Improvising

Lead Guitar
Advanced Level
by

Tony Skinner

standard:
GRADES 6 TO 8
 A CIP record for this publication is available from the British Library.

ISBN: 1-898466-38-6
Second Edition

© 2000 & 2006 Registry Publications

All rights reserved, including the right of reproduction in whole or

in part in any form or by any means without the prior written
permission of the copyright holders.

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Photocopying of any part of this book is illegal and may result

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Published in Great Britain by

Registry Mews, 11-13 Wilton Road, Bexhill, Sussex, TN40 1HY, United Kingdom

Typesetting by

Take Note Publishing Ltd., Lingfield, Surrey

Printed in Great Britain

Contents
Page

4 – List of audio tracks

5 – Introduction

6 – How to improvise

9 – Stages to improvising

12 – Specialist techniques

15 – Keys and modes

21 – Guitarograph

22 – Playing levels

23 – Backing tracks

26 – Scales

35 – Arpeggios

40 – Further study
List of audio tracks
Track 1 Tuning guide

Track 2 Driving Rock

Track 3 Smooth Ballad

Track 4 Funky Groove

Track 5 Cool Rock

Track 6 Blues Changes

Track 7 Cool Jazz

Track 8 Lydian Ballad

Track 9 Slow Groove

Track 10 Five-time Changes

Track 11 Melodic Blues

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4
Introduction
T
he purpose of this Although you could use shown have been
book is to help you an electronic tuner to chosen to reflect the
develop your lead help you check the exact requirements of
guitar improvisation skills notes, it's a good idea to the Lead Guitar sections
to an advanced level. It use the tuning guide as of the Grade Six, Seven
will teach you how to often as you can as this and Eight RGT electric
use modal scales and will ensure that you guitar examinations. The
how to improvise over maintain your sense of book therefore provides
chord progressions pitch. an ideal study aid for
containing key changes those preparing to take
and modulations. An get graded any of the Registry of
extensive range of Guitar Tutors’ electric
scales and arpeggios is guitar examinations from
shown, together with Grade Six to Eight.
essential practical However, the book is
information about how designed so that it can
and where to use them. be used effectively by
all guitar players –
The accompanying whether intending to
audio tracks provides a take an examination or
full band backing track not.
for all the chord
progressions shown
within this book.
A wide range of musical
styles are covered. By
This book is structured in
playing along with the
line with the Registry Of If you wish to obtain a
audio tracks you'll be
Guitar Tutors’ electric FREE electric guitar
able to hear exactly how
guitar examination examination
your lead guitar
syllabus – that is information pack,
improvisation sounds in contact:
administered by London
a real band setting.
College of Music
Examinations (one of the Registry of Guitar Tutors,
get tuned world’s longest Registry Mews,
11-13 Wilton Road,
established music
Before you start playing Bexhill,
examination boards)
you'll need to get your Sussex, TN40 1HY
and certificated by United Kingdom.
guitar in tune. The tuning Thames Valley University.
guide on Track l gives 01424 22 22 22
you the pitch of each All the scales, arpeggios www.RGT.org
string, starting with low E. and chord progressions

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5
How to improvise
I know your
mprovising on the focus on using them
guitar is often defined creatively to make an
as 'making up a lead scales interesting solo.
solo on the spot'. This
gives the impression that
improvisation is sponta-
“Memorising trust your ear
neous and unprepared.
scales provides
This is partly true, but in the soundest “Rely not just on
reality there's also a lot foundation for your scales, but
of background work and improvisation.” also on your aural
knowledge underpinning
this. To solo over any chord awareness.”
sequence you'll need to
Advanced improvisation know the correct scale All the notes of the
requires a thorough (or scales) to use, as it's correct scale will fit over
knowledge of scales the scale which defines all of the backing
and keys, but the notes that will fit with chords from the same
improvisation is not the backing chords in key – although some will
simply about playing any particular key. sound more
scales up and down. Therefore, before you harmonically resolved
Neither is it about start any improvisation than others over
instantly creating you should play through particular chords. These
melodic lines without the appropriate scales fully resolved notes will
reference to scales. The (shown later in the book) normally be the chord
truth lies somewhere several times until you tones themselves (i.e.
between the two, and are totally familiar with the notes which
the ideal mix needs the them. constitute the
addition of other accompanying chord).
important ingredients When practising scales,
such as the use of concentrate on trying to If you hit a note that
phrasing, stylistic become totally familiar sounds too unresolved
interpretation and with the 'sound' of each for your liking, simply
specialist techniques. one, rather than just move smoothly and
perfecting the deliberately onto the
Below is a brief summary mechanics of the next note (above or
of the main elements of fingering. You should below) in the scale and
advanced improvisa- know your scales so well this will normally sound
tion. Later on in the (aurally, visually and resolved.
book all these topics will physically) that you can
be covered in greater relax whilst playing them You shouldn't be afraid
detail. – leaving yourself free to to 'lean' on some of the

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6
unresolved notes (non- arpeggio correctly – add
chord tones) as this will although you will need
create a musical tension to change arpeggio chromaticism
which can be quite every time the backing
effective, particularly chord changes. “Make your
once you release the playing more
tension by resolving to a In most rock and pop inventive, by going
chord tone. styles, guitarists rarely use beyond standard
arpeggios throughout a
This interplay between
scales and
whole solo, as the lack
tension and release is a of non-chord tones arpeggios.”
commonly used would result in a rather
improvising tool. It adds Once you are familiar
bland sound. Instead,
harmonic interest to a with the main scales and
arpeggios are generally
solo and prevents the arpeggios you can
used only occasionally
performance sounding begin to use notes
to enhance the sound
too plain. However, you outside them.
of the key scales, and to
should never become bring a sense of
'overly' concerned with Using notes that are not
resolution and stability to
such technicalities. in either the chords or
the performance.
Sometimes concen- the key of the backing is
trating too much on called chromaticism.
Practising arpeggios is
technical factors, such very useful, as it helps
as which notes are Adding these 'outside'
you identify the notes
chord tones and which notes to your playing
contained within each
are not, can impede can really add colour to
chord. You can then use your improvisation. Using
your ears in guiding you this knowledge to target
as to what sounds best. chromaticism every now
certain chord tones and then is a good way
whilst improvising. This to make your solos less
use arpeggios technique can help you
predictable and more
reflect and enhance the individual.
“Providing you harmonic content and
play them in the movement of the
develop
right place, accompaniment.
arpeggios are phrasing
Alternatively, you could
foolproof.” use your knowledge of “Leave spaces to
An arpeggio is simply the arpeggios to allow the music
notes of a chord played deliberately avoid chord
sequentially, rather than tones (particularly at the
room to breathe.”
all at once. Because start of a bar) and so
each arpeggio contains create a sense of Once you have learnt
exactly the same notes musical tension, that you the scales and
as its related chord, you could then release by arpeggios that you
can never play a wrong reverting to a chord need, the aim is to use
note if you use an tone. them in a melodically

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7
inventive and creative improvisation. Trying to the pushing of
way. You don't need to 'busk' well known tunes boundaries and the
play all the notes of any by ear will also help you fusion of styles that
scale, nor in any develop a reliable link enables music to
particular order (and between ears and continually develop.
certainly not in the set fingers. Careful experimentation,
scale order). Instead, try with a monitoring of
to invent short match the style musical appropriateness,
memorable phrases or is recommended.
flowing melodic lines. “Make sure your Above all, trust your own
musical taste to guide
solo relates to the
Avoid playing a you. After all, it's YOU
continuous flurry of notes musical style.” who is making music
by not being scared to NOW. Whilst it's useful to
The ability to interact
leave gaps in your listen to what good
effectively with the
improvisation. The players did in the past,
melodic lines and
spaces between notes there's no need to
rhythms of other
can play as important a slavishly copy their styles.
instrumentalists and
rhythmic function as the
vocalists is a core skill of
notes themselves.
any good lead guitarist. use techniques
You can avoid sounding When improvising you “Use specialist
too scale-like by singing, should always pay techniques to
or thinking up phrases in attention to the overall
your mind, and then
create a stunning
musical style and listen guitar solo.”
trying to reproduce carefully to what is being
them on the guitar. played on other In order to sound really
Using your imagination instruments. effective, guitar solos
to develop phrases will often need a few
create a more natural Most genres of music 'finishing touches'. Using
feel to your lead playing have stylistic traditions string bends, slides,
than the mechanical which broadly define the vibrato, slurs, damping
approach of just borders between one and other techniques
allowing your fingers to style of music and can help make your
lead the way. Even if another. For example, improvisation sound
you are unable to the content and more distinctive and
reproduce the exact structure of a solo in a personal. All these
melody of what you had mellow jazz style would techniques are covered
in mind, you should at normally be different to later in the book. You
least be able to that in a heavy metal should practise them
reproduce the rhythm of context. However, there until they become
your phrase reasonably are no definitive rules second nature, then
accurately. This method about what sort of thing you'll be able to
will put you on the right you can or cannot play incorporate them into
path towards true (i.e. in a particular style of your improvisations with
non-scale led) music. In fact, it is often ease.

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8
Stages to improvising it in a melodically inventive and
creative way. Always remember that
the scale only defines the range of
notes which you can play in a
Stage particular key. Simply playing the
1 scale up and down is not enough to
make a good solo.
get in key
“Choose the right scale
before you begin to play”
Stage
Before you play any lead you need to 2
identify the initial key of the song and
work out whether it changes key. In now phrase it
order to do this you'll need a
knowledge of basic harmony – “Create memorable
particularly an awareness of the phrases to give your solo
chords which occur in each key. (See
the chapter entitled 'Keys and modes'
structure.”
for more detailed information).
By repeating a series of notes you will
It doesn't matter how fast and flashy begin to establish licks or phrases
your lead playing is; if you use the which will become memorable to the
wrong scale then you’re certain to hit listener.
notes that will clash with the backing
chords. It's essential to have a good Once you have created a phrase you
understanding of how to identify the like, try and vary it slightly when you
key(s) of a song, so that you can then repeat it – that way it will sound fresh,
choose the correct scale(s) with which whilst still giving the listener something
to improvise. recognisable to latch onto. By
repeating clusters of notes you can
Once you're sure which scale to use, start to develop melodic phrasing
start by simply playing the scale up and structure.
and down over the relevant backing
track chords so that you can begin to Try to leave gaps between your
hear the overall sound and tonality of phrases, so that the music has shape
the key. Keep practising the scale until and space to breathe. Remember
you are totally familiar with the sound that it's not always necessary to play
of it, then you should progress to using turbo speed licks to make a great

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9
guitar solo – the choice of just a few
carefully selected and well-executed
notes can often have far greater
emotional impact. Sometimes the
saying 'less is more' gives the best Stage
clue to establishing the right feel for a 3
piece of music.
target arpeggios
Occasionally though, some music
calls for an insistent and continuous
driving rhythm. It all depends on the “Learning arpeggios will
type of music over which you are help you identify chord
soloing. It’s up to you to listen carefully tones.”
to the accompaniment and use your
own musical judgement to decide
If you play the notes of a chord
upon the best form of stylistic
sequentially you end up with an
interpretation.
arpeggio. You can then swap these
notes around, or repeat some, to
z Experiment by playing phrases of different
make up a more interesting musical
lengths and listen carefully to your playing
to hear which ones best suit the musical phrase – just as you would when
style. improvising with a scale. Because the
arpeggio contains exactly the same
z Avoid making your phrasing sound too notes as the chord, whatever notes
predictable by not always starting phrases you play from the arpeggio will always
on the first beat of the bar. Instead, try fit well with the chord. The downside of
playing a few 'lead-in' notes before the start
this is that you have to change the
of the first bar.
arpeggio every time the chord
changes. However, you don't need to
z Ensure that you use a wide variety of note
lengths. Play some notes quickly and allow play a solo consisting entirely of
others to ring on. arpeggios – instead use them
sparingly to add structure and solidity
The important thing is to let your ears to your improvisation.
and intuition, rather than your fingers,
guide you as to what is best. Always Practising arpeggios will also help you
listen carefully to the overall sound of learn the names of the notes
the track, and try to relate your contained within each chord. Use this
improvisation to the track's main knowledge to target chord tones
musical features and style. (notes from the chord being played)
whilst improvising. For example (whilst
For inspiration, spend some time using the A major scale in a
listening to recordings by well-known sequence in A major), over the chord
musicians (not just guitarists) in a wide of F#m9 you could emphasise the
range of musical styles and, whenever G# (the 9th) from this chord.
you can, attend live performances so Alternatively, you could deliberately
that you can hear the theory in avoid chord tones to create a mood
action! of musical friction or suspense.

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10
 The possibilities with chromatic playing
are endless, and it is an area that is
well worth experimenting with. To get
the most out of chromaticism, it's
Stage important to develop your knowledge
4 of scales and arpeggios so that you'll
know which notes are 'inside' and
go chromatic which are 'outside'. It's also essential to
use your aural awareness to judge
when and where (e.g. in which
“Add colour and musical styles) chromaticism works
excitement by playing best.
notes outside the standard
scales.”

Chromaticism involves playing notes

from outside the chords and key. This
Stage
can create a real sense of musical
tension. 5
The easiest way to use chromaticism bend it shake it
at first is to use these 'outside' notes as
'passing notes'. “Use 'tricks of the trade' to
turn your improvisation into
z For example, when using the A pentatonic
minor scale over an A minor chord, rather a true guitar solo.”
than moving straight from an A note to a C,
insert a B b and Bn between the two chord
tones. In this example, we begin on a
Using bends and other specialist
resolved note, then create tension by techniques gives improvisation a real
passing through two non-chord/scale tones, guitar feel, and can add character
before releasing the tension with the final and style to a solo which might
note. otherwise be a little plain.
Chromatic notes do not always have Try bending some notes up in pitch, or
to be placed between chord tones. get a vibrato effect by wavering the
Another method is to use them as pitch of some notes slightly. You could
auxiliary notes – i.e. moving to chord also slur some notes by, for instance,
tones from a note above or below. hammering some notes on, rather
than picking every note with the
z For example, using the same A minor scale plectrum. Double stopping, i.e.
and chord as above, you could begin on
G# before playing the key note A. The G#
playing two notes at once, will add
note is outside both the scale and the strength to your playing, whilst string
chord. The longer you hold it the greater damping will give you greater tonal
the sense of dissonance and tension you variety. Explanations of these and other
will create, and the more dramatic the techniques are given in the following
release will be when you resolve it to the A
note.
'Specialist Techniques' chapter.

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11
Specialist techniques
Slurs F inger -tapping
inger-tapping
slurs can also be produced by reaching
Slurring can make your playing both across to tap on the fretboard with a
picking hand finger. To tap a note clearly
awesomely fast and super smooth. It you will need to land firmly by the fretwire
comprises two main techniques: with the very tip of the finger. Once a note
hammering-on and pulling-off. Each has been tapped it can then be pulled-off
of these techniques allows you to using the same finger. The second finger is
sound two or more notes for each the easiest to use for tapping, as you can
keep hold of the plectrum between the
pick of a string. thumb and first finger.

To hammer
hammer-- on a note: Using finger-tapping combined with
standard left hand fretting, or slurring,
instead of picking the string again as opens up the possibility of slurring across a
normal, rapidly hammer the tip of your wide range of intervals that simply couldn't
fretting finger onto the note that you want. be reached using just the normal fretting
Providing you hammer-on right next to the hand. By combining these techniques, riffs
fretwire, the note should come out as and melodic runs can be played along
clearly as if you had picked it normally. single strings (either with one hand slurring in
a static position, or with both hands moving
To pull- off a note:
pull-off in either the same or opposite directions).
Well-crafted use of these techniques can
first fret a note and pick the string, then pull give the effect of great virtuosity.
your fretting finger lightly downwards until it
plucks the string and the lower note is
sounded. If the lower note is fretted (rather Slides
than an open string) then you need to have
another finger in position fretting this note
before executing the pull-off, and you You can slide to a note from a few
should also ensure that it is held with firm frets below (or above) and as long as
pressure so that the pulling finger doesn't you don't linger on the initial note, it
cause it to move and alter pitch. doesn't matter where you start from.

Multi-slurs Alternatively, you can play and hold a

once you've mastered the basic lower note in a scale before sliding
techniques you can try slurring more than slowly to a higher note in that scale –
one note. For example, play the note of A, allowing any intervening passing notes
then hammer-on B and then hammer-on C to sound and create a chromatic
– or play these three notes in reverse using
effect.
pull-offs. You can combine hammer-ons
and pull-offs to make a trill by repeatedly
slurring between two notes. There are When sliding up the fingerboard make
literally hundreds of possible combinations sure that you move the whole hand
and the only limit is your imagination. The including the thumb, rather than just
trick is to experiment with as many different the fretting finger.
slurs as possible.

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12
Vibrato Fretting hand damping:
a note is fretted normally, but as the string is
By repeatedly varying the pitch of a picked the pressure of the fretting finger is
note very slightly you can achieve an released slightly. The fretting finger doesn't
effect known as vibrato. This can add actually come off the string, it just allows
the string to come far enough away from
sustain to your playing. the fretwire so that the note is muted and
becomes what is known as a 'ghost' note.
On steel strings, you can get a vibrato Experiment by alternating between ghost
effect by repeatedly waggling the tip notes and normal notes. By using a
of your fretting finger vertically up and continuous picking action, whilst only
allowing certain notes to ring clearly, you
down very slightly whilst holding a can create a real sense of movement and
note. On nylon strings you can get a energy without the melody becoming too
similar effect by moving the finger busy. This is a good way of establishing
horizontally. rhythmic accents within your phrasing.

If you are fretting the note with your Tonal changes

first finger then you can use 'wrist
vibrato' – where the pitch of the note
Lead guitar isn't all about scales and
is altered by the rotation of the wrist,
techniques. First and foremost, it's the
whilst the first finger holds down the
sound of your guitar that people listen
note.
to. Spend some time working on tone
production:
Used with variety, vibrato can be a
very expressive technique which can z try picking near to the bridge and then
add considerably to the emotional close to the fingerboard, to create different
impact of a solo. tonal textures.

Damping z create some 'light and shade' by using

different amounts of attack when you pick
the strings.
Muting notes by damping the strings is
an essential electric guitar technique. z experiment with different tone settings on
It allows you to control the sustain of your guitar and amp, and try selecting a
different pick-up for different sections of a
each note and to introduce staccato solo.
and accent effects. There are two
methods that can be used:
Double stops
P icking hand damping:
the side of the picking hand presses against Playing two notes at once can create
the strings near the bridge and mutes the a very powerful effect. A good starting
strings. Use this muted sound to contrast point is to begin by playing in octaves.
with your normal sound. By varying the This means that every time you play a
amount of pressure that is applied, you can
achieve a wide variety of sounds.
note you simultaneously play the
Experiment by releasing the damping same note an octave higher. The
slightly on certain notes so that they sound octave note can always be found two
louder and clearer than the others. strings above, two or three frets higher.

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13
Another possibility is to harmonise a Practise string bending in different
phrase by simultaneously playing keys. This is important as the amount
another interval from the same scale. of pressure that will be needed will
This is most commonly done by vary depending upon the fingerboard
adding a note a third higher in the position. For instance, bending a note
scale. For example, in A major, play A at the third fret of the G sting will
with C#, and B with D. Harmonisation require more strength than bending at
using thirds creates a very sweet the seventh fret of the same string.
sound. Double stops can also be
played with other intervals such as Top ten bends
5ths and 4ths. These give a more
strident effect. n Rising bend
bend.. Repeatedly pick the string
whilst bending it up very slowly until you hear
the note gradually bend into tune.
String bends o Choke bend
bend.. Bend the note, then quickly
choke the sound by letting the picking hand
You can string bend (i.e. change the touch the strings. This gives the staccato
pitch of a note without altering string sound much favoured by blues players.
or fingerboard position) by fretting a p Teasing bend
bend.. Use several very small
note and pushing the string upwards bends before fully bending the note into
whilst you pick it. String bends are a tune. This creates a very communicative,
almost speaking effect.
great way of adding expression to
your playing. Nearly all rock and blues q Hold bend
bend.. Bend the note slowly until it's in
guitarists use string bending as an tune – then just hold it there. This is a
favourite technique of guitarists who prefer a
integral part of their technique, and as long sustained tone.
a way of expressing emotion through
r Release bend
bend.. Bend the note up without
their playing. picking it – then pick it and slowly release it.
This is a way of making a note go down in
How to bend pitch.
s Up down bend
bend.. Bend the note up and,
To physically bend a note all you have without re-picking it, let it down again. That
to do is fret it normally and then push way you get two notes for the price of one!
it skywards with your fingers. If you're t Double bend
bend.. Bend the note up, let it
executing the bend with the third or down, and then bend it up again – but only
fourth finger, it's important that you use pick the string the first time.
the remaining fingers as well, on the u Waver bend
bend.. Bend the note up and then
same string, to give added strength repeatedly lower and raise it very slightly – so
and control when bending. that you are adding vibrato to the bent
note.
You can bend any note in any scale v Unison bend
bend.. Whilst bending to a note,
providing that it reaches another note fret and play the same note on the next
string. For example, simultaneously play D
in that scale. You should push the fretted on the 1st string, and C (being bent
string upwards until it reaches exactly up to D) on the 2nd string. It also sounds
the pitch you require. It's a good idea good to alternate between the two.
to practise fretting the higher note first, w Harmony bend
bend.. Bend a note whilst playing
and then sing that note aloud, whilst and holding a different note higher in the
bending the note into tune with your scale.
voice.

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14
Keys and modes
T
he aim of this chapter is to explain the basic harmony behind key centres.
Knowing which chords occur in each key, should enable you to identify
key centres. This in turn should enable you to decide which are the most
suitable scales to use over any given chord sequence.

major theory
Each major key has seven basic chords that are built from the notes of the key
scale.

MAJOR KEYS
CHORD NO. BASIC TRIAD BASIC EXTENSIONS OTHER COMMON
or position in the key EXTENSIONS
I MAJOR MAJOR 7th major 6th, major 9th
II MINOR MINOR 7th minor 6th, minor 9th
III MINOR MINOR 7th minor 7th#5, minor 11th
IV MAJOR MAJOR 7th major 6th, major 9th
V MAJOR DOMINANT 7th dominant 9th, dominant 13th
VI MINOR MINOR 7th minor 7th# 5, minor 9th
VII DIMINISHED MINOR 7thb5 minor 7thb5b9

Here is an example of the chords that are built from the C major scale:

Scale degrees: I II III IV V VI VII

Scale notes: C D E F G A B
Basic triads: C Dm Em F G Am Bdim
Extended chords: Cmaj7 Dm7 Em7 Fmaj7 G7 Am7 Bm7b 5

All other key types can be analysed in comparison to this major key formula.

relative minor keys

Natural (relative) minor keys contain the same chords as major keys, but with
the chord formula starting on what was the VI chord in the major key.

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15
 MINOR KEYS
CHORD NO. BASIC TRIAD BASIC EXTENSIONS OTHER COMMON
or position in the key EXTENSIONS
I MINOR MINOR 7th minor 9th
II DIMINISHED MINOR 7thb5 minor 7th b5b9
III MAJOR MAJOR 7th major 9th
IV MINOR MINOR 7th minor 9th
V MINOR MINOR 7th minor 11th
VI MAJOR MAJOR 7th major 9th
VII MAJOR DOMINANT 7th dominant 9th

Here is an example of the chords that are built from the A natural minor scale:

Scale degrees: I II III IV V VI VII

Scale notes: A B C D E F G
Basic triads: Am Bdim C Dm Em F G
Extended chords: Am7 Bm7b 5 Cmaj7 Dm7 Em7 Fmaj7 G7

modes
Although modal scales all have difficult sounding names, they are no more
difficult to understand or play than other types of scales. Whilst you'll find that
some players attempt to use a different mode for each chord, this approach
can often lead to a very mechanical performance with little emphasis on the
development of melodic lines and phrases across bars. Often the 'feel' for the
music is lost in an unnecessary attempt at over-technicality. In certain forms of
jazz music this approach can work well, if the performer is suitable prepared
and highly skilled, but for rock and popular music my advice is to view each
modal scale as having a key centre in its own right (with its own group of
chords) – just as we do with the major and natural minor scales. (In fact, both
these scales are modes themselves – the Ionian and the Aeolian.) The most
commonly used modal key centres are explained below:

Dorian minor keys

Dorian minor keys contain the same chords as major keys, but with the chord
formula starting on chord II of the major key.

I II III IV V VI VII
min 7 min 7 maj 7 dom 7 min 7 min 7b5 maj 7

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L ydian major kkeys
eys

Lydian major keys contain the same chords as standard major keys, but with
the chord formula starting on chord IV of the standard major key.

I II III IV V VI VII
maj 7 dom 7 min 7 min 7b5 maj 7 min 7 min 7

Mixolydian keys

Mixolydian keys contain the same chords as standard major keys, but with the
chord formula starting on chord V of the standard major key.

I II III IV V VI VII
dom 7 min 7 min 7b5 maj 7 min 7 min 7 maj 7

blues
The harmony used in blues-based music falls outside standard musical
harmony. The mainstay of blues based improvisation is the blues scale – which
is a variation on a pentatonic minor scale. However, the chords used to
accompany this scale are normally dominant 7ths – which are extensions of
major triads. It is the unique clash and dissonance between the major and
minor that gives blues music its distinctive sound.

Blues keys can be recognised by their reliance on dominant 7th chords (or their
extensions) on the 1st, 4th and 5th degrees of the scale. Other chords built
mainly from the scale tones may also occur.

For example, C blues scale would fit over C7, F7, G7, Bb and E b.

scale choice
The most reliable method of deciding which scale to use over a chord
sequence is to first analyse the chords to assess from which key they stem.
Begin by assuming that the first chord is the key centre chord. (Refer to the
diagrams on page 20 if you are unsure which chords occur 'naturally' in each
key).

On the following page are some examples of chord sequence analysis:

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17
 | Cmaj7 | Dm7 | Cmaj7 | G7 |
Analysis:
i. The sequence starts with Cmajor7 – implying a major key. There are only two types of major
keys – standard major and Lydian. So this narrows the scale choice to either C major scale
or C Lydian modal scale.
ii. The next chord, Dm7, only occurs in C major – on the 2nd degree of the scale. As C Lydian
modal scale contains an F# note, the D chord that occurs in C Lydian would be major (i.e.
D or D7) rather than minor.
iii. The appearance of G7 in the sequence confirms the key of C major. (G7 occurs on the 5th
degree of the C major scale. As C Lydian modal scale contains an F# note, the G chord
that occurs in C Lydian would be Gmaj7,rather than G7.)

| Cmaj7 | Am7 | Bm7 | D7 |

Analysis:
i. The sequence starts with Cmajor7, thus implying a major key and narrowing the scale
choice down to either C major scale or C Lydian modal scale.
ii. The next chord, Am7, occurs in both C major and C Lydian – so this leaves us no further
forward in identifying the overall key of the sequence.
iii. The appearance of Bm7 and D7 in the sequence means that C Lydian modal scale would
be the best choice – as both these chords occur in the C Lydian key centre, whilst neither
occur in the key of C major (which contains Bm7 b 5 and Dm7 instead). The crucial difference
is the F# (rather than C major's F natural) that occurs in C Lydian modal scale and in both
Bm7 and D7.

| Cm7 | Dm7 | Cm9 | F9 |

Analysis:
i. The sequence starts with Cm7, thus implying a minor key and narrowing the scale choice
down to either C natural minor scale or C Dorian modal scale. (Other, less common, minor
scale possibilities do exist, but are outside the scope of this book).
ii. The next chord, Dm7, occurs only in C Dorian. C natural minor contains an Ab note –
whereas both C Dorian and Dm7 contain A natural.
iii. The appearance of F9 at the end of the sequence confirms C Dorian modal scale as the
best choice – as this chord also occurs in the C Dorian key centre, and not in the key of C
natural minor.

| C7 | Am7 . B b maj7 . | C13 | Am7 b 9 . B b maj9 . |

Analysis:
i. The sequence starts with C7, thus implying a dominant key centre and narrowing the scale
choice down to either C blues or C Mixolydian modal scale.
ii. The next two chords, Am7 and Bb maj7, both occur in C Mixolydian and not in C blues.
iii. The final three chords, C13, Am7 b 9 and Bb maj9, are merely extensions of the first three
chords and so do not alter our scale choice of C Mixolydian modal scale.

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18
modulations
As with modal key centres, modulations can be analysed in a variety of ways.
The most straightforward method is to try to identify clusters of chords which fit
into the same key centre. This way, the same scale, and the one that best
reflects the tonality of that particular section of the sequence, can be used
throughout that key centre. This stability will allow you to concentrate on the
important musical aspects of improvisation, such as phrasing, interpretation
and the development of melodic lines. There is no need to analyse modal
sequences in relation to the 'home' major keys from which they have
stemmed, instead each mode can be viewed as having its own key centre
and tonality.

z Begin by identifying the starting key, then look at each bar in turn to check that each chord
fits into the initial key.

z When you come across a chord that is no longer in the first key, then this is where the change
of key occurs. From this point onwards, follow exactly the same procedure as before to
identify the new key centre.

z Do not be misled by mere chord extensions and variations or passing chords – the key will only
have changed if a group of two or more chords establish a new key.

| Cmaj7 | Bm7 |Bb maj7 |Am7 |A bmaj7 |Gm7 #5 . G7 # 5 . |

Analysis:
i. C Lydian modal scale will work well over the first two chords. (The C major scale wouldn't fit
as the key of C major creates Bm7b 5 rather than Bm7.)
ii. The appearance of Bb maj7 in bar 3 means that the key has changed (as C Lydian modal
scale does not contain a B b note). In fact, the first two chords have simply been repeated a
tone lower, and so a scale a tone lower, Bb Lydian modal scale, should now be used.
iii. The appearance of A b maj7 and Gm7#5 indicates another shift a tone lower. The last chord,
G7#5, does not indicate a change of key. It is merely a variation on Gm7 #5, which can be
created from the Ab Lydian modal scale. The chord has merely been altered, from minor to
dominant, in order to create a stronger cadence when repeating back to the starting chord
of Cmaj7. An arpeggio could be used to good effect here.

| Cm7 | F7 | Bb7 | A b maj7 |

Analysis:
i. C Dorian modal scale will work well over the first two chords. (The C natural minor scale
wouldn't fit as it creates Fm7 rather than F7.)
ii. The appearance of Bb 7 in bar 3 means that the key has changed (as C Dorian modal scale
would create Bb major 7th, rather than Bb dominant 7th.)
iii. The last two chords can both be built from Bb Mixolydian modal scale and so this is the scale
that could be used over the final two bars.

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19
Comparing modes

Chords and scales built from the C major scale

Scale/position: I II III IV V VI VII

Major Cmaj7 Dm7 Em7 Fmaj7 G7 Am7 Bm7b 5

Dorian Dm7 Em7 Fmaj7 G7 Am7 Bm7b 5 Cmaj7
Lydian Fmaj7 G7 Am7 Bm7b 5 Cmaj7 Dm Em7
Mixolydian G7 Am7 Bm7b5 Cmaj7 Dm7 Em7 Fmaj7
Natural minor Am7 Bm7b 5 Cmaj7 Dm7 Em7 Fmaj7 G7

Chords and scales compared to the C major scale

Scale/position: I II III IV V VI VII

Major Cmaj7 Dm7 Em7 Fmaj7 G7 Am7 Bm7b 5

Dorian Cm7 Dm7 Eb maj7 F7 Gm7 Am7b 5 Bb maj7
Lydian Cmaj7 D7 Em7 F#m7b 5 Gmaj7 Am7 Bm7
Mixolydian C7 Dm7 Em7b5 Fmaj7 Gm7 Am7 Bb maj7
Natural minor Cm7 Dm7b 5 Eb maj7 Fm7 Gm7 Abmaj7 Bb 7

naming modes

There are different ways of naming the modal scales amongst musicians.

i. All modes can be seen to stem from the major scale. For instance, if you
play the exact notes of C major scale but starting on D you will get a
Dorian mode. Hence some players call this scale 'the Dorian of C' (and
sometimes 'C's Dorian') because it is derived from C major. However, other
players call this same scale 'D Dorian' – because it starts on D.

ii. To avoid such potential confusion, the clearest method is to refer to each
mode as a scale in its own right. Therefore a scale that starts on D and
follows the interval sequence for a Dorian mode is referred to in this book
as 'D Dorian modal scale'. ('Dorian modal scale starting on D' is also an
effective way of making the meaning clear).

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Guitarograph
A
ll the scales and arpeggios within this book are illustrated using the
Registry Of Guitar Tutors' unique Guitarograph system. This incorporates
tablature, standard musical notation, interval formula and fingerboard
information all in one diagram. As the guitarograph illustrates the same
information in this unique combination of four different systems there should be
no doubt how to play any scale or arpeggio.
C D E F G A B C
1 2 3 4 5 6 7 8

Tablatur e : The tablature is shown on the left of the guitarograph, with horizontal
ablature
lines representing the strings (with the high E string being string 1), and the
numbers on the string lines referring to the frets.
Musical notation
notation: The middle section of each guitarograph illustrates the
scale in standard musical notation.
Fingerboard diagram
diagram: The fingerboard diagram is on the right of the
guitarograph with horizontal lines representing the strings. Vertical lines represent
the frets; with fret numbers shown in Roman numerals. Numbers on the
horizontal lines show the recommended fingering. All the scales and arpeggios
within this book are 'transpositional' – i.e. they use moveable patterns which you
can shift up or down the fingerboard to any key.
The fingerings which have been chosen are those which are likely to be the
most effective for the widest range of players at this level. However alternative
fingerings and fingerboard positions could be used and you should feel free to
explore any systematic fingerings that produce a good musical result.
Inter val formula
Interval formula: Above each guitarograph is an interval formula that lists the
pitch of the notes together with their interval numbers (shown in comparison to
the major scale with the same starting note). The interval formulae are
designed to help you identify the differences in construction between the
various scales and arpeggios and to help you learn the names of the notes
that you are playing.
Spending time memorising the notes within each scale and arpeggio, and
where they occur on the fingerboard, will prove a worthwhile investment. You
shouldn't just rely on remembering the fingerboard box shapes – as this will limit
your ability to identify chord tones when improvising.

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21
Playing levels
O
n the following pages you'll find so that you can focus on the sound of the
the chord sequences which mode.
are featured on the z Try to incorporate string bends, vibrato and
accompanying CD. Below each other specialist techniques into your soloing
as these will enhance the performance.
sequence you'll find some improvising
suggestions – i.e. possible scales and
arpeggios which you could use for your
solo over the backing track. These Grade 7 performance level:
suggestions are just one approach to z These sequences feature a shift in key,
improvising over the sequences and are whereby the first part of the chord
designed to be the most straightforward sequence is usually repeated in a new key.
to learn. For most sequences, there are z Begin by using one fingerboard position for
numerous other approaches to each scale, but in the long term aim to use
improvisation which could be used and two or more fingerboard positions for each
scale. This will make it easier to change
you should feel free to explore them. from one key to another smoothly, as it
means you won't be reliant upon just one
So that you learn in a progressive and scale position. Consequently, awkward
structured way, the sequences are listed fingerboard jumps, when the key changes,
according to playing level – starting at can be avoided.
Grade 6 level and progressing through z Aim to 'lead' the key change, rather than
to Grade 8. It is recommended that you follow behind it, by playing some notes from
the new key either exactly as the key shifts,
play along with the Grade 6 level
or just before it does so.
backing tracks several times before
attempting the higher grade levels. z Try to develop ease and confidence in the
use of arpeggios and specialist techniques.

Grade 6 performance level: Grade 8 performance level:

z These sequences do not change key.
z These sequences feature modulations.
z For the major and natural minor key
z Before improvising, listen carefully to each
sequences you should try to use up to five
backing track in order to hear where the key
fingerboard positions for each scale.
changes occur. Try to be pro-active in
Develop fluency in moving between the
'leading' the key changes, rather than
different scale positions by thinking up
reacting to them after they have occurred.
phrases that start in one position and end in
another. This can help make your playing far z So that your playing doesn't become too
less repetitive than it might become if you scalic, invent melodic lines and phrases that
simply played in just one position. go across bars and combine keys.
z Experiment using scales harmonised in 3rds z Experiment using chromaticism to add
or octaves. colour and variety to your playing.
z For the modal sequences, begin by just z Make sure that your soloing is sensitive to
concentrating on one fingerboard position the musical style of each backing track.

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Backing tracks
B
elow are all the chord sequences for the backing tracks featured on the
CD. This is where you can put all the improvisation theory into practice.
All the scales and arpeggios that you need are shown on pages 26 to 39.
Before you begin to improvise over any sequence, practise the scales and
arpeggios you’ll need and listen to at least one sequence of the backing track –
that way you'll be able to get a feel for the musical style and structure of the
sequence.

Now it's time to get playing. Enjoy yourself…

Track 2 – Driving Rock

P er formance level: Grade Six

Improvisation suggestion: G natural minor scale

Track 3 – Smooth Ballad

P er formance level: Grade Six

Improvisation suggestion: A major scale

Track 4 – Funky Groove

P er formance level: Grade Six

Improvisation suggestion: D Dorian modal scale

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 Track 5 – Cool Rock

P er formance level: Grade Six

Improvisation suggestion: A Mixolydian modal scale

Track 6 – Blues Changes

P er formance level: Grade Seven

Improvisation suggestion: G blues scale for first four bars, then change to B b blues
scale. Use arpeggios over the 7#9 chords.

Track 7 – Cool Jazz

P er formance level: Grade Seven

Improvisation suggestion: C Dorian modal scale for the first four bars, then change to
D Dorian modal scale. An arpeggio or whole tone scale
could be used over the final chord.

Track 8 – Lydian Ballad

P er formance level: Grade Seven

Improvisation suggestion: E Lydian modal scale for the first four bars, then change to
D Lydian modal scale for the last four bars.

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 Track 9 – Slow Groove

P er formance level: Grade Eight

Improvisation suggestion: Use arpeggios for the first 4 bars, then use E Dorian modal
scale for 2 bars, change to F Dorian modal scale for 2
bars, then return to E Dorian modal scale. An arpeggio or
whole tone scale could be used over the final chord.

Track 10 – Five-time Changes

P er formance level: Grade Eight

Improvisation suggestion: Use A natural minor scale for the first four bars. Use C Dorian
modal scale for the next three bars, and an arpeggio for
the #9 chord. Then use A Lydian modal scale, changing to
a whole tone scale over the final chord.

Track 11 – Melodic blues

P er formance level: Grade Eight

Improvisation suggestion: Use C blues scale for the first six bars, then switch to C
pentatonic major scale for four bars, before returning to C
blues. Arpeggios could be used over the E b m7 passing
chord and the 7#5 pivot chord. Chord tones could be
added to the basic blues scale throughout.

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Scales
T
he most useful scales for Advanced Level improvisation are illustrated on
the following pages. These same scales are also required for the Registry
Of Guitar Tutors electric guitar examinations – Grades Six to Eight. If you
find these scales very difficult to play you should review the previous books in
this series before proceeding.

So that all the scales can be used for improvising in contexts other than with
the backing tracks provided, all are shown in the same key – i.e. with a starting
note of A (a common and central key for guitarists). Showing all the scales in
the same key should aid ease of comparison between the scales.

All the scale patterns shown are transpositional and can be easily played in any
key by simply replicating the fingering starting on the relevant tonic note. (Some
of the scale shapes can be played using open strings or transposed an octave
if required for certain keys).

A natural minor scale – 1 octave (5 fingerboard positions)

A B C D E F G A
1 2 b3 4 5 b6 b7 8

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 A natural minor scale – 3 octaves
A B C D E F G A
1 2 b3 4 5 b6 b7 8

A natural minor scale in octaves – 1 octave

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 A major scale – 1 octave (5 fingerboard positions)
A B C# D E F# G# A
1 2 3 4 5 6 7 8

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 A major scale – 3 octaves
A B C# D E F# G# A
1 2 3 4 5 6 7 8

A major scale in octaves – 1 octave

A major scale in 3rds – 1 octave

A B C# D E F# G# A
C# D E F# G# A B C#

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 A Dorian modal scale – 2 octaves (2 fingerboard positions)
A B C D E F# G A
1 2 b3 4 5 6 b7 8

A Dorian modal scale – 1 octave (3 fingerboard positions)

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 A Mixolydian modal scale – 2 octaves (2 fingerboard positions)
A B C# D E F# G A
1 2 3 4 5 6 b7 8

A Mixolydian modal scale – 1 octave (3 fingerboard positions)

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 A blues scale – 1 octave (5 fingerboard positions)
A C D Eb E G A
1 b3 4 b5 5 b7 8

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 A blues scale – 3 octaves
A C D Eb E G A
1 b3 4 b5 5 b7 8

A whole-tone scale – 2 octaves

A B C# D# F G A
1 2 3 #4 b6 b7 8

A Lydian modal scale – 1 octave (2 fingerboard positions)

A B C# D# E F# G# A
1 2 3 #4 5 6 7 8

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 A pentatonic major scale – 1 octave (5 fingerboard positions)
A B C# E F# A
1 2 3 5 6 8

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34
Arpeggios
The most useful arpeggios for Advanced Level improvisation are illustrated on
the following pages. These arpeggios are also required for the Registry Of
Guitar Tutors electric guitar examinations – Grades Six to Eight.

So that all the arpeggios can be used for improvising in contexts other than
with the backing tracks provided, and as an aid to comparison between
arpeggios, all are shown with a starting note of C.

All the arpeggio patterns shown are transpositional and can be played at a
different pitch by simply replicating the fingering starting on the new root note
required. (Some of the arpeggio shapes can be played using open strings, or
transposed an octave, if required for certain pitches).

C minor 7th arpeggio – 1 octave (2 fingerboard positions)

C Eb G Bb C
1 b3 5 b7 8

C major 7th arpeggio – 1 octave (2 fingerboard positions)

C E G B C
1 3 5 7 8

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 C dominant 7th arpeggio – 1 octave (2 fingerboard positions)
C E G Bb C
1 3 5 b7 8

C major 6th arpeggio – 1 octave (2 fingerboard positions)

C E G A C
1 3 5 6 8

C minor 9th arpeggio – 1 octave (2 fingerboard positions)

C Eb G Bb D
1 b3 5 b7 9

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 C major 9th arpeggio – 1 octave (2 fingerboard positions)
C E G B D
1 3 5 7 9

C dominant 9th arpeggio – 1 octave (2 fingerboard positions)

C E G Bb D
1 3 5 b 7 9

C dominant 11th arpeggio – 1 octave

C E G Bb D F
1 3 5 b 7 9 11

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 C dominant 13th arpeggio – 1 octave
C E G Bb D F A
1 3 5 b7 9 11 13

Altered arpeggios
Below is illustrated a minor 9th arpeggio with the b5, #5 & b9 also indicated. By
using the table of chord formulae below all variations can be found.

Cm7b5 1 b3 b5 b7
C Eb Gb Bb
Cm7#5 1 b3 #5 b7
C Eb G# Bb
Cm7b9 1 b3 5 b7 b9
C Eb G Bb Db
Cm7b5b9 1 b3 b5 b7 b9
C Eb Gb Bb Db
Cm7#5b9 1 b3 #5 b7 b9
C Eb G# Bb Db
Cm9b5 1 b3 b5 b7 9
C Eb Gb Bb D
Cm9#5 1 b3 #5 b7 9
C Eb G# Bb D

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Below is illustrated a dominant 9th arpeggio with the b5, #5, b9 & #9 also
indicated. By using the table of chord formulae below all variations can be
found.

C7 b5 1 3 b5 b7
C E Gb Bb
C7#5 1 3 #5 b7
C E G# Bb
C7 b9 1 3 5 b7 b9
C E G Bb Db
C7#9 1 3 5 b7 #9
C E G Bb D#
C7 b5b9 1 3 b5 b7 b9
C E Gb Bb Db
C7 b5#9 1 3 b5 b7 #9
C E Gb Bb D#
C7#5 b9 1 3 #5 b7 b9
C E G# Bb Db
C7#5#9 1 3 #5 b7 #9
C E G# Bb D#
C9 b5 1 3 b5 b7 9
C E Gb Bb D
C9#5 1 3 #5 b7 9
C E G# Bb D

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39
Further study
Electric Guitar Playing
(Grade Eight) by TTony
ony Skinner
Can you make the top grade? Find out by reading this book!

If you learn to play all the things contained within

this book you will be able to gain an internationally
recognised qualification in electric guitar playing.
It covers all the areas of guitar playing and
musical knowledge that you need to pass your
RGT Grade Eight examination.

Even if you’re not interested in exams, the

handbook will help you to become a much
improved guitarist and fully rounded musician.

Rhythm Guitar Playing

(Book Three) by Chaz Hart
Is your rhythm playing as good as your
lead? If not, this is the book for you!

It contains over 30 chord sequences for you to

practise, and gives plenty of advice and tips on
how to improve your rhythm playing.

All the chords required for the RGT Grades Six,

Seven and Eight examinations are fully covered in this book.

You can order these books from www .BooksF

www.BooksF orGuitar
.BooksForGuitar .com
orGuitar.com

Registry Mews, 11-13 Wilton Road, Bexhill, Sussex, TN40 1HY, United Kingdom.
Tel: 01424 222222 Fax: 01424 213221
Website: www.RGT.org

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40