Last but not least, we have the b7.
This interval always sits two frets lower on the fretboard than the tonic. So in the scale positions that we’ve been focusing on throughout these lessons you’ll find it as follows:
This relationship really dictates the way I like to target the note.
As discussed in the video above, I think it sounds amazing if you hit the tonic note and create that strong sense of resolution, before moving to the b7.
This adds a little tension into the mix and keeps your solo moving. Instead of coming to a more definite pause, you move onto a note that pulls you through into the next phrase.
This is the way that I typically target this note in my solos. However, as always – experiment with different ideas and find what works for you.
Get comfortable in these positions on the fretboard and then begin to shift it out so you can target the b7 in all pentatonic shapes and in different keys.
