Example1 Full Solo 1: Bluesy Swinging 6/8
[Bars 1-5] While Scott tunes down a semitone, we remain in standard tuning for this blues solo in G. As all of the vibrato here is accomplished with the whammy bar, it’s a good idea to develop a technique where it’s close to hand at all times. Try lightly holding it between your third and fourth finger, so you can still use the side of your palm and unused fingers for muting, and pick the strings with a plectrum or second finger. We kick off with a hip G6/7#11 before heading into conventional blues vocabulary based on 3rd and 6th intervals, although the 6ths in bar 5 are derived from the G Half-Whole scale (R- 2-3-4-- 5-6--
Bb Bb- [Bars 6-9] Here we see how Scott might use C (C-E-G) and ( D-F) major
Bb), triad to outline C Mixolydian (C-D-E-F-G-A- followed by more blues phrasing. We step closer to the jazz side in bar 9 with a symmetrical line based on minor 3rds, once again derived from the Half-Whole scale but here against E7#9. As this scale replicates in minor 3rd intervals, these are actually the same notes, albeit with some enharmonic respelling, as our previous G Half-Whole.