Skyrocket the 'Melody Factor'
In Your Solos

Discover how to laser-target your riffs to the song, even if you don't have much guitar theory!

Having Trouble Making Your Licks Sound Like Music?

When I started soloing on guitar, I was given the golden advice of starting with the pentatonic scale, and working a LOT with jam tracks. 

And that's great... for a time. 

But eventually, you might start noticing that your solos aren't really fitting the song as well as you'd like them to. 

It sucks. 

All that time spent practicing... 

All those licks you learned... 

Why, oh WHY don't they sound as good as you'd hoped they would?

Your confidence falters, and you find yourself starting to avoid situations where you'd have to solo in front of others... 

You Decide To Double Down

Having recognized your soloing needs work, you decide to double down. 

You learn more scale patterns. 

Your fingers get faster. 

You learn more licks. 

But still... your solos aren't playing those heart-string notes like you hear elsewhere. 

Your licks - despite being in key and in time - still lack that indescribable "tastiness" that you're craving. 

And the reason for that - whether you've discovered it by now, or not - is that your licks are simply not lining up with the notes in the chords. 

It's not that you're playing the wrong notes... you're just not playing the RIGHT ones!

It Doesn't Have To Be Complicated

Laser-targeting your licks to the chord progression doesn't have to be complicated. 

It can be, of course. 

You can go deep, learn the theory and every way to apply the patterns you can think of. In fact, I covered a lot of that stuff in my Secrets of Tasty Riffs & Solos course. 

But you don't HAVE to be a theory wiz to make your solos shine. 

You just need a few simple principles in place. 

And, you need to see how it works, by demonstration. 

That's exactly why I created a short course laser-targeted on demonstrating this stuff. 

Slow Blues Solo in "A"

Learning riffs is great, but if you can learn them in the context of a solo, it can be much more powerful. 

The reason for this is that a riff on its own is just a building block. Building blocks are great - we need them to build a solo. 

But if you're struggling with making your solos melodic, you need more than just building blocks, you need to know how to assemble them to create something that sounds good. 

In the Slow Blues Solo in "A" guitar lesson, that's exactly what we'll do. We take a standard 12 bar blues progression and build a solo over it. 

Along the way, I'll explain why each lick is chosen for that part of the song, how it fits with the chord progression, and if relevant, how you can adapt that lick for use elsewhere. 

Packed Full Of Awesome Tips 'n Tricks

  • Discover a technique that instantly gives any major triad a distinctly bluesy feel
  • Learn ways of working "over the edges" of the pentatonic patterns
  • Discover how certain special riffs and be moved elsewhere - even if you don't know a scale pattern for that portion of the fretboard!
  • Discover a shortcut technique to finding inverted thirds all over your fretboard, in any key
  • Add tremendous harmony factor to your solos by exploiting the intricacies of intervals
  • Add an extra dimension to your riffs with string-skipping intervals
  • Master the art of string-bending and pre-bending using a tried 'n true strategy
  • Discover why double stops can be the most tasty notes ever to be played over a chord progression... or the most horrible clash you've ever heard!
  • The "Ultimate Solo Scale" pattern you absolutely MUST have in your arsenal

"Absolutely Top Notch!"

Jonathan, I sincerely believe your lesson material on this subject and demonstration of it via this solo is absolutely top notch. I cannot credit you enough!

I think you should do a few more solos on this very aspect with a couple of different progressions that would drive home the point you are making so well…i.e the value of knowing what notes one is choosing to play rather than shooting darts and hoping for a melodic result to emerge.

I think any learner who believes just learning lead solos from songs without any regard to understanding the underlying theory framework of scale choices / notes and their relationship to harmony is really making a big mistake in the long run!

You mentioned the ‘monkey see, monkey do’ attitude – which is made so valid.

Thank you for formulating such a great course!

Alvin Borthwick


The Copycat Solo Sessions

A lot of courses like this one simply demonstrate what things need to sound like, and then move on. In this course, I've adopted a new approach I'm calling the Copycat Solo Sessions. 

In the Copycat Sessions, I'll play a portion of the solo that we've been working on, then the jam track will loop right at that moment, and I'll give you a chance to play the same piece. 

Then, I'll have another go, and then you'll have another go after that. 

This is all done in a single take, so there's no buttons to push, pages to flip, or anything else to distract you. You'll get to hear how I play, and then immediately, have a go yourself. 

The benefit of this is enormous, because your ear is your best teacher. When you can compare back to back, your ear will quickly tell you the parts you need to work on, much quicker than if you didn't have that example fresh in your mind. 

Not For Beginners...

This is NOT a beginner course, and it is not a beginner's "learn-to-solo" course either. In order to really engage with this course and pull the maximum benefit from it, here's a short list of skills you should already have under your belt. In other words, if you don't have these already, the course will be a bit over your head, and you'd be better off to work on those foundations first.

Basic Guitar Theory - You don't need to be a whizz at your theory, but there is a lot of practically-applied theory in this course and it will be hard to follow if you don't know the basics of how chords, scales, and keys work. If theory is new to you, I recommend starting here instead. In particular, you need to know how chords are constructed, as we will be working with that a lot. 

Pentatonic Scale Patterns - we'll be primarily using two of the pentatonic scale patterns, but along the way, we'll be dipping in and out of just about all of the pentatonic patterns. If you're not familiar with the pentatonic scale, you probably should invest some time learning that first. Some refresher will be provided but if you don't know what a scale pattern is, you'll learn faster by starting off here and building that foundation first.

Basic Familiarity With Playing Lead Guitar - This is not a beginning-level "learn how to solo course." You should be comfortable playing some scales and riffs. Full tab is provided for everything we're learning, so it's helpful (but not required) to know how to read tab and/or standard notation.

In short, the Slow Blues Solo In "A"  course is perfect for intermediate to advanced guitar players who have some experience soloing, have some foundation in theory, and are looking for new ways to express themselves in a solo. 

Tab Included

The course supplement book (on PDF) included with the course truly supplements and adds to what you will find in the video. From theory to detailed discussions of riffs and patterns, you will find this an invaluable study tool.

Additionally, the Guitar Pro 7 files for the solo are included. If you happen to have that software, you may find this helpful. If you don't already have it, there's no need to go purchase it, it is merely a bonus offered to those who can take advantage of it. 

"I Finally Feel As Though I Can Play!"

I have to say that doing the Slow Blues in A course seems to have been the clincher for me. It made me see the versatility of the pentatonic minor scale, and understand the relationship between the notes selected and the underlying chords. It has sent me back to the Scale Patterns course, and over to the Riff Ninja material on soloing. Although you both cover similar ground, I sometimes find that going through the principles through two different teachers helps the message to get through.

While I have picked up elements of the key principles from these courses in the past, it seems to be Blues in A that has brought it all together for me. I'm getting to know how to identify the key of a song, and where on the fretboard I can solo in that key. I know the pentatonic minor scale, and can play along with a jam track using that, and it sounds OK! I'm working on learning the diatonic scale. I still haven't quite got my ahead around using the relative minor, and I currently stick in the same key as the chords.

But after messing around with bits and pieces on the guitar for years, a concerted effort with Blues in A, and following that up with some intensive work on the other things I have mentioned, and I finally feel as though I can play a bit! It feels like the end of the beginning!

Melvin Schofield

United Kingdom

Are You Ready To SOLO?

Slow Blues Solo In "A"  is laser-focused on helping you develop your soloing ability. You'll learn great licks and how to apply them in a fun and practical manner. 

Let's Get Started!

Make your guitar playing more interesting, dynamic, and musical!

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Let’s work together to take your guitar soloing to levels that you never dreamed possible!

To Your Success,

PS. You'll learn a sweet slow blues solo in A, over a standard 12 bar progression. Far better than just learning a single solo, you'll learn how to apply the licks all over the fretboard in different ways. Your soloing just took a big step forward!

PS. After you watch these lessons, you’ll be able to make your solos and fills fit the progression better than ever before.

PS. If for any reason at all you’re not satisfied, you’re protected by my 100% “No Weasel Clauses” 60-Day GUARANTEE