Everyone knows the feeling of playing the same old blues licks time and time again. You don’t have to get stuck in this rut, and in fact there is an awesome way out of it.
Intermediate
Advanced
- Convert your simple pentatonic boxes into chromatic powerhouses.
- Learn how chromatic enclosures and passing tones can be used when playing the blues.
- Understand how to use diminished scales over dominant 7 chords.
The greatest modern blues players all have a fantastic understanding of how to inject “outside” notes into their phrases to create new and wild sounds. Those crazy-sounding notes are chromatic tones, but placing them in the right spot is what takes a phrase from dull to amazing. I’m going to show you how to take a boring blues scale and make it hip and exciting.
Chromatic Enclosures
If you’re used to playing pentatonic blues scales, then making a few small adjustments to how you visualize these scales will allow you to start adding chromatic notes to your phrases. Playing over a major blues, the commonly used notes would be the 1–2–3–4–5–6–b7. Ex. 1 introduces several chromatic notes using a technique called “enclosure.” This is when a target note is approached from above and below before being played. Chromatic enclosures are when you employ non-diatonic (chromatic) notes.
Ex. 1
The b5, b3, b6 and b9 are all used as a way of targeting the scale note nearest to them. Beginning on the b5 (Eb), the lick moves to the 5 as it climbs up the A major pentatonic scale (A–B–C#–E–F#). A chromatic enclosure is then used beginning on beat 3. The 4 (D) is played followed by the 2 (B) before the chromatic target note b3 (C). The exact same concept and fingering is used beginning on the “and” of beat 1 in measure three. The b6 (F) is targeted using enclosure in between the b7 (G) and 5 (E). As part of the final few notes, the root (A) is targeted using enclosure between the b9 (Bb) and b7 (G), which outlines a diminished 7 idea.
Passing Tones
One of the easiest ways to use chromatics in your playing is to simply connect scale tones using the notes in between them (i.e. passing tones). Ex. 2 utilizes this concept, which is often found in jazz playing. We can use the same blues scale from the last lick. However this time we are connecting scale tones rather than simply using chromatic enclosures. In measure one on beat 3, the B descends to the A using the Bb as a passing note. In measure two there is another three-note passage where the middle note is a passing tone, going from F# to E using the F in between. Later in that measure there is a four-note passing tone idea in which the D is connected to the B simply by descending chromatically across all four notes.
Ex. 2
Changing Directions
A great tool when using chromatics is changing the direction of the chromatic notes. This helps break up the repetitive feel of using passing tones. In Ex. 3 the beginning of this C7 lick starts with a chromatic slide into the root note and then descends from Eb to C before climbing back up to E on the 12th fret. However, instead of just climbing down and back up, using the b7 on the 2nd string creates an immediate direction change as the note drops down before the scale continues back upward. To help stop this from sounding simply like a descending and ascending scale, the changes in rhythm and direction occur simultaneously to create a more musical phrase. Just for fun, the last part of the lick uses a minor blues idea with a b5 passing tone.
Ex. 3
Start Using Grace Notes
Stevie Ray Vaughan fans may recognize a specific sound in this slow Bb7 blues lick. Ex. 4 starts with a standard blues bend opening, but just as SRV liked to do, the b9 is used as a grace note to and from the root. By slurring from the root note to the b9 and back you can create a grace note that sounds like a flurry when done quickly. In measure 2, the quick slide from the E to the Eb and then the quick hammer-on from the Db to D are great ways to use fast, slurred grace notes to hint at chromatic tones without
Ex. 4
Connecting The Blues Box
When playing in your standard minor blues box, it’s incredibly easy to use chromatics, because you have multiple passing notes right there under your fingers. In Ex. 5, the first measure of this E9 lick simply climbs up the minor box via a triplet lick that crosses the middle four strings. Then it jumps from the C# up to the G# on the 1st string and descends chromatically all the way to the root note on the 12th fret. This passing tone idea is then repeated by connecting the 15th fret on the 2nd string to the 12th fret. In the middle of measure three there is a common blues idea of playing the b3 into the 3 using a slide, but notice, this is also part of a chromatic enclosure. This is then repeated in measure four, but this time as a grace note hammer-on. The coolest part of the lick is the end where it slides from the C (b6) to the C# (6) and then plays two chromatic tritones back to back (C# to G and D to G#).
Ex. 5
Double-Stops
Double-stops are a great way to use chromatic ideas because they connect nearly identical shapes down the neck. In this country-sounding lick in B, this concept is laid out on the 3rd and 2nd strings descending down the scale. Ex. 6 has us starting on a B major double-stop moving down through the scale. If you mapped out the double-stops without all the passing tones they would outline these chords: B–A–G#m–F#m–E–D#m–C#m–B. However, because of the similarity in shape between these double-stops, it is very easy to simply play passing tones between them. Once again, the rhythmic variety helps to stop this from sounding like an exercise and makes it much more musical. The end of the lick uses single-note passing tones to finish up the phrase.
Ex. 6
Diminished Sounds Are Awesome
Fusion players love the use of chromatics. The reason for this is that introducing the b9 to a dominant 7 chord creates a diminished 7 chord. Ex. 7 showcases this diminished sound over a D7#9 chord. The lick starts with a diminished arpeggio sweep on the three high strings near the D blues box at the 10th fret. The next four notes outline the half-whole diminished scale (3–#9–b9–1). There are also a series of half-step bends that hint at these diminished notes, helping to create a variety of articulations instead of simply plucking everything. To further create a diminished sound, the use of a tritone is found in the middle of the last measure when the C to F# is played.
Ex. 7
7 to 5 Always Works
By now you probably have a decent understanding of how to include chromatic notes in your playing. However, one common rule will pretty much always work when playing over a dominant 7 chord. Ex. 8 showcases the rule of descending from the b7 to the 5 of any dominant chord. This passing tone idea is a great way to create a subtle yet sophisticated phrase. This E7#9 lick plays through this 7 to 5 concept twice, but the rhythm is what makes it sound different each time. Notice how each time the 7 to 5 concept is used it is merely on the way to a separate target note. This is key to the phrasing. Instead of making any of the chromatic notes or the 7 or 5 the target of the phrase, this idea simply is used to introduce a new note, which is the accented target note. The first time it is used at the beginning of measure one, the target note is E. Then later in measure four the target note is G.
Ex. 8
Mix and match these cool ideas and you’ll definitely add some spice to a recipe that can occasionally get a little stale for us all. Have at it!
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In collaboration with Cory Wong, the Wong Press is a 4-in-1 Press pedal features Cory’s personal specs: blue & white color combination, customized volume control curve, fine-tuned wah Q range, and a dual-color STATUS LED strip indicating current mode/pedal position simultaneously.
In collaboration with Cory Wong, this Wong Press is a 4-in-1 Press pedal features Cory’s personal specs: Iconic blue & white color combination, customized volume control curve, fine-tuned wah Q range, and a dual-color STATUS LED strip indicating current mode/pedal position simultaneously.
Renowned international funk guitar maestro and 63rd Grammy nominee Cory Wong is celebrated for his unique playing style and unmistakable crisp tone. Known for his expressive technique, he’s been acclaimed across the globe by all audiences for his unique blend of energy and soul. In 2022, Cory discovered the multi-functional Soul Press II pedal from Hotone and instantly fell in love. Since then, it has become his go-to pedal for live performances.Now, two years later, the Hotone team has meticulously crafted the Wong Press, a pedal tailored specifically for Cory Wong. Building on the multi-functional design philosophy of the Soul Press series, this new pedal includes Cory’s custom requests: a signature blue and white color scheme, a customized volume pedal curve, an adjustable wah Q value range, and travel lights that indicate both pedal position and working mode.
Cory’s near-perfect pursuit of tone and pedal feel presented a significant challenge for our development team. After countless adjustments to the Q value range, Hotone engineers achieved the precise WAH tone Cory desired while minimizing the risk of accidental Q value changes affecting the sound. Additionally, based on Cory’s feedback, the volume control was fine-tuned for a smoother, more musical transition, enhancing the overall feel of volume swells. The team also upgraded the iconic travel lights of the Soul Press II to dual-color travel lights—blue for Wah mode and green for Volume mode—making live performances more intuitive and visually striking.
Features
- True Bypass
- 4 in 1 functionality (volume, expression, wah, volume/wah)
- New dual-color STATUS LED strip indicating pedal mode and position in real time
- Cory’s custom volume curve and wah Q control
- Classic-voiced wah tone with flexible tonal range
- Active volume design for keeping lossless tone
- Separate tuner and expression outputs for more connection possibilities
- 9V DC or 9V battery power supply
Introducing the Hotone Wong Press - Cory Wong's signature Volume/Wah/Expression Pedal - YouTube
Check the product page at hotone.com
Big time processing power in a reverb that you can explore for a lifetime.
An astoundingly lush and versatile reverb of incredible depth and flexibility. New and older BigSky algorithms included. More elegant control layout and better screen.
It’s pricey and getting the full use out of it takes some time and effort.
$679
Strymon BigSky MX
strymon.net
Strymon calls the BigSky MX pedal “one reverb to rule them all.” Yep, that’s a riff on something we’ve heard before, but in this case it might be hard to argue. In updating what was already one of the market’s most comprehensive and versatile reverbs, Strymon has created a reverb pedal that will take some players a lifetime to fully explore. That process is likely to be tons of fun, too.
Grinding out impressive DSP power via an 800 MHz tri-core ARM processor with 32-bit floating-point processing, the BigSky MX introduces seven brand-new reverb algorithms, allows users to load any compatible convolution reverb (or impulse response) as well as to use two reverbs simultaneously—in series, parallel, and split—plus it delivers several other mind-bending features. Given this wealth of goodies, it’s impossible to test and discuss every sound and function, but what we heard is exciting.
Infinite Space
The updated MX will look very familiar to those who know the original BigSky. The form factor is nearly identical, though the MX is a bit larger. Its control interface is similar too, albeit rearranged into a single row of knobs that looks more balanced. Rotary controls include decay, pre-delay, tone, mod, parameter 1, parameter 2, and mix. A value knob enables effect-level manipulation on the larger, clearer OLED screen. It also allows you to select between the older or “classic” algorithms from the original BigSky and the seven new ones. Three footswitches allow for preset selection, bank up or down (two switches pressed together), and an infinite hold/sustain switch that’s always available. The rotary “type” knob in the upper-left corner spins between 12 basic reverb voices. As with most things Strymon, many of these controls are multi-function.
Also very Strymon-like are the top-mounted, 5-pin DIN MIDI I/O connections, which come in handy if you want to maximize the pedal’s potential in a MIDI-controlled rig. But you can access more than enough right from the pedal itself to satisfy the needs of most standard pedalboard-based setups. A USB-C port enables computer connection for MIDI control via that route, use of the Nixie 2 editing app, or firmware updates.
There are stereo jacks for both input and output, plus a multi-function 1/4" TRS/MIDI expression jack for use with a further range of external controllers. The standard center-negative power jack requires a DC supply offering at least 500 mA of current draw.
It is utterly hypnotic and addictive once you settle in and work a little more intuitively.
Sky’s the Limit
The BigSky MX was, initially, a bit mind-boggling on account of the seemingly endless possibilities. But it is utterly hypnotic and addictive once you settle in and work a little more intuitively. Suffice it to say, the core quality of the reverb sounds themselves are excellent, and the sheer variety is astounding. Beyond the standard emulations, I really dug several permutations of the cloud reverb, the chorale mode (which adds tenor and baritone harmonizing tones), and bloom mode (which generates deep synthesizer-style pads), and I could have gotten lost in any of these for hours if there wasn’t so much more to explore. Among the highlights: There is now an option to pan reverbs across the stereo field. The MX also uses audio design concepts borrowed from tape delays to create rhythmic pattern-based reverbs, which is an excellent compositional tool.
The Verdict
This latest evolution of the already impressive and super-capable BigSky is the kind of pedal that could cause you to disappear into your basement studio, never to return. The sounds are addictive and varied and can be configured in endless creative ways. The programmability and connectivity are also superb. Additionally, the new algorithms weren’t added at expense of the old BigSky algos. There’s no doubt that it will be flat-out too much horsepower for the guitarist that needs a few traditional sounds and, perhaps, a few more spacious options. And it would be interesting to know what percentage of the pedal’s customers end up being synth artists, engineers, or sound designers of one kind or another. If you’re the kind of guitar player that enjoys stretching the sound and capabilities of your instrument as far as they will go, the BlueSky MX will gladly ride along to the bounds of your imagination. It may test the bounds of your budget, too. But in many ways, the BigSky MX is as much a piece of outboard studio gear as a stompbox, and if you’re willing to invest the time, the BigSky MX has the goods to pay you back.
“The Player II Series represents our continued evolution in design and functionality,” said Justin Norvell, EVP of Product, FMIC. “We listened to the feedback from musicians around the world and incorporated their insights to refine and innovate our instruments. The re-introduction of rosewood fingerboards is a restoration of the ‘original Fender recipe’ and will no doubt be a fan favorite - but we didn’t want to stop there. We’ve also incorporated our rolled fingerboard edges for a broken-in feel, upgraded hardware, and have some new body options as well- which underscores our commitment to providing players and creators with the tools they need to express their unique sound and style. The Player II Series is not just an upgrade, it's a detailed re-imagining of our core silhouettes, highlighting our dedication to quality and the continuous refinement of our instruments.”
Additionally, Player II offers new options for chambered ash and chambered mahogany bodies for the Player II Stratocaster and Telecaster models, which will be available in October. Designed for musicians ready to elevate their craft, the Player II Series sets a new standard for quality and performance in the mid-price range.
Fender Player II Stratocaster HSS Electric Guitar - Coral Red
Fender Player II Jaguar Electric Guitar - Aquatone Blue
It’s this easy!
This convenient, easy-to-use controller can open up an entire world of sonic shape-shifting. Here are some tips to either inspire you to try one or expand how you’re currently using this flexible, creative device.
If you’re not yet using expression pedals, you should consider them. They have the power to expand and control your sonic universe. For the uninitiated, expression pedals are controllers that typically look like volume or wah pedals. Of course, traditional volume and wah pedals are expression pedals, too, but they are dedicated to controlling only those two effects.
Modern expression pedals allow you to assign and control parameters of your stomps or modelers by moving the expression pedal as you would a volume or wah. Dunlop, Boss, Ernie Ball, Yamaha, Behringer, Mission Engineering, and other manufacturers make these handy devices.
Many, but not all, of today’s stompboxes and modelers have expression pedal inputs that allow for manipulation of one or more parameters of those devices. In the past, this required bending over and turning a knob, or trying to turn a small knob with your foot—both of which can hamper your playing. The freedom of an expression pedal is the control you have over more aspects of your sound, especially in a live setting.
Although some of the uses for expression pedals below can also be accomplished by creating multiple presets, that will not allow real-time control over the parameters like an expression pedal will. Here are some notes about expression pedal use that might get you thinking about how one could help you.
Delay Repeats: Controlling the timing of a delay with tap tempo is very common, but how about controlling the number of repeats? With an expression pedal, by setting the expression control on your delay to control the number of repeats, you can easily go from a few for your rhythm sound to more for your lead sound, and then back off again.
Reverb and Delay Mix: The mix control on reverb and delay pedals allows you to balance the amount of wet to dry signal that you hear. There is often a delicate line to having just the right amount of wet signal with these two effects. If you have too much, your sound can be washed out and undefined. Too little and it can be dry and lack space. The part you are playing, and the venue you are in, can also change the amount of mix you need for these effects. By using an expression pedal for the mix control on reverb or delay, you can alter the sound on the fly to compensate for the part and the room, including turning down the mix for busy parts and up for parts with fewer notes.“Some uses for expression pedals can also be accomplished by creating multiple presets, but that will not allow real-time control over the parameters like an expression pedal will.”
Modulation Depth: The depth of a modulation effect, like a phaser, can drastically alter your guitar sound. A light amount can create a feeling of subtle movement, while a heavy amount can give a thick, underwater-type sound. An expression pedal can help you create a constant feeling of change throughout a song, allowing you to build up and break down the depth for different sections as you see fit.
Tremolo Speed: While the speed of tremolo can often be controlled by tap tempo, using an expression pedal for the same parameter offers other creative uses of the effect. With an expression pedal, you can easily speed the tremolo up to make subtle increases to the energy of a part or slow it down to decrease the energy. You can also create drastic changes in the speed that sound like a fan accelerating or slowing down. Or you can abruptly turn the tremolo off. This last option can be an exciting way to end a song or part.
EQ Change: Every guitar player uses EQ to sculpt their sound—whether via the tone controls on your instrument or amp (modelers included), or a dedicated equalizer used as part of your rig. Subtle tweaks can help you do things like balance out different guitars, cut through the mix more, or compensate for a boomy stage. Real-time control of EQ with an expression pedal is more common in the modeler world than the amp and pedal world, but it does exist in both. For example, increasing the midrange can give you more clarity and cut for solos. Decreasing it can create a flatter sound that can help you stay in the mix with the rest of the band. An expression pedal allows you to have one setting and alter it for multiple situations or guitars as opposed to having separate presets.
While this is a very short list of options for expression-pedal use, it should give you a good place to start. The most important thing is to always be creative, have fun, and find your own voice. An expression pedal can help you do all three.