1.

The first section of the backing is based on a classic chord idea that can be
heard in blues, jazz, R&B and pop. It's basically a repeating I-IV in the key of
E (so E-A) but the IV then moves to its parallel minor (Am) creating a lovely d
escending sound as we move back to the tonic (E). This is created by the interna
l line C#-C-B within the chords. Anyway, that gives us some interesting scale op
tions, especially as James is using E7 and A7 chords here, so there's an overall
Mixolydian vibe.
James uses mostly E Mixolydian (E F# G# A B C# D) for the
E7 chords, A Mixolydian (A B C# D E F# G) for the A7 chords, and A Dorian (A B C
D E F# G) for the Am6 chords. As you can see, you just have to flatten one note
each time you change scale... G# to G, then C# to C.
2.James uses a different approach for the first cycle here... E minor pentatonic
(E G A B D) throughout. For the second cycle, he returns to the method used in
Lick 1... E Mixolydian, A Mixolydian, A Dorian.
3.Although you can see traces of the three scales (see Lick 1) here, this lick d
emonstrates a more chordal approach. This shows the benefit of knowing chord the
ory (how chords are constructed) AND fretboard layout... you can easily find par
tial chord shapes anywhere on the neck!
4.James starts with a descending series of 6th intervals, mostly built around E
Mixolydian, but also using some chromatic passing notes. He then switches to E m
inor pentatonic (E G A B D) for the second cycle of the progression, also adding
the bluesy flat 5th (Bb).
5.Like Lick 3, this one uses a chordal approach, but this time the chord shapes
are broken, or arpeggiated. Position your fretboard fingers carefully, allowing
the notes to ring wherever possible.
6.For both of the Am6 chords here, James returns to E Mixolydian notes a little
early. Those F# and G# notes, combined with the C notes, give the effect of A me
lodic minor (A B C D E F# G#).
7.Again, James uses E minor pentatonic (E G A B D) and blues scale (E G A Bb B D
) for the first cycle of the progression, but there's also a C# note at the star
t, so this could be interpreted as E Dorian (E F# G A B C# D). You could easily
play E Dorian through both the E7 and A7 chords.
8.This lick starts with a good octave workout... you start by playing the notes
simultaneously, but then they're staggered over the A chords. The second pass st
arts with some blues scale pull-offs and ends with sliding 6ths.
9.We now move to the second chord progression, where the Am7-Bm7-D7 framework su
ggests an A Dorian (A B C D E F# G) tonality. James also adds some chromatic not
es here... the G# in the first measure is very effective.
10.Still working within the A Dorian tonality (see Lick9) but the Em7 arpeggio o
ver the first Am7 chord is a great melodic trick. The notes E-G-B-D, played over
the Am7 backing, give an Am11 sound.
11.Here we start with a simple A minor pentatonic (A C D E G) line which expands
into the full Dorian scale. The descending double-stops at the end give a class
ic soul/Motown sound over the D13.
12.When you learn a scale, it's important to study all the diatonic chords that
it contains. This teaches you not only about the chords you can use with the sca
le, but also how you can isolate these chords as melodic tools. Over the first A
m7 here, James runs through Am, G, E and D triads... all contained within the A
Dorian scale.

13.And of course, you should learn scales all over the fretboard. Even if you wo
rk within just one position, you always have more melodic possibilities by being
able to use more than just the root position. James gets a great range of melod
ic sounds here by playing A Dorian around the 7th-10th frets.
14.Another new chord progression. The combination of C and D major chords takes
us into Lydian territory (C D E F# G A B). This lick also returns to the ringing
arpeggio approach, previously used in Lick 5.
15.Although James uses C Lydian (see Lick14) as the main scale, he adds some chr
omatic neighbour notes in measure 1.
16.For the first half of the progression, James is playing a series of quick des
cending arpeggio shapes... Cmaj7 and D major. To get the phrasing right, play th
e first note staccato (clipped short) and then pull off into the final flurry.
17.The final chord progression takes us back to the same idea as Licks 1-8 (I-IV
-IVm) but now transposed to the key of G. Therefore, we can use the same basic s
cale theory... G Mixolydian (G A B C D E F) for the G7, C Mixolydian (C D E F G
A Bb) for the C, and C Dorian (C D Eb F G A Bb) for the Cm6.
However, note that all three chords are played over a static G bass note. It's u
p to you, but you might decide that we're now dealing with three varieties of G
tonality, not a G tonality and two C tonalities. In that case, maybe we're actua
lly using the scales G Mixolydian (G A B C D E F), G Dorian (G A Bb C D E F), G
Aeolian (G A Bb C D Eb F)... the same notes but a different way of thinking!
18.And as with the first progression, we also have the option of using G minor p
entatonic (G Bb C D F) or blues scale (G Bb C Db D F) for the whole progression.
This is what James does here, using a series of parallel 4th intervals at the s
tart. With some distortion, it would sound like Ritchie Blackmore!
19.There's a very tiny, cool trick on the first Cm6 chord. James plays a partial
Cm/maj7 chord... this is basically a C minor chord but with a major 7th (B) add
ed, suggesting the melodic minor (C D Eb F G A B).
20.As we found in Lick 7, you could use G Dorian for a bluesy sound over the fir
st chord, meaning that you're using G Dorian right up to the Cm6 chord. Again, J
ames briefly switches to C melodic minor (C D Eb F G A B) over the second Cm6 ch
ord, with a cool jazzy lick.