Quickly Learn To Play Great Solo
Lead Guitar Without
Once Ever Having To Look At A Confusing Fretboard Diagram.
is the only course available which teaches 'just by showing you'.
other words there is virtually no theory and certainly no complicated
fretboard diagrams. It's all done on video
taught by using 'the music
rather than the maths'
are about to read has been edited from a long phone conversation
between Mike Herberts and Jerry Lamberth.
student who turns up
electric guitar, which is about 50 percent of them, all want
learn at some point how to solo.
Now if you are anywhere near the same
age as we are (which is VERY old indeed) then you've grown up with
Clapton and Hendrix and Jimmy Page and
all these guys, and guitarists of every age still want to be able to
that, and sound
like that. and what's stopped people from finding it easy in the past?
experience, is that it
never seems to get taught in a musical kind of way. It tends to get
taught in a
theoretical, mathematical kind of way.
What I mean
is, you get shown a picture of a guitar fretboard with
gazillions of dots on it, usually in different colours, and an
explanation that there are 5 different 'positions' for playing the
first that kinda sinks in a bit but it isn't very long before it all
starts to get very confusing.
Jerry says "So I've seen
guys come to me who've been, they
say, 'I know all my patterns,' and they've been endlessly prepped in
the five patterns. And when I say that's fantastic, play me solo,
they can't use the patterns to play a solo.
So there's no transition between the theory of where the notes live on
the fretboard, and actually being able to play music. So I've always
tried to get people playing a musical solo really quickly, with the
minimum of theoretical information that they need to be able to do
WILL eventually want to start
feeling your way
around all the patterns but when you start out that is
wrong way of going about things.
what we do is we start with the most common of the five
positions, and immediately we get soloing out of that position. And we
really explore that position inside out. We look at all the
possibilities of what you can do with it. We look at all the styles of
music you can use, you can solo over, from blues to country to rock and
all that kind of stuff. And only then, when they've really mastered
that position, do we kind of push it into different places on the
amazing thing is, even just with that one pattern,
if I was to go to an accomplished blues guitarist, say, let's take
Clapton for example. If I went to Eric Clapton and said, "Can you play
me please a really nice moving, heartfelt blues solo, and only use that
position?" Would he be able to do that?
he would. Not only would he be able to do that but he'd be
able to probably jam in it
for probably five minutes without ever repeating himself or starting to
sound boring because there's so much you can do just in that one
fact, I would say that if
you said to him, "Could you play me something really beautiful and
heartfelt on just TWO STRING out of that pattern?" He would be able to
do it. There's so much
material in there.
This is part of the
reason why people get confused. No
one's really explained to them that you don't need to learn all of
those patterns initially.
It would be absolutely great to be able to
play every single note within that scale, and all the slides and the
bends, and the nuances and the hammers on, and all of that, but if you
can learn how to that with just a single pattern, and then apply that
phase of learning, if you like, later on to then the next one in the
erything you learn in that one pattern, you'll be able to
apply to other patterns. But by doing things in this simple way, you
have already made
the breakthrough. The important breakthrough is to think, "How can I
just play something that sounds musical when I've got nothing written
in front of me?"
That's the thing that when we've taught people, that can be the hardest
thing for them to get over. You can't say to them, "OK, just play
something now in that pattern." Because they look at you blankly and
go, "What?" At first, they'll just play the scale through.
the big breakthrough is to get
past just playing the scale
the big breakthrough is to get past just playing the scale, and to say,
"OK, let's stick with the scale. I just want you to play four
notes out of that scale over this backing track, and they begin to
build up from that to the idea that you can turn that into a guitar
disheartened early on for many reasons. Because you will
have bought books, or ebooks, or you'll have seen chord charts or
fretboard charts which show you lots of coloured blobs...and not much
how on earth can you relate music to it, when you don't understand how
works, how can you relate those blobs on that fretboard to actual
music? and that's why we say it is usually
taught not in a
musical sense. It's taught in a technical, mathematical, almost
will never make the assumption that if you just know where the
patterns are that you can turn that into an Eric Clapton type solo
automatically. Because of course, you can't. And that's why we
see get caught in practicing the five patterns over
and over again.
what we really want to do is play music
There's nothing wrong with the five patterns. Don't get me wrong at
all. But what we really want to do is play music. And I would much
rather hear people play music in one pattern than show me the scales of
all five patterns.
often see a derogatory term aimed at guitarists where they are said to
be 'playing in the box'. This
means that they are playing just a single
pattern in their solo.
don't see this as a negative thing at all.
Playing 'in the box' means playing in one of the patterns, and it's
usually the pattern that we're talking about, the one we're calling
pattern number one.
That would be, because it actually makes the shape of a box on your
fretboard, where your fingers can reach in that pattern. So we call it
playing in the box, and it just means playing out of that one pattern.
But there are tons of fantastic solos using just that pattern.
There are tons of Clapton
solos, for example, and even Jimmy Hendrix, who's thought of
"outside the box," and being incredibly
creative with a guitar, but if we were to look very closely at what
he's doing, would we recognize that he's playing scales, basically? He's
playing within a single pattern.
These guys, know
the whole fretboard, so they do range beyond it, but you
can recognize the patterns that they're playing out of, and we can find
lots of excerpts of Hendrix playing out of the pattern that we're
In fact, a great example is Jimmy Page and the first bit of the solo to
"Stairway to Heaven," which for the first 10 or 15 seconds of that solo
is all out of the first pattern that we're talking about.
So you'll be pleased to know that the approach
that we've taken here is to show really
what's possible with that single position, that position number one.
So this series, then,
of "Learn Solo
Guitar" covers across all genres
and in all keys.
You'll learn the skills and the tools
that you need to be able to
play in any key, in any style of music. So I don't necessarily give an
example of a solo of a disco track say, but the tools will be there for
to go away and transfer over a disco track.
say folk rock, for example, just a standard
piece. Again, we'll stick with the key of A because it's a nice easy
one. And most
people know that A centers around the fifth fret because that note
happens to be A. If I was playing a piece of folk rock and I wanted to
put a nice solo in there, initially, I would just stick with A major,
the major shape, the major scale.
probably have some fundamental questions in your mind right now. The
first question is probably,
long will it take me to start producing my own original riffs using
The answer is 'not very long at all'.
Once you've learned
the scale pattern, which is the very first thing that gets taught, you
can start creating licks straight away. And we show in the video how
you can do that; you can take a little bit of the scale pattern. So
really, as long as your fingers can play the scale, you can be creating
your own licks immediately.
on in the course we'll show you how to use embellishments,
shall we say, or dynamics, where we talk about slides and bends,
hammer-ons and pull-offs. So once you've picked a riff and you're
with a riff, you then decide how you're going to put that together to
get all those extra little sounds that people like.
But remember you'll be playing licks immediately
without any of those techniques because of the simple way we've laid
these lessons out. Whilst it is definitely NOT simple to get
be the level of Jimmy Page playing the "Stairway to Heaven" solo,
you'll very quickly be able to put together a solo that sounds pretty
that you've made up yourself. As soon as you can play the
pattern, you can play your first solo.
anyone do this?
can do this whose hands
play the scale pattern.
can do this whose hands can play the scale pattern. So if you're able to
play the scale and hold the guitar and have it in
tune, and understand what we're showing you, you'll be playing great
original solo riffs within hours.
course, that's one of the great things about being a guitar teacher . .
seeing people going from that blank look they give you when they first
have to improvise, and they've got no idea what to do, to a couple of
weeks later when they're playing their first guitar solo.
It's great to see that happen, because it's one of those things that
everybody wants to be able to do, talking about what we talked about in
the beginning. Everybody who picks up a guitar at some point wants to
be able to do what it seems like Clapton, and Hendrix, and Jimmy Page,
and these guys are doing, don't they?
well as the tuition videos we also include all the
backing/jam tracks you'll need. The idea is that we give you the jam
tracks you'll need to complete the course plus we include tracks in
different keys and different genres.
There are about four or five jam
tracks that are part
of the course. In other words, we actually learn solos using those jam
tracks in the video course. Then I've included in the package a total
of 20 different jam tracks in
many different styles and different keys so that you
can try all these ideas you've been learning from the course.
. . . is
that you can apply all this to whatever style of music is your
beauty of learning all these concepts this way (watch and learn) is
that you can apply all this to whatever style of music is your
particular favourite. So all these lessons and tolls work for, blues,
rock, heavy metal, folk, folk rock, ballads....the licks and the same
ideas all work.
if you've been struggling to make sense of all this stuff that everyone
else seems to take for granted .....we have the answer for
you are the type of person who wants to go on eventually and make a
much deeper study of these concepts you will have an enormouse
advantage by taking this simplified approach at the out set.
may have seen products that will teach you to memorise all the notes on
your fretboard and we want to reassure you that you don't need to be
able to do that in order to play great original solo riffs on your
course, if you ever want to play like Eric Clapton, then that would be
the next stage. So, there's nothing wrong with that stuff at all. It's
just what wrong is the idea that you've got to know that before you can
what we've done here is, we've come
at it from the complete opposite angle, which is what I've always
maintained, and always done in the past. Namely 'Let's get
played, and then if you like it, and if you want to go beyond your
understanding, there's absolutely nothing at all to stop you picking up
one of these other courses where they'll teach you every single note on
You can memorize every note, and get really involved in the
mechanics of keys, and how they are affected with the patterns, and how
you change keys later on if you want to
Also you must
understand that there's no cheating going on here. We're
not doing pretend guitar
Also you must understand that there's no cheating going on here. We're
not doing pretend guitar
solos. This is absolutely real stuff. It gets you playing quickly, and
absolutely if you get into it, then of course go beyond and go into the
more detailed stuff that is available in books and courses elsewhere.
SPECIAL NOTE IF YOU
WANT TO PLAY BLUES
Mike says . . . And there's an amazing thing that you do that I
highlighted on the
video where you go from the major key - still playing blues, still
playing in a set key - and you move from a major scale into a minor
And the effect is the hairs-on-the-back-of-the-neck effect that's
impossible to describe, but everybody knows what it is when it happens.
And guitarists will all stand together and listen, and just at that
point, they all look at each other and it's like, "Wow."
Jerry says . . . That's right. I was
playing in A, but you can do it in any key of
course and the video would show you how. The first thing to say is that
this only works for the blues. That's the only style of music that you
can mix major and minor together in, but in the blues it sounds
fantastic. You start off playing in a major scale. which doesn't sound
particularly 'bluesy' in that sense.
you play in the
major for a while setting up a sense of false security in the listener.
We find the correct position to do this using the "three fret rule." If
playing a minor pentatonic and you move the patterns three frets down
the fretboard - in other words, to your left, if you're a right-handed
guitarist - you end up in the major pentatonic in the same key.
There are lots of ways to do what I'm
describing here (and what is shown in the video above) but one
way that works really
effectively is to play a major for the first eight bars of a 12-bar
And then, on the ninth bar, shift to the minor scale, which
means going up the neck three frets to your right, if you're a
The great thing about it is that sometimes it's really
effective to play exactly the same riff in major, shift it up three
frets and play it in minor, and it just sounds amazing.
that something really interesting has happened but they can't put their
finger on what.
is often one of the things that causes confusion among beginners.
And we think that Jerry's explanation highlights that in
a far better way than we've ever seen explained.
Most people know that you could move around the fretboard and
would be changing key by doing that, keeping the same shape. But when
we reveal the simplicity of it it will often be the first time you've
ever thought "Ah! Now I get it." It will be one of those
great light bulb moments that us guitarists get.
should probably make the point that there's
nothing here that doesn't work on acoustic guitar. You can play lead
solo riffs on acaoustic just the same so you
can use all of this stuff on acoustic guitar.
should probably make the point that there's
nothing here that doesn't work on acoustic guitar
if you like to play acoustic blues for example there's nothing to stop
you playing all that stylish fingerpicking, and
then just throwing in a few lead breaks here and there. That's what a
lot of the
old blues guitarists used to do. I'm talking about way back, with
people like Robert Johnson, and people around that era. They would
often build up lead breaks using just the techniques that we've been
also included all the tabs so everything that is meant as a solo in the
course is tabbed out. We let you have prinatble versions plus Power Tab files for them,so you can play along them as
that's a very comprehensive package there. I think it is fair to
say, no matter how long you've been trying to master this aspect of
your guitar playing, this package is going to be the turning point for
is definitely your best entry into playing solo guitar.
is definitely your best entry into playing solo guitar. We don't
believe that there is anybody who isn't going to be able to play some
nice stuff from this set....even if this has been like a black art to
you in the past.
is included to make sure that your
finally grasp this fascinating subject.
BONUSES [also some not even mentioned here]
like this would be complete without some tracks to play along to would
including 21 Jam/Backing tracks as mp3's
these are used in the lessons and some are for your own use for when
you start soloing using your own riffs.
able to Jam along in several different keys using these audios
- Finally get to understand how basic
scales are used to build up immense solo sections on guitar.
- Pick up your guitar with the
confidence of knowing that you'll be able to solo along when you jam
along with other musicians.
- Learn to play your own solo lead
breaks even if you've NEVER played a note of lead guitar before.
- Enhance the
pieces you already know by throwing in the odd little solo break.
create your very own lead riffs and breaks IN ANY KEY and in ANY STYLE.
- So simply
laid out by Jerry Lamberth that ANYONE can finally learn how to do this.
professional-sounding bends, slides and hammer ons in your solos
in any key – major or minor
over a 12-bar blues in any key
over any style of music provided you know the key – country,
pop, rock, heavy metal, you name it.
- Play at
least two complete solos over a 12-bar blues
licks learnt in one style of music to any other style of music, thereby
getting the biggest bang for your buck for every lick you learn
- Play solos
using more than just the pentatonic scales, by adding more colourful
- Play solos
up and down a single string as well as across the neck in a pattern
- Mix major
and minor pentatonic in the blues for that ‘secret
sound’ the pros get
soon Sept 2017 Learn