BONUS

Welcome …

… to the page where you can find all the tools and resources to enhance your learning experience with the book.

Chapter 1 Superstar Results Practice

96-Bar drill

Practice Plan and Results Tracking Page

Your Guitar Essentials Plan

Chapter 3 The Major Scale

Chapter 4 Single-String Soloing

You can use the same above backing track. Here’s another one that you can use.

Here are some bonus reading materials about single-string soloing.

Detailed Single-String Soloing Instructions

Some Bonus Benefits You Get From Single-String Soloing

Chapter 5 The Minor Pentatonic Scale

Here’s the same track in 11 more keys, up circle of 4ths.

Dm

Gm

Cm

Fm

Bbm

Ebm / D#m

Abm / G#m

Dbm / C#m

Gbm / F#m

Bm

Em

1-Chord Grooves All Major Keys.

C

F

Bb

Eb

Ab

Db

F#

B

E

A

D

G

1-Chord Grooves All Minor Keys.

Am

Dm

Gm

Cm

Fm

Bbm

Ebm / D#m

Abm / G#m

Dbm / C#m

Gbm / F#m

Bm

Em

Chapter 6 The Hindustan Scale

Chapter 7 Pentatonic Substitution

II Valt I in C

Same progression, different arrangement

Here’s a bossa version

Dm7 1 Chord Groove

(see above minor tracks in chapter 5)

Galt 1 Chord Groove

Chapter 8 Creative Pent. Chord Progressions

G | F | C | Bb D |

A7 | G7 | C7 | D7 |

Blues in A: chords are A7, D7 and E7

Blues in G: chords are G7, C7 and D7

G7 | D7 | C7 | A7 | D7 | E7

G7 A7 C7 D7 E7

Gm Bb D7

Cmaj7 Bbmaj7 Gmaj7 Fmaj7

A7 Bbmaj7

Bb one-chord groove (Lydian)

Bb | A | C | Dm |

F G A7 Bb

F G A Bb C D

F Gm A

A7 F#m7b5 Bbmaj7

A7 F#m7b5 Fmaj7 Bbmaj7

F Gm A7 Bb C D Em

While you can make random progressions with all these chords, some will sound far out with the A minor scale, like following progression. It works and sounds better the more chord tones you hit in the solo. (E and G notes over Em, A E and C over F#alt, D and A notes over Bm7)

Em7 F#7alt Bm7

Following is the same chord progression, with a Bbmaj7 chord added. Notice how this progression connects a bit better to the A minor pentatonic scale.

Em7 F#7alt Bm7 Bbmaj7

C7 F#7alt Bm7

Chapter 11 The Modes

C Ionian track

D dorian track

E Phrygian

F Lydian

G mixo

A Aeolian

B Locrian

Chapter 12 In-Position Scale Fingerings

Use any of the tracks of Chapter 11.

Chapter 13 Improvisation Over IVm

The book explains a couple of chapters later what “modal interchange” means.

Modal interchange is the name of a composition/songwriting concept, that consists of borrowing chords from parallel scales when writing chord progressions for a song or composition. Parallel scales are what we call scales that are all in the same key, or in other words, all start on the same starting note. A C major scale, C minor, C dorian, C phrygian, C whole tone scale, C harmonic minor scale etc. are all parallel scales.

So modal interchance is what you apply, when you use a chord from a C minor scale for example, in your C major song. The ending chorus to The Beatles “Happiness Is A Warm Gun’, is only one of many modal interchange chord examples. The chord progression, in the key of C is: ||: C Am F G :|| and suddenly has an Fm chord. That Fm chord, borrowed from a C minor scale and here used in this C major scale song section, creates a change in the mood and vibe of the song.

You can learn more about it here Learn more about modal interchange chords

Chapter 14 Improvisation Over bVImaj7

Chapter 16 The Whole Tone Scale

C C F G7 -> play G Whole Tone scale over the G chord

C C F G7#5 -> play G Whole Tone scale over the G chord

C7#5 | D7#5 | E7#5 | F#7#5 | G#7#5 | Bb7#5

C9#5 | D9#5 | E9#5 | F#9#5 | G#9#5 | Bb9#5

Chapter 17 Interval Theory

Besides 7th and 6th chords, there’s another type of 4-note chords I didn’t list at the beginning of the chapter. “add” chords are 4-note chords too. They consist of a triad (a root, a 3rd – major or minor – and a 5th) with an added note. For example: Cadd9, which consists of the notes C E G D.

All Interval Fingerings

You can solo with the intervals covered in the book, using any of the backing tracks of the Modes chapter 11.

Chapter 18 The 3rd Interval

Use any of the tracks in Chapter 11 The Modes, to solo with the intervals covered in the book.

Chapter 21 All Triads in C

Of course, one of the issues with Kindle and e-Reader books, is that the graphics look so small they become completely useless.

Here is a PDF with all those triads.

ALL Closed Triads In C

Chapter 22 Voice-Leading Cycles

To learn more about voice-leading and see one of the cycles transcribed, check out: Voice leading with triads

Cycle 2

Cycle 3

Cycle 4

Cycle 5

Cycle 6

Cycle 7

Chapter 23 Triad Subst. Over G7

G7 1 Chord Groove

Cmaj7 1 Chord Groove

C C G G

Chapter 24 The dim7 Passing Chord

C F F#dim7 G

C G7 G#dim7 Am

Cmaj7 C#dim7 | Dm7 D#dim7 | Em7 | Fmaj7 F#dim7 | G7 G#dim7 | Am7 A#dim7 | Bm7b5 | Cmaj7 ||

Chapter 25 The Augmented Line Cliché

| C | Caug | C6 | C7 | F ||

F | Bb | C | Caug | C6 | C7 | F

| C | Caug | C6 | C7 | F | Fm | G | Gaug | G6 | G7 | C ||

Chapter 26 Writing in Modes

C F G C

Dm G Am Dm

Em F G F Em

F G C F

F Bm7b5 C F

G C Dm G

G Am Dm G

Am Dm Em Am

Bm7b5 Em F Bm7b5

All in the key of C

C Ionian

C Dorian –> Cm7 F7 Gm7 Cm7

C Phrygian –> Cm7 | Dbmaj7 | Eb7 Dbmaj7| Cm7 ||

C Lydian –> Cmaj7 D7 Gmaj7 Cmaj7

Cmaj7 F#m7b5 Gmaj7 Cmaj7

C Mixo –> C7 Fmaj7 Gm7 C7

C7 Dm7 Gm7 C7

C Aeolian –> Cm7 Fm7 Gm7 Cm7

C Locrian –> Cm7b5 Fm7 Gbmaj7 Cm7b5

Chapter 29 Ear-Training

The Ear Training Practice Links

Ear Training Links

The Ear Training Website

The Ear Training Drills

Chapter 30 The 4 Schools Of Technique Practice

Inspiring Story About Practicing Without Practice (Effort).

Chapter 31 The 24 Finger-Combinations

The 24-Finger Combinations Bpm Tracking

Chapter 33 Guide Tone Comping

The Harmonic Series and Its Implications On Composition

The Study Of Musical Intervals Part 8: The Octave

Blues Track in G

Chapter 34 +80 Ways to Improve Guitar Solos

Will occasionally add new videos here to showcase the different improvisation tricks and techniques discussed in the book.

A quick addition to number 46 in the list “Use One-Note Tapping”: It’s not only rock guys or shredders who use one-note taps. You can hear a great example of one-note tapping being used as an expression and phrasing tool in the Steely Dan song “Kid Charlemagne”. At the end of the solo, Larry Carlton bends a D note on the G string, then while holding the bend, taps onto the A note on the 14th fret of that string at 3:05.

Chapter 35 Secondary Dominants

V7/II –> Cmaj7 A7 Dm7 G7

V7/III –> Cmaj7 B7 Em7 G7

V7/IV –> Cmaj7 C7 Fmaj7 G7

V7/V –> Cmaj7 Am7 D7 G7

V7/VI –> Cmaj7 E7 Am G7

V7/VII –> Cmaj7 Fmaj7 F#7 Bm7b5

As you know from reading the book, there is no secondary dominant for VII.

I just included a track here so you can hear what I discussed in the book.

Chapter 37 Major Blues Rhythm Styles

Blues Track in G

Blues Track in A

FREE BONUS Chapters

guitar essentials bonus chapters

More FREE BONUS Materials and Lessons

Pentatonic Voicings

C Pentatonic Voicings

Minor Pentatonic Scale Patterns

Minor Pentatonic Scale Patterns

Here’s the link to the dropbox page where I’ll post all backing tracks for download.

The Files for Download

One of the problems with Kindle (and e-readers) is that graphics don’t always display well on their small screens.
Click on following URL to access better versions of the graphics.

The Guitar Essentials Graphics