Recent Video Lessons


Guitar Soloing


Lesson 002


June 23, 2017:

Composing Your Way to Great Guitar Solos
This lesson works through several examples that will help students get better at composing worked out solos.

Video - PART 1: In example one, we are making a study of how a melodic line can cover a common group of chord changes in the key of "C Minor." The progression is a harmony of "Im, VII, VI," using the chords of "Cm, Bb and Ab." Learn the melodic phrase and then record the chords and try composing a new phrase for the harmony. Then, try improvising over the changes.


Example two focuses more on rhythm and how a groove based phrase can change as it evolves across a series of chords. By introducing a lot of contrast to the rhythm we create an interesting feel change across the harmony. Missed downbeats and plenty of 16th-note rests end up creating a very cool sounding effect across the harmony of this "A Minor" progression.


membersVideo - PART 2: In the second half of the lesson, (available with the lesson handout in the members area), example three begins with follow-up statements. Having statements that operate around chords can produce great sounding guitar solos. Just listen to any number of Jimi Hendrix guitar leads, and you'll notice it right away. In example three, follow up statements occur around a series of chord changes in the key of "C Major." Learning to manipulate cool sounding follow-up phrases after each chords appearance adds an interesting effect to the chord progression.


In example four, the composing concept becomes one of worked out lines based on a recurring theme. This is evident in the song "Bad Moon Rising" by CCR. That songs guitar solo is a play on the primary licks and the theme of the guitar statements used in both the verse and the lead. The part shown in example four demonstrates how tones from a, "C Natural Minor" scale can be used to form statements around the harmony. Record the chords and try composing your own variations on the theme.


Be sure to watch Part 2 of this lesson and download the handout in the members area of


For more resources on the topic of Harmony and Theory, visit the course pages at Creative Guitar Studio / Harmony and Theory.


For some extra jam practice this week, check out my FREE JamTrax on the JamTrax Page. Please consider visiting my PayPal Donation Page to help support the web-site. Have a great week everyone, and all the best!



I have hundreds of lessons here on my Blog site... Many have FREE MP3 Jam Tracks as well as PDF Lesson Handouts. Use the Search Box (up in the top right navigation menu) to find video lessons & blogs. My most recent guitar lesson videos are below... Enjoy and please consider a donation to help support this Guitar Blog & the Creative Guitar Studio online lesson projects.




Acoustic Guitar


Lesson 001


June 18, 2017:
Tracking Simple Melodies


PART ONE: In example one, I've taken a simple melody line from the key of "F Major" and associated a lower register complimentary bass tone part. The simple interval ideas (used to create this examples bass tone line) operate around a principle that is found in countless classical guitar pieces. The upper register melody is supported by the lowest tones of each underlying chord. The result is a strong complimentary bass part.


Example two focuses on the downbeat rhythm (beats 1 and 3) of a two-bar phrase in the key of "G Major." The simple melody line, (shown in example 2a), uses lower register bass tones built upon the 1st and 3rd beats of each measure by way of the underlying chord's lowest bass tone. This technique is very easy to apply and adds the most appropriate sounding bass tones that create a flowing acoustic feel to any melody.  


membersPART 2: In part two, (available in the members area) we begin in example three with a popular study of how combining sustained bass tones from the downbeats along with sustained arpeggios can help in the creation of rich acoustic parts. In example 3a, an arpeggio based melody in the key of "A Minor" is used as a foundation against sustained bass tones introduced in example 3b.


In example four, one of the most overlooked ideas for supporting melodic lines in acoustic guitar is demonstrated. The principle involves layering a lower register octave directly related to the melody note from the simple line. In example 4a, an "A Minor" melody is introduced. And then, in example 4b, the lower octave is sustained in measure one, but then traced across the remainder of the melody in measure two. This is an excellent example of how to create a strong bass-tone connection to the melody while also having it support a principle we applied earlier, "Stressing the Downbeats."


Both video lessons, the PDF handout and MP3 jamtrack are available in the paid members area of


Visit the Archives for More Guitar Lessons




Creative Guitar Studio