰ C7
Œ Œ
1/2 full
1/2 full full 1/2

10 10

¢⁄
10 10 8 11 11 8 8 8 8 10 10 10
10

18 Copyright © 2015 Major Minor Blues Shapes

Major Minor Blues Shapes Griff Hamlin

solo 3
Lick 7 Lick 8

œ # œ n œ b œ œ G7œ™ œ n œ œ œ œ # œ œ b œ n œ œ œ œ
° # œŒ Œ ‰ J
G7 C7 j
œ œ œ
& J ‰ J
3
full

10 9 8 7 8 9 10 6 7

¢⁄
8 8 11 8 8 10 8 8 8
9 9 7

Lick 8 (cont'd) Lick 9 Lick 10

° # œ b˙ œœœ œ œ œ œ œ œ œ œ œ œ œ œ œbœ œ œ
C7 G7

& Œ Ó Œ ‰ J
1/2 1/2 full full full

8 10

¢⁄
10 10 10 8 10 10 10 8 8 8 8 11 11
9

Lick 10 (cont'd) Lick 11

° #
nœ œnœ œ b œ œ œ œ œnœ œ œ œ œ œb œ œ ™ œ œ œ w
D7 C7 G7 D7 G7
bœ nœ Œ Ó n
‰Jœ
&
full
full full 1/2

¢⁄
8 8 11 11 11 8 8 11 10 10 8
10 10 7 10 10 10
10 8 9

Copyright © 2015 Major Minor Blues Shapes 19

Major Minor Blues Shapes Griff Hamlin

section 4
Now we’ll look at the “box 4” region between roughly the 10th and 13th frets.

G Minor Blues, when we play box 4, looks like this:

Example 4-1

nœ#œ œ œ œ œ nœbœ œ
Example 4-1 G Minor "Box 4" (root notes are in parenthesis)

° œ œ b œ œ œ#œ nœ
& œ œ œ bœ œ#œ œ bœ œ œ j ‰ Ó
œ
10 13 10

¢⁄
11 13 14 14 13 11
10 12 12 10
10 11 12 12 11 10
10 13 13 10
10 13 13 10

The G Major Blues box that falls in this same general area is box 5 and looks like this:

Example 4-2

bœnœ œ œ œ œ bœ œ œ
Example 4-2 G Major "Box 5" (root notes are in parenthesis)

° œ œ œ œ œ nœ bœ œ
& œ œ œ œ bœ nœ œ œ œ œj ‰ Ó
10 12 10

¢⁄
10 11 12 12 11 10
9 12 12 9
9 12 12 9
10 12 13 13 12 10
10 12 12 10

And again, let’s look at them played from the various roots…

First, the lowest root at the 5th string, 10th fret:

20 Copyright © 2015 Major Minor Blues Shapes

Major Minor Blues Shapes Griff Hamlin

Example 4-3

n œ # œ œ œ œ œnœbœ
Example 4-3 Minor Sound (root notes are in parenthesis)

° œ b œ œœœ
b œ œ #œ œœ #œ nœ bœ œ œ œ œj ‰ Ó
& œ œ
10 13 10

¢⁄
11 13 14 14 13 11
10 12 12 10
10 11 12 12 11 10
10 13 13 10 10
13 10 13

œ œ œ œbœ œ
Example 4-3 Major Sound (root notes are in parenthesis)

° œ œ b œ n œ œœœ
œ b œ nœ œœ nœ bœ œ œ œ œ œj ‰ Ó
& œ œ
10 12 10

¢⁄
10 11 12 12 11 10
9 12 12 9
9 12 12 9
10 12 13 13 12 10 10
12 10 12

Now the higher root… there are only 2 roots in this region.

Example 4-4

œ#œ œ œ œ œ nœbœ œ œ
Example 4-4 Minor Sound (root notes are in parenthesis)

° œ b œ œœ
& œ #œ nœ b œ œœœœœ b œ œ #œ œ J ‰ Ó
10 13 10

¢⁄
11 13 14 14 13 11
12 12 10 10 12
12 11 10 10 11 12
13 10 10 13
13 10 13

œ œ œ œ bœ œ œ
Example 4-4 Major Sound (root notes are in parenthesis)

° œ œbœnœ œ œ nœ bœ b œ nœ œ œ œJ ‰ Ó
& œ œœœœœ œ
10 12 10

¢⁄
10 11 12 12 11 10
12 12 9 9 12
12 9 9 12
13 12 10 10 12 13
12 10 12

So now that you see the options, here’s a solo in this region where I’ll go back and forth
between the two sounds. After you take a listen we’ll break down the sections and you’ll
see which of the roots we are centered around for each phrase.
Copyright © 2015 Major Minor Blues Shapes 21
Major Minor Blues Shapes Griff Hamlin

solo 4
Lick 1 Lick 2

qaa z=[qp ]e
G7
œ œ nœ œ œ œ œ
C7 G7
° #4 ‰ œ œ œbœnœ bœnœ œ œ Œ Œ ‰ œ œ œbœ nœbœ nœ ‰ bœ
& 4 J J œ J
1/2

10 12 13 12 10 10

¢⁄
10 11 12 13 11
9 12 12 9 9 9
12 8 9 8 9
10 13

Lick 3 Lick 4

œ œ n3œ œ
° #<b>œ bœ œ œ œ œ œnœ œ œ nœ œb œ œ œ œ™ b œ n œ Œ ‰ œJ œ b œ n œ œ
C7 G7

& œ
3 1/2
3
10 10 13 12

¢⁄
11 11 10 11 12 12
10 10 10 12 12 10 12 12
10 10 10 12 12
13 10 13 13

Lick 5 Lick 6

n˙ ™ œ œ nœ
D7 C7 G7 D7
œ œ b œ œ nœ œ œ œ œ œ nœ œ œ b œ n œ
° #
œ

& Ó ‰ J
1/2
1/2 full

12 10 13

¢⁄
13 11 11 11 13
12 10 12 12 12 12 10 12

22 Copyright © 2015 Major Minor Blues Shapes

Major Minor Blues Shapes Griff Hamlin

solo 4
Lick 6 (cont'd) Lick 7 Lick 8

G7
œ œbœn˙ C7 G7
° # œ
nœ œb œ œ œ œ œ œ œœœœ
& Œ ‰ œJ bœ nœ œ Œ Ó ‰œœœ
3 3
J
full 1/2

¢⁄
13 13 11 11 11 10 10
10 12 12 10 9 12 12
12 12 10 8 9 9 12
10

Lick 8 (cont'd) Lick 9

° #bœ ™
C7
œ œ œ œ œ œ nœ œ œ b œ n œ b œ n œ ˙
G7 œ bœ
& J ‰ J Œ
1/2 1/2

10

¢⁄
11 11 11 11 11 11
12 10 12 12 10 12 10 12

Lick 10

nœ œ ™ œ ™ nœ œ œ œ
D7 C7
° #nœ Œ Œ J
bœ œ œ nœ œ
œ™ bœ nœ
&
1/2 full

13 13 10 10

¢⁄
13 11 11
12 10
12 10 8 9

Lick 11

bœ œ œ œ bœ nœ ™ ˙™
° # ˙™
G7 D7 G7

& Œ ‰ œ nœ œ
J
full 1/2

¢⁄
11 13 13 11
10 12
9 12

Copyright © 2015 Major Minor Blues Shapes 23

Major Minor Blues Shapes Griff Hamlin

section 5
Now we’ll look at the “box 5” region between roughly the 12th and 15th frets.

G Minor Blues, when we play box 5, looks like this:

Example 5-1

œ œ œ œ œ #œnœbœ
Example 5-1 G Minor "Box 5" (root notes are in parenthesis)
b œ n œ # œ
° œœ œ œ œ#œ nœ
& œ œ bœ œ#œ œ bœ œ œj ‰ Ó
13 15 13

¢⁄
13 14 15 15 14 13
12 15 15 12
12 15 15 12
13 15 16 16 15 13
13 15 15 13

The G Major Blues box that falls in this same general area is box 1 and looks like this:

Example 5-2

œ œ œ œ œ œbœ œ
Example 5-2 G Major "Box 1" (root notes are in parenthesis)

° œ b œ n œ
œ b œ nœ œ œœ œœœ
nœ bœ œ œ j ‰ Ó
& œœ œ
12 15 12

¢⁄
12 15 15 12
12 14 15 15 14 12
12 14 14 12
12 13 14 14 13 12
12 15 15 12

And again, let’s look at them played from the various roots…

First, the lowest root at the 6th string, 15th fret:

24 Copyright © 2015 Major Minor Blues Shapes

Major Minor Blues Shapes Griff Hamlin

Example 5-3

œ œ œ œ œ œ nœbœ
Example 5-3 Minor Sound (root notes are in parenthesis)
b œ n œ # œ
° b œ œ #œ œœœ œœœ
#œ nœ bœ œ œ œj ‰ Ó
& œ
13 15 13

¢⁄
13 14 15 15 14 13
12 15 15 12
12 15 15 12
13 15 16 16 15 13
15 15 13 15

œ œ œ œ œ œ bœ œ
Example 5-3 Major Sound (root notes are in parenthesis)

° œ b œ n œ
œ b œ nœ œ œœ œœœ
nœ bœ œ œ œj ‰ Ó
& œ œ
12 15 12

¢⁄
12 15 15 12
12 14 15 15 14 12
12 14 14 12
12 13 14 14 13 12
15 15 12 15

Now the middle root… there are 3 roots in this region.

Example 5-4

œ # œ œ œ œ œ œ#œnœ
Example 5-4 Minor Sound (root notes are in parenthesis)

° œ b œ bœ œ œ œ œJ ‰ Ó
& œ #œ nœ b œ œœœ œ œ #œ œ
13 15 13

¢⁄
13 14 15 15 14 13
12 15 15 12 12
15 12 12 15
16 15 13 13 15 16
15 13 15

œ œ œ œ œ œbœ œ
Example 5-4 Major Sound (root notes are in parenthesis)

° œ œ b œ n œ œœœ œ
& nœ bœ œ œ œ œ œ œ nœ œ œ J ‰ Ó
12 15 12

¢⁄
12 15 15 12
12 14 15 15 14 12 12
14 12 12 14
14 13 12 12 13 14
15 12 15

Copyright © 2015 Major Minor Blues Shapes 25

Major Minor Blues Shapes Griff Hamlin

Now the highest root… notice that this root is the same as the “box 1” region root up an
octave.

Example 5-5

œœœ
Example 5-5 Minor Sound (root notes are in parenthesis)
œœœ
#œnœbœ b œ n œ # œ
° œœ œ
#œ nœ bœ œ œ œ œ œ#œ œ œ
œ J ‰ Ó
&
15 13 13 15

¢⁄
15 14 13 13 14 15
15 12 12 15
15 12 12 15
16 15 13 13 15 16
15 13 15

œœœ
Example 5-5 Major Sound (root notes are in parenthesis)
œ œœ
° œ b œ œ œœ œ œ œ b œ n œ
& nœ bœ œ œ œ œ œ bœ nœ œ œ J ‰ Ó
15 12 12 15

¢⁄
15 12 12 15
15 14 12 12 14 15
14 12 12 14
14 13 12 12 13 14
15 12 15

So now that you see the options, here’s a solo in this region where I’ll go back and forth
between the two sounds. After you take a listen we’ll break down the sections and you’ll
see which of the roots we are centered around for each phrase.

26 Copyright © 2015 Major Minor Blues Shapes

 This Page Left Blank
Intentionally To Avoid
Page Turns
Major Minor Blues Shapes Griff Hamlin

solo 5
qaa z=[qp ]e Lick 1 Lick 2 Lick 3

œ œ b œ œ œ G7œ™ œn œ
° # 4 ‰ œJ œ œ œ œ œ œ Œ œ œœœ œ œ
G7 C7
‰ J nœ Ó œ
‰J œ
& 4
full full full full

¢⁄
15 13
12 12 14 14 15 15 12 12 14 12 14 14 12
14 15 12 14 14

Lick 3 (cont'd) Lick 4

b œ œ # œ œn œ œ œ n œ b œ œ G7œn œ œ œ œ œ œ œ œœ œ œ œ
° # nœ œ œ
C7
œ œ
& Œ Œ ‰J
full full full

13

¢⁄
13 14 15 15 14 13 15 15
12 12 15 15 12 14 14 14 14 12 12
15 12 15 14 12

Lick 5

° # b œ œ œ nœ œ œ œ œ nœ œ œ œ œ œ bœ œ
D7 C7 G7 D7

& œ bÆœ
J
n˙ Ó Ó Œ ‰ J

¢⁄
15 15 12 12 12 14
15 15 12 15 15 12 12
15 15 13 13 14
15

28 Copyright © 2015 Major Minor Blues Shapes

Major Minor Blues Shapes Griff Hamlin

solo 5
Lick 6 Lick 7 Lick 8

G7
œ œ C7
n œ œ œ œnœ G7
° #œœ
œ # œ b œ œ nœ œ œn œ ™ œb œ œ
‰ J Ó œ
Œ ‰ J œ
&
full
full

15 13 15 13

¢⁄
12 13 14 15 15 13
15 12 12 14 12 15 15
15 12 14

Lick 8 (cont'd) Lick 10

œ œ œ œ
° #<b> œ œ nœ œ œ œ nœ œ Œ Ó œ œ œ œ œ#œ œ
C7 G7 #œ
& ‰ J J
‰ ‰ J ‰ J
full

12 15 15 15

¢⁄
12 13 14 15 14
15 12 12 12 12 14
15 15 12 15

Lick 11

œ nœ #œ œ œ œ œ nœ #œ œ œ œ nœbœ n˙
D7 C7 G7
° # ‰ J ‰ J ‰ J Ó
&
1/2

13 13 13 13

¢⁄
15 14 15 14 15 14 15 15 13 11

œ
Lick 12

° #Œ œ bœ ™ œ œ œ œ nœ
D7 G7
w
& Œ Ó
1/2 1/2

15

¢⁄
14 14 14 12 12
15

Copyright © 2015 Major Minor Blues Shapes 29