The first alternative to resolving to the tonic, is to target the 5th.
Like the tonic, the 5th creates a sense of resolution, but it is not as strong as the tonic.
In this way, it acts like a musical comma. You can pause on the 5th before moving off the note to continue your phrase (and potentially resolving to the tonic).
For this reason, I think it’s one of the best places to start if you’re struggling to create solos that have a sense of flow and connection.
Targeting the 5th allows you to connect shorter phrases together, which in turn alters the momentum and overall feel of your solos.
It will also help you to add a bit of that Albert King magic to your solos.
The famous Albert King Box – which I cover in more detail in this course here – starts on the 5th, and King often started and finished his phrases on this note.
Targeting the 5th
You can find the 5th on the same fret as the tonic, but one string lower (in terms of pitch).
So in the first and second shapes of the A minor pentatonic scale, you’ll find the 5th in the following positions:
The one exception to the “one string lower” rule (which you might have spotted on the diagram), is between the B and G strings. Here you’ll find the 5th one fret lower than the tonic note, as shown above.
Once you have built some confidence targeting the 5th and identifying where it appears on the fretboard, think about using it in your solos in the following two ways:
Firstly, target it as an alternative point of resolution. Finish your phrases here and listen out for the different sound and impact created by resolving here.
Secondly, use it as a bridging note to connect two shorter phrases. This will bring a greater sense of flow and connection to your solos and give you many more options when improvising.
Good luck!
And when you’re ready, head over to the next lesson, where we’ll look at the b3, and how you can use it to add a burst of spice to your licks.
