Master some essential ideas and learn how to move from minor to major with a few easy tricks.
Chops: Beginner
Theory: Beginner
Lesson Overview:
• Learn how to play over major chords using chromatic tones.
• Transfer basic blues licks to any minor or major chord.
• Understand how to create a “major blues” scale.
Click here to download a printable PDF of this lesson's notation.
The first conversation I have with a new student goes something like this: “If you were to solo over a C7 chord, what scale would you use?” The two answers I hear most often are the C Mixolydian (C–D–E–F–G–A–Bb) and the C blues scale (C–Eb–F–Gb–G–Bb).
Both these scales—Mixolydian and blues—are fine to use for improvising over a dominant 7 chord. However, many styles of music, including country, Western swing, jump blues, bluegrass, rock ’n’ roll, and jazz expand on these choices. In this lesson, we’re going to focus on what I call the “major blues” scale (C–D–Eb–E–G–A–Bb). If you look closely, you’ll notice we’re including both the b3 (Eb) and natural 3 (E)—more on that later.
Obviously, this scale is somewhat related to our tried-and-true pentatonic shapes. Also, the relationships between major and minor pentatonics still exist in this new form. Take another look at the C major blues scale. If we think of the relative minor of C, which is Am, nearly all the notes fall neatly within the A blues scale (except for that pesky Bb). In Ex. 1, you can see how closely related the two fingerings can be.
Click here for Ex. 1
For Ex. 2, we’ll look at perhaps the most famous bluegrass lick of all time. Commonly known as “the Lester Flatt lick” or “the G run,” this simple phrase moves through a G major blues scale (G–A–Bb–B–D–E–F) and makes for a great intro or ending.
Click here for Ex. 2
Another classic bluegrass lick is shown in Ex. 3. We’re sticking to the key of G major, but we’re using open strings to highlight the chromatic parts of the scale. Check out how the fretted Bb and the open B create a dissonance. Bluegrass musicians often use these notes to add color to their lines. The phrase sounds diatonic, however, because the tension resolves quickly.
Click here for Ex. 3
Next, let’s look at a common phrase used in all types of music, again in the key of G major. Ex. 4 is very straightforward and is often played as a pickup. Everyone from John Coltrane to Eddie Van Halen to Chet Atkins plays this line. The reason it’s so effective is the buried dissonance I mentioned earlier. The b3 is resolved quickly to a strong chord tone, the 3.
Click here for Ex. 4
With all my students, I stress the importance of taking what you already know and using it in a new way. Let’s take a couple of standard minor licks and move them to major.
Ex. 5 is a lick you might hear from Eric Clapton, reminiscent of his classic “Crossroads” riffage. It starts with a bend from the b7 to the root before descending down to the b3 via the blues scale.
Click here for Ex. 5
Now, let’s play the same lick, only move it to the major side of things (Ex. 6). Simply shift down to the 2nd position and start by bending the 5 (E) before descending to the root (A).
Click here for Ex. 6
Essentially, we’re playing in F# minor, just hearing it in the key of A major. Any of the minor blues licks you already know can be transferred to major by using the same method. Many guitar players use blues phrasing over major pentatonic scales, most notably Ry Cooder, Mark Knopfler, Dickey Betts, and Jimmy Page.
Here’s another lick using the A blues scale (Ex. 7). This will incorporate your knowledge of the “blues box.” Many of the string bends we guitarists are so fond of happen inside the box, so these will come in quite handy. Check out Ex. 8 for the major version.
Click here for Ex. 7
Click here for Ex. 8
One of the most famous examples of this scale is the opening lick to Led Zeppelin’s “Black Dog.” Dig into Ex. 9 for a peek. You’ll see the F# minor “blues box” shape on the 3rd, 2nd, and 1st strings. This is a very helpful way of finding your position on the neck. Jimmy Page’s lick is a great way to get from one position to the next by using major pentatonic scales and the standard blues box shape.
Click here for Ex. 9
Best of luck with your new scale! This will significantly improve your bluegrass, country, rock, and blues playing, and in addition to the standard Mixolydian and blues scales, you’ll have another tool to navigate the sound of dominant chords. But more importantly, you’ll be able to use your knowledge of the blues to generate new licks and ideas. Remember, any of your minor blues licks can become major blues licks with just a few tweaks.
From sanctified beginnings to high-energy secular soul, this steel guitarist forged his own way.
AJ Ghent was born to the “sacred steel” tradition, where gospel music is accompanied and played instrumentally on lap and pedal steel guitars. AJ’s father, Aubrey Ghent, great uncle, Willie Eason, and grandfather, Henry Nelson, are all pioneers of the sacred steel sound. Though AJ was first exposed to steel guitar in church, over the years he has developed a potent take on Southern soul and R&B.
From his birthplace in Florida, Ghent moved to Atlanta, Georgia, where he played in Top 40 bands. Later, he joined up with Col. Bruce Hampton, the legendary eccentric best known as the leader of such experimental groups as Aquarium Rescue Unit and Codetalkers. Along the way, Ghent developed a style of playing steel standing up, using an “over hand” slide technique.
Now he’s out in front of his own group, which features his wife MarLa and sister Tiffany on backing vocals, Gary Paulo on saxophone and guitar, bassist Seth Watters, and Will Groth on drums. Their CD/DVD Live at Terminal West fully captures all the raw energy of the band’s stage show.
In a brief respite from the road, Ghent spoke to Premier Guitar about his church beginnings (and endings), as well as the evolution of his unique playing style and the custom instruments that go along with it.
Did you start on regular guitar or steel?
I started on drums, but went straight from there to lap steel. I learned from listening to my father, grandfather, great-uncle, and from CDs.
Did you begin playing in church?
I played in my room for a long time. A member of the church we attended heard I’d started on lap steel and invited me to some of the programs. I played in church regularly for a couple of years. As I got a little older, they saw me emerging into a Hendrix style and kicked me out.
Your style of playing actually became an issue?
It wasn’t necessarily the playing. I always had a sense of freedom—I wanted to express myself. In that organization, clothing needed to be as simple as possible. I would come in with a big, red Afro and a suit. I was the Liberace of the church at the time.
Where did you play after church?
My first gig in the clubs was with a Top 40 band. I was playing R&B, rock, hip hop, pop music—anything that was on the radio. Playing everything helped groom me for my style today.
AJ Ghent's Gear
Guitars
Custom 8-string T-style steel guitar
Converted Fender Select Carve Top Jazzmaster
Amps
Andrews Amp Labs Spectraverb through a Forte 3D cab with an EVM 12L speaker
Effects
J. Rockett Audio Designs Archer OD/Boost
Chicago Iron Octavia fuzz
Real McCoy Custom and Dunlop Cry Baby wahs
Xotic SL Drive and EP Booster
MXR Carbon Copy Analog Delay
Skreddy Pedals Echo
Strings and Picks
6-string guitar: D'Addario EJ22 (.013-.056)
8-string guitar: custom D'Addario set (.015-.064)
Dunlop fingerpicks and thumbpick
Ernie Ball glass slide
Were you playing a “sit-down” lap steel?
Yes, but I started standing up after I stopped playing in the Top 40 band. I wanted to move around more. I was playing lap steel, but I wanted to look like Jimi Hendrix and Stevie Ray Vaughan, or whoever was playing regular guitar standing up. I thought that looked so cool. Wayne Rogers, who was at Gold Tone at the time, told me they
had this lap steel that was like the old Oahu style. He said, “You can strap this thing around your
neck and play!” I wanted to play it like a Dobro, where you strap it on and it still faces you like a table. But we couldn’t get it to stay up like that—it kept falling
flat against my stomach, like a regular guitar. I thought, “This looks cool!” I continued to play like that and have been doing it ever since.
Was it much of an adjustment to switch from sitting to standing up, playing parallel with
your body?
It was huge! It’s not something you discover on Monday and then go to the nearest open jam and try it on Tuesday. I almost had to start learning to play all over again. I couldn’t see my frets the way
I could when they faced me, like on a lap steel. I
had marks on the side of the neck, like a traditional guitar, which I could see. I look at those to determine where I am, but lots of times I’m playing with my eyes closed, so I really depend on my ear. It definitely took a little time. When I adapted to it, though, it felt more comfortable than sitting down.
Some of your licks seem influenced by classic lead guitarists, rather than steel players. Who influenced you?
I started listening to a little bit of Hendrix, Stevie Ray Vaughan, and James Brown’s guitarists—that’s Guitar 101. Lately, I’ve been listening to Eric Gales—he’s just phenomenal. Eric Johnson was one of my favorites, as well. I’m always trying to mimic the guitar, listening to what they’re doing and trying to apply it to what I do.
AJ Ghent plays steel standing up, using a modified Dobro technique. With the guitar lying flat against his body, his left hand reaches over the neck from above to bring the tone bar in contact with the strings.
Gary Paulo largely handles the rhythm chores in your band. Is this because the steel doesn’t lend itself to that kind of playing, or is it so you can concentrate on singing?
It’s more to concentrate on singing. When I’m singing and playing at the same time, the tuning can drift off. I have to focus. My secret is to place the microphone so my head points down and I can see what I’m doing. When we recorded our live album, I didn’t want to chance being out of tune or singing wrong notes. When I’m freed from singing, I try to chime in as far as the rhythm and chord progressions, but it’s a challenge doing that without looking directly at the guitar. I don’t know too many people singing and playing steel with the guitars flat to their body, so I don’t have anyone to watch and learn from.
Describe your guitar.
It’s like a Telecaster with eight strings and a really fat neck so I can raise the strings and play slide. A friend of mine made it. I told him I had this vision of a Strat, Tele, or Les Paul style guitar mixed with the lap steel. I helped design it and he built it for me. He’s not a known builder—he’s just a guy who knows how to use his hands. I gave him the idea, and he came back with a Telecaster-style guitar with a Macassar ebony fretboard and a lacewood top.
Where did you get the pickups?
The pickups are Lollars. They’re based off an old Fender Stringmaster lap steel because my grandfather was known for playing that guitar. I loved the sound, and my dad had the same type of pickups. I wanted to keep a tiny bit of the “sacred steel” influence from my family. Those particular pickups get closest to that sound.
How do you tune it?
It’s in open D, but I throw in E andB at the top. I tune certain strings up and down for different songs to help me be comfortable playing and singing at the same time. My 6-string is in open E.
Is the 6-string a standard guitar with a raised nut and bridge?
It is a Fender Select Carve Top Jazzmaster. I raised the strings a little bit, put a set of .012s or .013s on there, and tuned it open to E. That’s a heck of a tone with those guitars.
YouTube It
Ghent shows some fancy slide work on his converted Fender Select Carve Top Jazzmaster. His solo gets really interesting at 4:18.
What amp do you use?
For a while, I was using a ’64 Fender Super Reverb with heavy 10" speakers. I told my amp guy, Jeff Andrews, it wasn’t giving me everything I wanted. He had all these great things he could do, but I didn’t want to modify the amp that much. So, he said, “I have these amps. You can try them out.” I’ve been playing his amp ever since. It’s a 40-watt Andrews Amp Labs Spectraverb. I’m playing it through a Forte 3D cab with an EVM 12L speaker—it’s got panels on the side that are open, so you get both a closed-back and an open-back feel.
You use some pedals, don’t you?
A lot of times I use just a guitar and amp, but in situations where I want a little extra boost, I might use the J. Rockett Archer pedal. I’ve been using that with a Chicago Iron Octavia to get that fuzz thing going. On the recording I was using a Real McCoy Custom wah, though I love Dunlop Cry Babys too. I was also using an Xotic SL Drive and their EP Booster, as well as an MXR Carbon Copy delay or the Skreddy Echo.
I try to keep it simple, but my dad humbles me every now and then. I look at his rig and he’s plugging straight into a Twin Reverb. It shows me it’s okay to have all that great stuff, but don’t get so caught up in it that you can’t focus on playing.
YouTube It
AJ Ghent tears it up on his custom 8-string “stand-up lap steel” guitar.
What’s next for the AJ Ghent Band?
We’ll be working on an actual studio album. We want to be able to go in a studio and put a lot of our influences on it at a slower pace than, “5, 4, 3, 2, 1—go for it!” Other than the new album, it’s just heavy touring and running into other great bands and artists out there.
An exotic-wood T-style with a bevy of nice tones courtesy of Kent Armstrong pickups.
Built by luthier John Soderlund in Pietermaritzburg, South Africa, the T3 Africaster features an ash body with a top made of a hardwood called red bushwillow. The fretboard and body binding are Gabon ebony, the bridge is a TonePros Tune-o-matic-style, and electronics consist of a set of Kent Armstrong Texas Vintage Strat pickups and a typical Strat control complement.
Although I was surprised at the T3’s not-quite-tight pots and rough fret ends and nut corners, I was pleased to find that—as you’d expect—the Africaster avails a wide variety of quality tones great for everything from country (including a very Tele-like spunkiness in the bridge position) to funk, R&B, and a smorgasbord of rock sounds—including wonderfully corpulent tones from the neck pickup when paired with a nice fuzz pedal.
Test gear: Jaguar HC50 and Goodsell Valpreaux 21 amps, various pedals
Ratings
Pros:
Flexible, quality tonal palette. Unique aesthetics.
Cons:
Disappointing fretwork and setup. Pricy.
Street:
$2,549
Company
jgsguitars.com
Tones:
Playability:
Build/Design:
Value: