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This lesson is part of the course Creating Bluegrass and Roots Music Solos with Scott Nygaard.
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About This Course
 
Learn to create interesting solos with this applied theory workshop. You’ll learn how to use scales and arpeggios to create melodic lines, about thematic soloing and improvising, how to create lines with a sense of forward motion, how to combine the melody of a song with fills, melodic variations, arpeggios, and more.
 
 
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Session 1: The Major Scale
 

In this video, Scott  gives you ideas about practicing the major scale in different ways, so that you begin to learn not just the scale in sequence, but the different notes in the scale, where and what they are, and how they are related to the chords in the key. You get exercises that show you how to practice the scale from chord tone to chord tone, chord tone to scale tone, in short musical phrases known as patterns or sequences, and more.

 
 
 
The Creating Bluegrass and Roots Music Solos Subscription Includes:
  • Eight 75–90 minute lessons that show you how to turn conceptual and theoretical ideas into great solos
  • High-quality video recordings of each session so you can review what you've learned and revisit them after the workshop has concluded
  • Notation and tab for guitar, mandolin, and fiddle
  • An applied theory approach to creating and improvising solos for bluegrass and roots music
  • Advice on practicing improvising, constructing solos in a group environment
  • Examples on how to use major scales and modes, pentatonic scales, arpeggios, blues scales and sounds, and more
 
 
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Session 4: Blues Sounds  
 
Session 4: Blues Sounds  
 
Session 4: Blues Sounds
Session 4: Blues Sounds
 

In the fourth session of Creating Bluegrass and Roots Music Solos, Scott talks about using blues inflections and blues scales. He uses the Bill Monroe recording of “Blue Moon of Kentucky” to show how Monroe and fiddler Chubby Wise inflect the major key melody with flatted thirds and flatted fifths. He’ll also show you two different blues scales: one that adds the flatted fifth to the minor pentatonic scale (a sound associated with Tony Rice in his playing of songs like “John Hardy”) and one that is a combination of the notes in the major and pentatonic scales that results in a Mixolydian mode with the addition for a flatted third, which creates a swing blues sound. He finishes by showing you how to use all these ideas in a bluesy solo on “Blue Moon of Kentucky.”

 

You can hear Bill Monroe’s recording of “Blue Moon of Kentucky” and Tony Rice’s recording of "John Hardy" at these links:

“Blue Moon of Kentucky” (3/4 time)

“Blue Moon of Kentucky” (3/4 and 4/4)

“John Hardy”

 

The musical handouts (downloadable PDFs) for the session (and all sessions) are available in three formats: notation with guitar tab, notation with mandolin tab, and notation only. 

 


  Session 4: Blues Sounds Notation and Guitar Tab (Available to subscribers)
 
  Session 4: Blues Sounds Notation and Mandolin Tab (Available to subscribers)
 
  Session 4: Blues Sounds Notation Only (Available to subscribers)
 
  Tony Rice "John Hardy" Solo: Notation and Guitar Tab (Available to subscribers)
 
  Tony Rice "John Hardy" Solo: Notation and Mandolin Tab (Available to subscribers)
 
  Tony Rice "John Hardy" Solo: Notation Only (Available to subscribers)
 
 
 
Guitar Articles
 
 

The Grammy Award winning songwriter plays an original song with Tom Rozum and Nina Gerber, live at the Preston Thompson shop.
 
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    ● Instructors
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    ● Notation Guide
    ● For Beginners
 
 
    ● Vintage Vault
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    ● Advice
    ● Repertoire
 
 
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    ● Events
    ● Breaking News
 
 
    ● In The Studio
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