
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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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!