
No need to fall back on those stock, tired blues licks.
Intermediate
Beginner
- Understand the basics of the blues scale.
- Create angular lines by taking an intervallic approach.
- Toss out all those B.B., Freddie, and Albert licks.
We all get burned out playing the same scales, the same way, over and over. A common solution to that guitar-driven angst is to search out other scales, hoping to find a new muse. While learning new scales is an important part of your development as a player, you can often overlook some structures within a scale that you already know.
The blues scale is usually one of the first scales a guitarist learns and is arguably used in almost every genre of guitar playing. Just for review, look at Ex. 1, which lays out the notes of the A blues scale (A–C–D–Eb–E–G). If you've already worked on the blues scale, ask yourself if you can identify each scale tone on every string. That knowledge is important! You'll have a deeper understanding of what you're playing, and it will keep you away from the "this-looks-like-it-sounds-cool" approach.
The most common fingering for the A blues scale is found in 5th position, and the second most common pattern is in 12th position. Ex. 2 shows all positions of the A blues scale. Base your fingerings to these patterns on the minor pentatonic modes but notice that adding the blue note creates some new shifting that you'll have to keep an eye on.
So, now you know the scale and you know how to play it everywhere on the neck. But here's the thing: Think of the scale as a six-note (hexatonic) scale rather than simply a minor pentatonic with an added note. Doing so will enable you to conceive of new and different things to play. One common way to reorganize the notes in a hexatonic scale is to pair the notes in thirds, or every other note. Look at Ex. 3 where these pairs are mapped out in 5th position and shows the intervals they create.
If you did this with a minor pentatonic, you would get four perfect fourths (P4) and one major third (M3) for a total of five intervals. With the blues scale, you get a perfect fourth, minor third (m3), major second (M2), major third, and then two perfect fourths for a grand total of six intervals. The b5 in the middle of the scale is the reason for the variety and squirrelly nature of the results and gives you different tools to add a new dimension to your blues playing.
To get these under your fingers and give you something to play, listen to Ex. 4 where these pairs are played ascending through the scale pattern in fifth position.
Ex. 4
Naturally, anytime you work on a sequential pattern it's helpful to twist those around into different permutations. In Ex. 5 I descend each interval pair while ascending the scale.
Ex. 5
Let's mix it up! In Ex. 6 and Ex. 7 I alternate through the intervals—first I go up then down before reversing the pattern. The fingerings will be pretty logical and common, but, some latitude and creativeness will be needed at some point. Work out something that makes sense to you but doesn't stray too far from the typical scale fingering. Apply the same method to the other four scale patterns and maintain them in position. Fun times.
Ex. 6
Ex. 7
Now for some meat and potatoes. Ex. 8 uses the scale patterns we've been working on. The first two measures use the descending interval concept leading to the rotating major and minor intervals played in triplets in measure 3. Measure 4 is a "two-up, one-down" combination of intervals that lead to a couple of ascending intervals to end the line.
Ex. 8
Ex. 9 is designed to travel up the neck a little more, using scale patterns through several positions. The original idea in measure 1 is played in 5th position and uses rotating intervals. It's played again in measures 2 and 3 an octave up in 7th position, then is answered by the descending intervals in 10th position going into measure 4. As with any new concept, the challenge is to make music and not sound like you're playing an exercise. In these examples, I added some rhythmic variety, space, and musical range to create something that sounds more like a line, not like an exercise.
Ex. 9
This interval sequence can also be played on adjacent strings. Whether together or broken up, you can use them to move along the neck to switch positions while soloing, create a vamp, or add another note to get some funky bluesy three-note chords. See Ex. 10 for the mapping of these intervals on all adjacent string sets.
Ex. 11 adds the intervals on the 4th and 3rd strings to a traditional sounding blues-rock riff. Measures 1 and 3 are identical, and the notes of the intervals are held out to get a little more grit. Measure 2 has a descending run of the intervals to get to the bar line, finishing with another descending run of eighth-notes while switching string sets.
Ex. 11
In Ex.12, I was going for more of a triplet feel that traveled the length of the neck. Mission accomplished. But remember this pro tip: What looks great on paper can be a real pain to play. In measure 1, the intervals are not played in order, but skipping over one of them and then backtracking. After that I'm trying to exploit the b5–5 combination to get from the top two strings to the shapes on the 3rd and 2nd strings. The fingerings are pretty shape-oriented until you get to measure 4. My advice there is to be resourceful.
Ex. 12
Keep in mind, this is only one potential way to group the notes of the blues scale. Explore other possible two-note groupings, either in position or lengthwise up and down the neck. Create a three-note chord shape and run it through the scale just to see what you get. Play all of this with a backing track to really hear what it sounds like. Keep the good stuff and don't worry about the other stuff. There's always another way to look at a scale.
- Deep Blues: Pentatonic Passing Tones - Premier Guitar ›
- Beyond Blues: Moving Past the Pentatonic Scale - Premier Guitar ›
- Beyond Blues: The Mixo-Pentatonic Scale - Premier Guitar ›
- Know Your Chords—In Any Key - Premier Guitar ›
- Know Your Chords—In Any Key - Premier Guitar ›
Brent Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ’90s country superstars. So, whether you know it or not, you’ve likely heard Mason’s playing.
Professional transcriber Levi Clay has done the deepest of dives into Brent Mason’s hotshot licks. At one point, he undertook the massive project of transcribing and sharing one of Mason’s solos every day for 85 or so days. Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ’90s country superstars. So, whether you know it or not, you’ve likely heard Mason’s playing. Levi shares the insight he gleaned from digging deep, and he tells us what it was like when they shared a stage last year. Plus, Levi plays us some great examples of Mason’s playing.
For the first time ever, two guitar greats, John 5 and Richie Kotzen will be heading out on the road this year. The tour will launch October 16 and run through November, hitting markets across the U.S.
Find the full tour itinerary right plus a link for tickets & VIP, including additional dates featuring John 5 only. Reserved seating tickets will go on sale Friday May 16 though a fan presale will begin today at noon local time and fans are strongly encouraged to buy early to get the best seats.
Meet and Greets for both artists will be available. For John 5 please go to: https://john5store.com/collections/vip.
Today, John 5 also announces more details of his anticipated new album. Called The Ghost, it will be released October 10 and is led by the new track “Fiend,” featuring Kenny Aronoff.
John 5 continues running public tours this month for his Knights In Satan’s Service Museum of KISS Memorabilia in Los Angeles, California. Guided tours are open to the public for one month only (with a possible expansion). Current dates available are May 12-16, May 19-23 and May 27-30. Each will be led by John 5 himself who will provide tons of rich detail and answer any questions. Secure your place HERE.
JOHN 5 continues to tour with Mötley Crüe including an upcoming residency in Las Vegas in 2025.RICHIE KOTZEN &
JOHN 5 FALL 2025 TOUR
October 16 El Cajon, CA @ Magnolia
October 17 Riverside, CA @ Fox Performing Arts
October 18 Roseville, CA @ Goldfield Trading Post
October 19 San Jose, CA @ The Ritz
October 21 Phoenix, AZ @ Celebrity Theatre
October 22 Albuquerque, NM @ KiMo Theatre
October 24 Dallas, TX @ Granada Theater
October 25 Leander, TX @ The Haute Spot
October 27 New Orleans, LA @ House of Blues
October 28 Memphis, TN @ Minglewood Hall
October 29 Nashville, TN @ Fogg Street Lawn Club
October 30 Atlanta, GA @ Variety Playhouse
October 31 Orlando, FL @ House of Blues
November 1 Fort Lauderdale, FL @ Culture Room
November 2 Clearwater, FL @ Capitol Theatre
November 4 Richmond, VA @ The National
November 5 Leesburg, VA @ Tally Ho Theater
November 6 Patchogue, NY @ Patchogue Theatre
November 11 Glenside, PA @ Keswick Theatre
November 12 Derry, NH @ Tupelo Music Hall
November 13 Foxborough, MA @ Six String Grill & Stage
November 14 Stroudsburg, PA @ Sherman Theater
November 15 Lorain, OH @ Lorain Palace Theatre
November 16 Columbus, OH @ The King Of Clubs
November 17 Warrendale, PA @ Jergels
November 19 Wyandotte, MI @ District 142
November 20 Flint, MI @ The Machine Shop
November 21 Fort Wayne, IN @ Piere’s
November 22 St. Charles, IL @ Arcada Theatre
November 23 Belvidere, IL @ Apollo Theatre
November 25 Denver, CO @ Oriental Theater
November 29 Pioneertown, CA @ Pappy & Harriet's*
*John 5 only
AEROSMITH guitarist and songwriter JOE PERRY is set to return to the road for a series of August performances with THE JOE PERRY PROJECT. The 8-date run kicks off August 13 in Tampa, FL and wraps August 23 in Port Chester, New York, with an August 19 performance in PERRY’s Boston hometown (see the itinerary below). For the North American trek—which marks the first solo shows for PERRY this year—the legendary guitarist will be joined by his Aerosmith bandmates Brad Whitford (guitar) and Buck Johnson (keys), along with The Black Crowes’ Chris Robinson (vocals), and Stone Temple Pilots’ Robert DeLeo (bass), and Eric Kretz (drums).
“Well…it’s time to let the music do the talkin again,” PERRY says. “I’m really excited about the JPP line up this year!!!! Most of these guys played with me at The Roxy in L.A. at the debut event for my latest solo album [Sweetzerland Manifesto] in January 2018. They’re all busy as hell but thankfully they’re able to carve out some time for this run. And I’m not only lucky enough to have Brad Whitford onstage with me but Chris Robinson of The Black Crowes! [who sang ‘Fortunate One’ on Sweetzerland Manifesto MKII], Robert DeLeo and Eric Kretz from STP!!! and Buck Johnson who plays keys and sings with Aerosmith, the Hollywood Vampires, and is also a solo artist in his own right.”
For the shows, the Rock and Roll Hall of Fame inductee says “the set list is gonna include my fav JPP cuts, STP, Black Crowes, and with Brad we’ll be hitting the Aero hits and some deep cuts and then ya never know!!!! Gonna be a BLAST, and if you’ve ever been to one of my shows you know the words GARAGE BAND on STEROIDS come to mind! See you there!!!!”
DATE | LOCATION | VENUE |
Wednesday, August 13 | Tampa, FL | Seminole Hard Rock - Tampa |
Thursday, August 14 | Hollywood, FL | Seminole Hard Rock - Hollywood |
Saturday, August 16 | Toronto, ON | HISTORY |
Sunday, August 17 | Muskoka, ON | Kee to Bala |
Tuesday, August 19 | Boston, MA | Wang Theatre |
Wednesday, August 20 | Hampton Beach, NH | Hampton Beach Casino Ballroom |
Friday, August 22 | Mashantucket, CT | The Premier Theater at Foxwoods Resort Casino |
Saturday, August 23 | Port Chester, NY | Capitol Theatre |
A sample page from the author’s analog log.
Seasonal changes are tough on your acoustic. Here’s how you can take better care of your prized instrument.
As you read this, spring is in bloom in most of the US, or maybe it has been for some time. I’m timing this column specifically to ask acoustic guitarists, in this season of increasing humidity and comfortable conditions, to prepare for what’s coming. It’s never too soon, and time flies. Before you know it, we’ll be back to the maintenance phase and you might be blowing up the phones of your local guitar shops, luthiers, and techs. I’m here to encourage a decidedly old-school approach to preventative guitar maintenance, and yes, it starts now.
Why, you ask? Well, as the lead luthier at Acoustic Music Works, I can tell you that in my nearly 15 years in this position, this was the worst winter ever for preventable repairs on acoustic guitars. Fret sprout, bridge lifts, top sink, soundboard cracks, back cracks, loose binding, general malaise… These hit us very hard in the winter that spanned 2024 and 2025. Am I complaining? On the one hand, no. This is part of how we make our money. On the other hand, yes! Repair schedules related to dryness and humidity issues can stretch into weeks and even months, and nobody wants to be without their favorite instruments for that amount of time. With a little thoughtfulness, however, you might get through next winter (and every one thereafter) without hefty repair bills or time apart from your musical companion.
Our preparation is going to start with an unlikely but very important guitar accessory: the humble notebook. Plain, lined, grid, day planner… it doesn’t matter. We all need to actively participate in our instrument maintenance, and in my experience, fancy apps that track humidity via Bluetooth breed a kind of laziness, a feeling of safety that might prevent us from actually physically looking in on conditions. Better we keep an analog, well, log, so that we know where things stand, and I suggest checking in daily.
“This was the worst winter ever for preventable repairs on acoustic guitars.”
Track your relative humidity, both in the case and in the room where your instruments mostly reside, but also take notes on your action height, top deflection (StewMac has some great tips for measuring this) and anything related to playability that you believe you can observe empirically.
Dryness is the root cause of most guitar issues that manifest in the fall and winter months. Symptoms of dryness include sharp fret ends, falling action and dead frets, sunken top around the sound hole, and cracks and bridge lifts. With your trusty notebook, you’ll get a feel for the sensitivity level of your instrument, and that knowledge is power!
A few other basic implements will not only assist you in your observations, but may also satisfy your need to buy guitar-related things (at least for a minute). Getting quick and comfortable with a fret rocker is a great skill to have, and is invaluable in diagnosing buzzes due to high frets or frets that have come unseated due to dryness. A well-calibrated relief gauge might seem luxurious, but it can prevent you from making unnecessary or extreme truss rod adjustments. A string action gauge, or even a simple machinist’s rule or set of feeler gauges, will help you keep track of your action. Get a three-pack of hygrometers so you can average their readings, rather than depending on one.
Lest we forget: A guitar can not only be too dry, it can also be too wet. By beginning your maintenance diligence in the spring/summer, you’ll also be able to tell if your instrument is the victim of a too-humid environment. The signs of over-humidification are subtle: Your action may rise from a puffed-up top, and in extreme cases, glue joints could begin to fail. In my experience, an over-humidified guitar will suffer from dulled tone, almost like a sock in the sound hole. If you’re sensing a lack of clarity in your guitar all of a sudden, start with new strings. If it persists, it might be due to over-humidification, and you may want to introduce a desiccant to the case for a time. The more lightly built your guitar is, the more sensitive it will be to seasonal changes.
By getting into these habits early, you’ll be empowered by knowing your instrument more intimately. You’ll understand when and why changes in tone and playability might have occurred, and you’ll hopefully save on repair bills year-round. Feel free to reach out with any questions. Who knows? I might just send you a notebook with an AMW sticker on the cover!