I begin in bar 1 with a phrase built from the D major pentatonic scale (D, E, F#, A, B), highlighting the D chord’s root and major 3rd, F#. Bar 2 is played over Csus2, and here I target the ...

This is a cool trick you can use in a 12-bar blues progression to spice up your blues riffs. Taking a minor chord (In this example, an Am7 played in the thumb and triad style) and hammering onto the ...

To make sevenths, we extend the pattern of alternating notes, adding an extra note on top of each chord. For the final half-bar chord, add the note to the bottom instead, so we have two different ...