Bearing in mind that there is only one note difference between
the blues scale and the minor pentatonic scale it’s no wonder
guitar players struggle to find fresh new sounds; but what if
there was an easy way to play really interesting and original
blues solos on the guitar?

The good news is there are many ways to approach soloing here are
just a few ways to kick start your creative juices.

Since the key of ‘G’ is a popular blues key, I’ll present all my
examples in this article in the key of ‘G’.

Here is a typical 12 bar blues progression in the key of G.

Progression #1

G /// | G /// | G /// | G /// |

C /// | C /// | G /// | G /// |

D /// | D /// | G /// | D /// || G (last time)

Over these chords the soloist would most likely play either the
‘G’ blues scale or the ‘G’ minor pentatonic scale; let’s take a
look at the notes in both of these scales.

G minor pentatonic scale: G – Bb – C – D – F

G blues scale: G – Bb – C – Db – D – F

Notice how the only difference between these two scales is the
addition of the Db (the flattened fifth) in the blues scale.

Blues solo tip #1: modify the basic harmony

Simply changing the chord texture will evoke a different
emotional response from the soloist and a really simple chord
substitution for a 12 bar blues progression is to change the
basic major triads into dominant seventh chords; here is the same
progression modified as dominant seventh chords.

Progression #2

G7 /// | G7 /// | G7 /// | G7 /// |

C7 /// | C7 /// | G7 /// | G7 /// |

D7 /// | D7 /// | G7 /// | D7 /// || G7 (last time)

Blues solo tip #2: the many moods of the modes

Now that we have a different chord texture as a background we can
explore new scale resources. The Mixo-Lydian mode is the ideal
scale to play over dominant seventh chords.

* the dominant seventh chord is a four note chord created from
the four note layering of the major scale.

* dominant seventh chords are fifth chord of a major scale
(scaletone seventh harmonization of a major scale).

* the Mixo-Lydian mode is the fifth mode of the major scale.

Since each dominant seventh chord could be considered as the
fifth chord of a major scale it could be said that in a standard
12 bar blues progression that there are three ‘keys of the
moment’.

G7 = G Mixo-lydian mode: G – A – B – C – D – E – F – G (derived
from the C major scale); G7 being the fifth chord in the key of
C.

C7 = C Mixo – Lydian mode: C – D – E – F – G – A – Bb – C
(derived from the F major scale); C7 being the fifth chord in the
key of F.

D7 – D Mixo-Lydian mode: D – E – F# – G – A – B – C – D (derived
from the G major scale); D7 being the fifth chord in the key of
G.

If you combine these Mixo-Lydian modes with your blues and minor
pentatonic scale you will have many new and exciting sounds to
play over the blues chord progressions.

The first year of my guitar playing adventures consisted of
learning to play melodies (tunes) on the guitar, I’m very
thankful for this type of introduction to music as I have never
been asked to play a scale at any gig over the past thirty five
years of professional playing but I have played many requests for
tunes!

I’m mentioning this because there’s an over emphasis of the
importance of scales in guitar instruction; the type of thinking
that’s widely presented is that if you lock yourself in a room
practicing scales 24/7/365 for ten years you will be a ‘guitar-
god’.

Reality check: If you locked yourself in a room for ten years
playing guitar you would:

(a) be very hungry (and tired)

(b) quite crazy

(c) and still not be able to play any songs …

On the positive side you would be able to play lots of scales
(really fast).

A good working knowledge of scales and their musical application
is an important part of a well balanced musician’s education the
trick is not to become totally obsessed with them, scales are
merely your musical alphabet, nothing more, nothing less!

The purpose of this article is to drastically reduce the amount
of time you spend learning scales on the guitar.

Here’s the fastest way to learn scales on the guitar:

Tip 1: Decide which scale you need to learn, this will be
determined by the music YOU want to play; it’s pointless learning
some rare Egyptian scale if you only want to play the blues.
Don’t learn a scale just because it’s in a book or your
teacher/friend suggested it would be good for you to learn.

Remember: Five minutes though is better than five hours of
haphazard practice on guitar.

Tip 2: Learn the key signatures, know how many sharps or flats
are in each key e.g., key of G = 1 sharp (F sharp); key of F = 1
flat (B flat); key of D = 2 sharps (F sharp and C sharp) etc

Tip 3: Learn the name of the notes on the guitar fretboard; this
is the most important thing to do if you want to learn your
scales quickly; initially it will seems like it’s the slowest way
but believe me learning scale patterns and not having a single
clue what you are doing is a one way ticket to nowhere!

I know it’s common for guitar players to learn a pentatonic scale
pattern without:

(a) knowing the names of any of the notes they are playing in the
scale pattern under their fingers

(b) or without even knowing which type of pentatonic scale (major
or minor) they are playing.

Can you see how hopeless this scale pattern learning really is ?

Take your time learn the notes on your guitar, know the key
signatures and decide which scale(s) are relevant to your music
and you will literally save years of wasted practice and musical
frustration.

Most guitarists study for long hours and practice hard but never
really achieve that elusive country guitar sound, there is much
more to that country guitar twang than Fender Telecasters and
Twin Reverb amps.

Instead of just sticking with the usual major and minor
pentatonic scales another really cool idea is to mix other scales
into your playing such as the blues scale and the chromatic scale
let’s take a look at how all this comes together to create mind
blowin’ country guitar solos.

I’m going to create an interesting country guitar twist to a
standard scale by:

(a) Playing the scale descending instead of ascending

(b) Using some blues notes

(c) Adding a note or two from the chromatic scale

(d) Sprinkling the run with some open strings

(e) Playing some of the notes as pull- off’s

My basic scale will be the G Mixo-Lydian Mode.

Musical resources:

G Mixo-Lydian mode = G – A – B – C – D – E – F – G

G Blues scale : G – Bb – C – Db – D – F – G

G Chromatic scale: G – G# – A – A# – B – C – C# – D – D# – E – F
- F# – G

Applying this information to the guitar and remembering to learn
the run in small sections, playing everything slowly and
accurately then gradually linking the sections together until all
the sections flow; then and only then do we begin to crank up the
tempo.

Section 1: G – Gb (F#) – F – E

———————0–
–8-p-7-p-6———
————————–
————————–
————————–
————————–

Section 2: D – C – B

——————-
—————0—
–7-p-5———
——————-
——————-
——————-

Practice these two sections carefully aiming for perfect
synchronization of both hands before moving on to the third
section.

Section 3: Bb – A – G

——————-
——————-
————–0—
–8-p-7———
——————-
——————-

By the time you add this section to the other two sections your
run will sound complete; you could finish on the note ‘G’ however
I’m going to keep going to give you an idea how you might develop
this basic scale into a very impressive run.

Section 4: Gb (F#) – F – E – D

————————-
————————-
————————-
——————-0—
–9-p-8-p-7———
————————-

Section 5: C – B – Bb – A

————————-
————————-
————————-
————————-
———————0–
–8-p-7-p-6——–

Section 6: G

———
———
———
———
———
–3—–

The next project is to try and incorporate this run into your
solos, here are a couple of ideas for you to try:

Play this run over a pre-recorded chord progression something
like this will sound great.

| G /// | G /// | F2 /// | F ///  |

suggested chord voicings

G
–x——
–3——
–0——
–5——
–5——
–x——

F2
–x——-
–1——-
–0——-
–3——-
–3——-
–x——-

Another idea is to play the entire run as presented above only
instead of finishing on the ‘G’ note in section six play the ‘G’
on the third fret; sixth string then slowly slide up the sixth
string to finish on the octave ‘G’ note on the sixth string;
fifteenth fret.

optional ending for Section 6:

—————-
—————-
—————-
—————-
—————-
–3–s–15—

This idea is great for an ending; by sliding from the third fret
‘G’ to the fifteenth fret ‘G’ you will actually be playing a ‘G’
chromatic scale! What a neat way to finish a song; as you can
see there are many ways to use these cool country sounds on
guitar.

I know it’s happened to me, and when it did I came up with all
sorts of reasons why they could do that and I couldn’t! They must
(a) have a different tuning, (b) have more strings on they
guitar; (c) must be using some type of effect pedal etc., and so
the list went on and on; of course the truth was I didn’t have
the faintest idea how they were doing it!

The good news is … I’ve now worked how it’s done and I’m going
to share it with you.

The trick with country guitar playing is to incorporate lots of
open strings, hammer-on’s and pull-off’s which create the
illusion on extra notes being played; another thing that helps
create interest and excitement in country guitar solos is the use
of the blues scale and the chromatic scale.

By playing solos with heaps of open strings you create the effect
of musical ’space’ between the notes which has the effect on the
listener as if you are actually playing more notes than you
really are playing.

Here’s is a sample of the type of long ascending country run I’ve
been talking about using open strings, hammer-on’s and  pull-
off’s plus some notes from the blues scale and chromatic scale
laced into the run for good measure.

I’ve presented the run in sections containing three to four notes
since that’s the way the best guitarists learn all their music;
learn each section by playing slowly and carefully making certain
you are playing each notes cleanly and accurately.

Remember: speed comes as a by-product of accuracy.

Section 1: Notes = G – A – Bb – B

———————-
———————-
———————-
———————-
—–0-h-1-h-2—
–3—————–

Section 2: Notes = D – E – F

———————-
———————-
———————-
–0-h-2-h-3——
———————-
———————-

Section 3: Notes = G – A – Bb – B

————————
—————–0—–
–0-h-2-h3———
————————
———————–
———————–

Section 4: Notes = C – D – E

————-0—-
——————
–5-h-7——-
——————
——————
——————

Section 5: Notes = F – F# – G

——————-
–6-h-7-h-8—
——————-
——————-
——————-
——————-

The musical resources for this run are:

G Mixo-Lydian: G – A – B – C – D – E – F – G

G Blues: G – Bb – C – Db – D – F – G

G Chromatic scale: G – G# – A – A# – B – C – C# – D – D# – E – F
- F# – G

This country run was based on the G Mixo-Lydian mode, see if you
can find were I added the other scales.

There you have it, of course you can add echo, chorus and reverb
to enhance and color your solos but these electronic effects can
only enhance your musical content they can never replace your own
individual creativity on guitar.

Classical composers have often written melodies derived for one
scale with an accompaniment derived from another type of scale.

For example:

(a) The melody may be composed from notes of the “A” natural
minor scale: A – B – C – D – E – F – G – A

(b) The accompaniment or counter melody may be derived from the
“A” Harmonic minor scale A – B – C – D – E – F – G# – A

Notice how there is only one note difference between the two
scales; however that one note gives the composer several new
harmonies to work with; the result being lots of musical
surprises and interesting textures for the listener.

Now over to country guitar and hybrid scales: two scales that are
always good to use are the blues scale and the chromatic scale,
you can mix these two into almost any musical setting and today
I’m going to blend the blues scale with the Mixo-Lydian Mode for
a great country blues feel.

Step one – the thinking behind my scale choices

(a) I’m after a blues feel so I’m going to go with the mode that
produces the best blues flavor, the Mixo-Lydian mode, this mode
produces a ‘pure’ sound that works well with dominant seventh
type chords, the type of chords typically found in blues chord
progressions.

You might be surprised to find that I did not go with the obvious
choice the blues scale, the reason is I want to blend the blues
scale with the Mixo-Lydian mode to create a musical contrast
between the two scales.

Important: Too much of anything will spoil the effect; in this
instance if I began with the blues scale I won’t have nowhere to
go and the solo will soon become boring, however if I go with the
Mixo-Lydian mode I can I introduce the blues scale and when I do
it will sound even more ‘bluesy’!

My example will use the G Mixo-Lydian mode.

G Mixo-Lydian : G – A – B – C – D – E – F – G

And the G Blues scale …

By contrast the G blues scale contains the following notes:

G Blues scale: G – Bb – C – Db – D – F – G

Step two: applying to the guitar fretboard

The guitar is such a versatile instrument with multiple choices
of fingering and string combination’s there are many ways we could
play these scales but since I’m after a country guitar sound I’ll
be looking for three things: open strings where possible and
hammer-on’s and pull-off’s.

I’m going to break up this hybrid scale into small bite size
pieces that will give us a chance to perfect each section before
moving on to the next.

Part 1: The notes are – G – A – Bb – B

————————
————————
————————
————————
——-0-h-1-h-2—
–3——————–

Part 2: The notes are – D – E – F – G

———————-
———————-
——————-0—
–0-h-2-h-3——–
———————-
———————-

After you can play each part smoothly try joining both parts
together and instantly you will have a great country sounding
run. Keep playing the entire run over and over very s-l-o-w-l-y
until you can play seamlessly without thinking about. Now, it’s
back to slaving over that hot country guitar!

Modes … it’s all Greek to me (pun intended), actually if you
take your time and let yourself get your head (as well as your
fingers) around the basic concepts of modes and their application
they are quite guitar friendly and certainly lots of fun.

Modes – a quick overview (for those who already know this stuff
please talk amongst yourselves.)

The ancient Greeks had this neat idea that a scale could be
subdivided (played) from any point within that scale to create a
number of sub-scales all related to the original scale but each
having it’s own unique underlying structure of tones and
semitones thereby giving each sub-scale (mode) a unique sound,
flavor and mood.

Here’s what I mean …

C major scale (parent scale)

C – D – E – F – G – A – B – C

Playing this scale from the first degree of the parent scale is
called the Ionian mode; in this instance the ‘C’ Ionian mode.

‘C’ Ionian mode = C – D – E – F – G – A – B – C

If I began on the second note of our parent scale (the note ‘D’)
and continued alphabetically until I reached the letter ‘D’ again
I would be playing the ‘D’ Dorian mode.

The Greeks called this scale beginning on the second degree the
Dorian mode.

Parent scale beginning on the second note ‘D’ indicated as []

C – [D] – [E] – [F] – [G] – [A] – [B] – [C] – [D]

Creates the D” Dorian mode

‘D’ Dorian mode = D – E – F – G – A – B – C – D

Basically the idea is that each sub-scale (mode) has it’s own
name, like this:

Scale from 1 – 1 is the Ionian mode;

2 – 2 = Dorian

3 – 3 = Phrygian

4 – 4 = Lydian

5 – 5 = Mixo-Lydian

6 – 6 = Aeolian

7 – 7 = Locrian

In each of these examples 2 – 2 refers to playing the original
parent scale from the second note and continuing alphabetically
until we arrive at a note of the scale name.

3 – 3 would refer to playing

E – F – G – A – B – C – D – E (‘E’ Phrygian)

4 – 4 would refer to playing

F – G – A – B – C – D – E – F (‘F’ Lydian)

Now let’s transfer our modes to the guitar fretboard for some
interesting country pickin’.

I’m going to use the ‘A’ Aeolian mode to create a cool run that
I’ll use in a country chord progression (see below).

Aeolian mode means start on the sixth note of the original parent
scale.

‘A’ Aeolian mode = A – B – C – D – E – F – G – A

I’m going to play the notes of the mode in this order to create a
melody:

A – B – C – B – A – G – F – E – D – C – B – G (Am chord)

Here’s one way you could play this melody on your guitar using
hammer-on’s; pull-off’s and open strings to give it a country
guitar ‘feel’.

step 1:

–5-h-7-h-8-p-7-p5——-
——————————-
——————————-
——————————-
——————————-
——————————-

A – B – C – B – A

step 2:
————0————
–8-p-6—————–
————————-
————————-
————————-
————————-

G – F – E

step 3:
————————–
———-  -0————-
–7-p-5——  -0——–
—————————
—————————
—————————

D – C – B – G

Notice how I broke this long run into tiny sections, the idea is
to learn in groups of four to six notes sections. (six note
maximum).

After you have practiced your run try this chord progression
derived from the Aeolian mode, I think you will like it!

Am /// | G /// | Am /// | G /// |

I played some of the notes ascending then played the scale
descending to create a simple (Aeolian) melody; try making your
own melodies using this scale on your guitar.

Obviously the application of the Mixo-Lydian mode is different
in country guitar playing than the blues guitarist’s approach
however the notes in the scale are still the same so that’s
exactly where we will start.

The Mixo-Lydian mode is a scale created by beginning on the fifth
note of a major diatonic scale, here is how that works.

C major scale:

C – D – E – F – G – A – B – C

If I began on the fifth note “G” and continued to play
alphabetically until I reached the letter “G” again I will have
played the “G” Mixo-Lydian mode.

To demonstrate I’ll use a two octave C major scale

C – D – E – F – G – A – B – C – D – E – F – G – A – B – C

Begin on the note “G” to create the “G” Mixo-Lydian mode
indicated by []

C – D – E – F – [G] – [A] – [B] – [C] – [D] – [E] – [F] – [G] – A

When you play these notes the scale will neither sound country or
bluesy it will just sound like a scale; it’s a combination of the
type of chord progression that is being played in the background
and the unique stylistic moves the individual country or blues
guitarist employs i.e., hammer-on’s; pull off; bends and slides
etc., that gives the mode a ‘country’ or ‘blues’ flavor.

Moving the Mixo-Lydian mode over to the guitar fretboard.

Here’s one way you could play the mode.

standard version
——————————–
——————————–
——————————–
———————-2–3–5–
———-2–3–5————–
–3–5————————-

Next we’ll add some hammer-on’s and open strings for our country
guitar version of the same Mixo-Lydian mode.

country version
——————————————–
——————————————–
————————————–0—-
———————–0-h-2-h3———-
——-0-h-2-h-3————————-
–3—————————————–

This country version of the Mixo-Lydian will sound great with a
country chord progression like this:

G /// | G /// | F2 /// | F2 /// |

G
–x—
–3—
–0—
–5—
–5—
–x—

F2
–x—
–1—
–0—
–3—
–3—
–x—

I’m going to extend the range of our mode another octave.

standard version
—————————–
———————-5–6–
———-4–5–7———-
–5—7——————–
—————————-
—————————-

country version
—————————0————-
————0——————-6-h-8–
–0-h-2——–5-h-7——————
——————————————
——————————————
——————————————

Try playing both country versions of the mode as one long run;
notice how the last note in the first scale is exactly the same
as the first note in the second octave, that’s fine you can play
the same note twice and it will sound great.

country version (first octave)
——————————————–
——————————————–
—————————————0—-
————————0-h-2-h3———-
——-0-h-2-h-3————————–
–3—————————————–

country version (second octave)
——————————0————-
————-0———————6-h-8–
–0-h-2———-5-h-7——————-
———————————————
———————————————
———————————————

Don’t forget to pre-record some chords to have playing in the
background as you experiment with this cool country scale on your
guitar.

Good question, as a matter of fact you have probably played these
scales or sounds in songs you already know, you will certainly
recognize them when you hear them!

Like everything we learn in music we will want to apply these
scales to our songs as soon as possible so let’s get started.

Modes are really a way of describing or identifying sounds or
moods created by starting traditional scales from different
points (notes) within the traditional scale.

By beginning a scale from a different starting note we alter the
underlying tone/semitone structure of the original scale thereby
creating different types of musical tension.

Country Guitar Scales – the Phrygian Mode

Step 1: Learn the notes in the standard G major scale

G – A – B – C – D – E – F# – G

Using the modal system of identifying sounds it is possible to
create seven different scales (or modes) from this G scale with
each sub-scale having it’s own unique modal name.

Step 2: Learn the names of the modes in C major

G Ionian: G – A – B – C – D – E – F# – G

A Dorian: A – B – C – D – E – F# – G – A

B Phrygian: B – C – D – E – F# – G – A – B

C Lydian: C – D – E – F# – G – A – B – C

D Mixo – Lydian: D – E – F# – G – A – B – C – D

E Aeolian: E – F# – G – A – B – C – D – E

F# Locrian: F# – G – A – B – C – D – E – F#

Points of interest:

(a) All the modes contain the same seven different notes of the
original G major scale.

(b) the G major scale can also be called the G Ionian mode.

(c) each modal name is used to identify a specific point in the
scale e.g., Ionian means begin on note one of the scale; Dorian
begins on note two; Phrygian starts on note three; Lydian begins
on note four of the scale and so on.

Step 3: Select the B Phrygian mode

B Phrygian: B – C – D – E – F# – G – A – B

Here is one way the B Phrygian mode could be played on guitar.

B Phrygian mode
————————
————————
————————
————2–4–5—
-2–3–5————–
————————

That’s the correct notes but it sure doesn’t sound country so we
will have to take it a step further and include some open strings
and hammer-on’s to really get the guitar to come alive.

Step 4: modify scale to get that country guitar sound

B Phrygian: B – C – D – E – F# – G – A – B

——————————————–
—————————————–0–
—————————-0—————
————0———————7——–
—————-7-h-9———————-
–7-h-8————————————

Compare the country version of this scale with the standard way
of playing the mode on the guitar, notice how the country version
has a great ringing quality created by the use of hammer-on’s and
opens strings.

Step 5: Apply this mode to a chord or chord progression

You could use this mode as a cool run to introduce or connect any
chord(s) in the key of G.

Here’s is some ideas to get you started:

B Phrygian mode => Em /// |

or

B Phrygian mode => G /// |

one more example …

B Phrygian mode => C /// |

These are just a few of the many possibilities that begin to come
to mind when you start thinking and playing your scales
creatively on the guitar.

I can’t fault your choice of guitar and amp and the idea of some
chicken pickin’ sounds fine to me, I’d say the problem started
with that country guitar book!

To be honest it doesn’t seem to matter whether it’s a country
guitar book or a rock guitar book most of the information in
either book is pretty much the same but as you know there’s a
whole world of difference in the music.

O.K. it’s time to roll up your selves and sharpen your picks …
let’s get to work on the ‘REAL’ country guitar playing.

Basically most of the information or thinking behind the stock
standard published guitar books available at most music stores
are drawn for the classical guitar text; which means no matter
how much you practice this stuff you ain’t going to sound
country; why? because fundamentally most of the scales in these
books use closed strings, certainly most rock guitar playing
involves playing scales where the notes are closed but for
country guitar you need plenty of open strings.

Country Guitar scales with open strings.

Let’s do a comparison between traditional scale thinking and the
country guitar players’ approach to the exact same material.

Here’s a descending G Mixo-lydian mode the way it might be
presented in your “How To Play Guitar” book.

G Mixo -Lydian mode (descending)

G – F – E – D – C – B – A – G

—————————
-8–6–5——————-
———-7–5–3———-
——————-7–5—-
—————————
—————————

There you have it ‘dull as dishwater’ and it certainly ain’t
country!

Here’s one way a country guitarist might play the exact same
scale.

———-0———————–
-8-p-6————-0————-
————7-p-5———–0—-
————————–7——–
———————————–
———————————–

What do you think? I sure you’ll agree it’s more colorful and
interesting with the inclusion of some pull-off’s and open
strings it certainly has more of a country flavor.

Oh, by the way this descending G Mixo-Lydian mode makes a great
introduction for the key of C; simply strum a G7 chord, play the
descending G Mixo-Lydian mode and into your song in the key of C.

How about another comparison, this time a G major scale

G major scale (descending)

G – F# – E – D – C – B – A – G

—————————
-8–7–5——————-
———-7–5–3———-
——————-7–5—-
—————————
—————————

Notice how we only had to change one note to convert the G Mixo-
Lydian mode over to a G major scale.

Now for a typical country guitar approach.

———–0———————-
-8-p-7—————0———-
————–7-p-5———0—-
————————–7——-
———————————–
———————————-

This descending G major scale will sound great as a lead in to an
Em or G chord, try them out next time you are practicing your
guitar.

It’s possible to get so tangled up that your guitar playing
actually grinds to a halt, you’ll often find yourself shaking
your head saying “this is impossible”; sure enough your brain
will agree that people just don’t do the ‘impossible’ and very
soon you could find yourself selling that guitar and settling
down to something much easier like brain surgery!

Here’s my tips for overcoming the guitar information maze.

Step 1. Select the style of guitar playing that interests you -
today our focus is on country guitar.

Step 2. Identify what aspect of country guitar playing you want
to work on – I’m going to work on country guitar scales (the easy
ones that sound great!)

Step 3. Use this stuff – pick some songs you want to play and use
these scales in your solo and back up guitar playing.

Now we are getting somewhere; right away you have just lifted a
huge load of unnecessary stuff off your guitar playing shoulders;
you don’t have to worry about heavy metal scales, jazz scales and
oriental scales and tons of other stuff so already we are on our
way!

What scales should we learn?

The best country guitar scales to learn are: major scale; major
pentatonic; minor pentatonic and the blues scale.

The trick is not so much in the scale itself but rather how you
play these scales on the guitar, you see a major scale can be
down right boring if you just play it ascending and descending in
fact it will probably sound more like a classical exercise rather
than a smoking country guitar solo.

Good country guitar playing should always include open strings
wherever possible so I’m going to present a one of the many ways
you can adapt standard musical scales to your country guitar
repertoire of lick and tricks.

Standard C major scale:

C – D – E – F – G – A – B – C

Typical scale pattern:

————————
————————
—————-2–4–5-
——-2–3–5———-
-3–5——————-
————————

Important: notice how all the notes in this scale pattern are
played on closed strings.

Here’s one neat option for country guitar players

———————————
————————–0—–
——————0———-5–
—–0—————-7———
——–7-h-8——————
–8—————————–

Do you notice anything different? Yes, I’ve played the notes in a
different position on the guitar and most importantly I’ve
included a few open strings, this will really let your guitar
playing breathe and give you that great country sound on the
guitar.