1 Blues Scale Can Change Your Life! (INSTANT RESULTS!)

Did you know that a majority of the world's most famous guitar players never stay within a fret position when they play a solo! When the world's guitar greats are ripping out their guitar solos, they tend to focus on smaller vertical span scale shapes. Normally the shapes that they use will only have 3 or 4 strings at the very most. In fact, the scale patterns the pros apply will tend to sit on the neck with a much wider horizontal framework...

Scale shapes are one of the first things that are taught to guitar students when they are developing their ability to play lead guitar. The thing is, those scale shapes are typically taught within a fretting position and they're played across all six strings (within 4 frets).

When I first learned about this it shocked me. I thought the top guitar players always used the scales shown in all of the guitar books... but they don't. The reason why is because learning scales that are limited vertically and have a wide span horizontally will get you playing with enhanced phrasing ideas.

Can One Blues Scale Change Your Life?
In this lesson we'll study a powerful Blues scale layout that will help you start playing guitar solos with more explosive sounding lines, licks and riffs. This unique Blues pattern will help you explore more interesting lines that will tell people that you're "in the know" and that you can perform strong melodic ideas without having to work at it!

Is it possible for one Blues scale pattern on the guitar - to change your life? Well it is, but you’re going to have to re-think how you’re doing some of the old classic Blues scale patterns on the guitar... So, how is this possible? How can one scale pattern change your life? Now, I’m not one who’s about to tell you inflated promises if I can’t back them up.

The "Frying Pan" Shape:
Before we go any further, I want to refer you to an old lesson that I posted back a few years ago (in 2017), called the, “Guitars Most Important Pattern - The "Frying Pan".”

If you haven’t seen that lesson, then be sure to go and look it up. Because the shape that I’m going to share with you today is similar to that older lesson. These ideas are all about breaking away from common in position scale shapes and instead, learning new patterns.

Keep in mind that these patterns are the types that famous guitar players use to create flowing solos that we hear in all of their perfectly phrased lead guitar parts.

Now, the reason we hear such smooth sound from; Van Halen, Clapton, Hendrix, BB King, Jimmy Page, Santana and all the other legendary guitar players is because of the way that they’ve learned to lay out their scales on the fingerboard.

They’ve developed shapes that sit in much more lateral ways across the neck. And, their layouts for those common scale shapes are generally more limited with how many strings are covered. In fact, their scale layouts are often organized into just a 3 or maybe a group of 4 strings.That's it!

Add to all that, the shapes they use are more lateral and less vertical which help to promote playing lead guitar with greater use of phrasing devices.

In the end this means that the solos that they perform tend to have more; slides, vibrato, trills, bends, hammer-ons and pull-offs. There’s also more opportunity for wider intervals, and more chances along the neck for performing unique interval combinations as well.

So, let’s get going on this idea by learning a Blues Scale shape that I was first shown almost 30 years ago. A shape that really changed my approach to playing in a lot of styles; Blues, Funk, Motown, Soul, R and B, Jazz and Rock… Let’s get into this - right now!

NOTE: All examples will feature the “E Blues” scale. But, can be transposed to any other key that you’d like!

Example 1).
The ex.(1). “E Blues,” scale layout is very lateral and it’s construction has it built off of the 6th string’s 12th fret “E,” and it’s covering a seven fret range from the 7th fret 5th & 4th string up to the 13th fret of the 5th string. The pattern applies notes located from the low 6th string, to the guitar’s 4th string. Here’s how it can be practiced…

Example 2).
The ex.(2). shape is identical geometrically to what we had back in ex. (1). This patterns neck layout has it built off of the 5th string’s 7th fret “E,” and it’s also covering a seven fret range from the 2nd fret 4th and 3rd string up to the 8th fret of the 4th string. The pattern uses notes located from the low 5th string, to the guitar’s 3rd string. Here’s how this layout operates…


I wanted to take a minute to let you know, that if you want to learn even more about scales and theory I have a great offer for you.

With any donation over $5, or any merchandise purchase from my Tee-Spring store, I’ll send you free copies of THREE of my most popular digital handouts.

One is called, “Harmonized Arpeggio Drills” (it’ll train you on developing your diatonic arpeggios).

Another one is my “Barre Chord” Handout which includes a page showing all the key signatures along with a chord progression that applies barre chords.

Plus, you’ll get my Notation Pack! It has 8 pages of important guitar worksheets for notating anything related to; music charts, guitar chord diagrams, and TAB.

As a BONUS, (from my "Over 40 and Still Can't Play a Scale" video), I'll also throw in a breakdown of all of the chords that are diatonic to the "F Major" scale.

As an EXTRA BONUS for my Phrygian Dominant video, I'll also throw in a breakdown featuring all of the chords that are diatonic to the Phrygian Dominant scale.

Just send me an email off of the contact page of CreativeGuitarStudio.com to let me know about either your donation or your Merchandise purchase and I’ll email you those digital handouts within 24 hrs.    


Example 3).
The ex.(3). shape is slightly different geometrically to what we had seen back in ex. (1 and 2). This is because of the guitar’s tuning difference between the 3rd to the 2nd strings.

Our neck layout for this shape has it built off of the 4th string’s 14th fret “E,” and it’s also covering a seven fret range from the 9th fret 4th string up to the 15th fret of the 3rd string. The pattern uses notes located from the low 4th string, to the guitar’s 2nd string. Here’s how this layout looks and how it sounds.

Example 4).
The ex.(4). shape is once again slightly different geometrically to what we had seen back in ex. (1, 2 and 3). This is once again related to the guitar’s tuning difference that exists between the 2nd to the 3rd strings.

Our neck layout for this final example is built off of the 3rd strings 9th fret “E,” with its range reaching out to the 11th fret of the 2nd string. The pattern uses notes located from the low 3rd string, to the guitar’s 1st string. Here’s how this layout looks and sounds.

If you get yourself a copy of a diagram of the “key signature wheel,” and you work your way through all of the musical keys, (transposing the scale shape that we covered in this lesson, over to all the keys), you’re going to totally nail down this pattern in no time flat.

If you don’t have a copy of the key signature wheel, it’s in the “Key Signatures and Barre Chords,” handout that’s a part of my “donations” and “merchandise,” promotional offer (that I’m running right now).

Once you’ve learned how to take this Blues Scale shape all over the guitar using the principles I’ve outlined in this lesson, you can invent more patterns similar to this one of your own creation and start coming up with even more scale ideas all over the guitar fret-baord.

And, I guarantee to  you that if you do this, it’ll open up a whole new world of how you’re playing lead guitar! And, as you start applying these ideas, it’ll be something that I’m sure you’ll find changes your “guitar playing” for the rest of your life when it comes to both composing and improvising melody lines.



Join Now

Guitar Chords | F Chord | Guitar Notes | G Chord | C Chord | D Chord | Guitar String Notes