In the video lesson, Chris explores the idea of discovering more about the fretboard both from the point of view of melody - using a mix of major and minor scales - and harmonically, using a chord style inspired by Jimi Hendrix. Alas, we only had enough room to tab out some of the many ideas on the video, but these are the key moments that will give you a few ideas to work on when you practise.
As usual, the advice here is to take things slowly - especially Example 5, which might contain ideas that are unfamiliar to you. But patient, persistent practice will soon unlock new levels of creativity!
Example 1: Fretboard Orienteering
In this first example, looks at a simple way of mapping out ideas on the fretboard using a lick repeated all over the neck. It’s a great plan for players who find themselves stuck in the pentatonic shapes or ‘box patterns’ to break free and begin to map out the fingerboard. After working through the example, come up with your own ideas and try to find the places they repeat up the neck.
Example 2: Major Scale Ideas
The major scale tends to be overlooked in a player's early days on the instrument, favouring instead the minor pentatonic. But the major scale features heavily in music whether it be pop, rock or blues. Chris demonstrates a few licks to set you on the right path.
Example 3: Mixing Minor & Major Ideas Together
The most effective blues licks often take elements of both major and minor scales and blends them together. In order to kick that principle off, Chris takes a lick that is ostensibly minor and then, in Example 4, begins to take it to another place.
Example 4: Mixing It Up
Here, Chris demonstrates how the minor idea in Example 3 can be expanded by repeating it in a major key. This is another thing that would benefit from repetition all over the fretboard. Take your time to work out the positions slowly — it'll soon become second nature.
Example 5: Chordal Style
Despite discovering Hendrix later on in his playing, Chris has developed a melodic chordal style that owes a great debt to Jimi. Here, he gives an example of how this way of thinking can be taken up the fretboard, tracing an E major scale.