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In this chapter, you’re going to learn about the Cross Key idea. This concept shows up a lot in blues, but you can apply it to almost any style once you understand the simple rule behind it.

I like to take the interval ideas we’ve been working on—the two-note shapes on the B and E strings—and use them to connect different scale positions. Cross Key fits perfectly with this approach, and once you see how it works, you’ll be able to connect scales in new ways that sound great.

We’ve actually touched on this idea already in the Raised 6th chapter, because a Cross Key move automatically creates that raised 6 sound. But let’s go deeper here.

The Rule of Cross Key

Here’s the formula:
• Start in your main key. For us, that’s E minor (we’re still basing things on the “Voodoo Child” riff).
• From your tonic (E), go up a fifth. That gives you B.
• Play a B minor scale over your E minor progression.

When you do that, the scale itself brings in the C♯, which is the raised 6 of E. That’s the magic—it changes the color instantly.

In Diatonic Scales
• E natural minor has a C natural.
• B natural minor has a C♯.
So when you play B minor over E minor, you’ve automatically introduced the raised 6.

In Pentatonic Scales
• The C/C♯ note isn’t part of the pentatonic, so you won’t notice that difference.
• But you do get an F♯ in B minor pentatonic, which is the 2 in E minor.
So when you play B minor pentatonic over E minor, it’s like blending into a hexatonic flavor.

How to Use It

The key thing is this: stay focused on E as your home base.
Even though you’re using B scales, your tonic is still E. That means your phrases should resolve to E notes, not B notes.

Try it both ways:
1. E minor → B minor (Cross Key)
2. E pentatonic → B pentatonic (Cross Key)

Notice how each shift changes the flavor. The diatonic version feels brighter because of the raised 6. The pentatonic version feels like you’ve added new colors without losing that bluesy grit.

Connecting the Scales

Now let’s bring back those B and E string intervals, hammer-ons, and drones. Use them as bridges to slide from E into B positions and back again.

You don’t have to land back on the riff every four bars—players like Hendrix or Stevie Ray Vaughan often stretched phrases across 8, 16, or even 30 minutes. As long as you resolve to E when it matters, the Cross Key approach will keep your solos sounding connected and alive.

Your Turn

1. Play through the E minor scale (diatonic and pentatonic).
2. Shift into the B minor scale (diatonic and pentatonic).
3. Experiment with weaving them together using drones and intervals.
4. Always come back to E as your tonic.

That’s Cross Key in action—a simple move that adds fresh color and opens up new pathways for your riffs and solos

Here’s the jam track used in this chapter – use it to practice with!

Jimi Loop:

In this chapter, you’ll explore how to use the raised 6th to create riffs inspired by Jimi Hendrix’s legendary “Voodoo Child.” You’ll see how that raised 6th interval brings a distinctive color to the drone riff approach, giving your playing a bluesy, slightly exotic feel. I’ll walk you through practical examples so you can hear how it works in context, and then show you how to blend it into your own riffs and improvisations. By the end of this lesson, you’ll be able to take that Hendrix-flavored sound and apply it in a way that fits naturally into your own playing.

Here’s the jam track used in this chapter – use it to practice with!

Jimi Loop:

In this chapter, you’ll explore the raised 6th in the A minor scale and see how it changes the feel of your playing. You’ll learn why a D major chord can appear in an A minor progression and how this simple adjustment creates smoother resolutions and new colors to work with.

We’ll look at the A–G–D–Am loop (inspired by Mary Jane’s Last Dance) and use it to hear the raised 6th in action. You’ll also try out new riffs that highlight this sound, mixing hammer-ons, slides, and harmonics. By the end of the lesson, you’ll see how breaking the “classical rules” opens up fresh soloing ideas and adds depth to your improvising.

Here’s the jam track used in this chapter – use it to practice with!

Tom Petty Loop:

In this chapter, you’ll discover how the harmonic series shapes music at the most fundamental level. The harmonic series is the natural sequence of overtones that ring out whenever you play a note. These overtones aren’t just abstract theory—they’re the reason instruments sound the way they do, and they explain why certain notes blend smoothly while others clash.

You’ll see how the series unfolds step by step, starting with the octave, then the perfect fifth, then the perfect fourth, and on through smaller and more complex intervals. This progression shows you where consonance comes from, why some intervals feel more stable than others, and how all of music’s building blocks are rooted in nature itself.

By working through examples, you’ll connect the dots between physics and sound: how a single vibrating string produces multiple pitches at once, why brass players can “jump” between harmonics, and how singers can actually bring out overtones with their voices. You’ll also learn how the harmonic series ties directly into scales, chords, and tuning systems—giving you a deeper understanding of why Western music is structured the way it is.

By the end of this chapter, you won’t just know about the harmonic series—you’ll hear it, recognize it, and understand how it influences everything you play.

Here’s the jam track used in this chapter – use it to practice with!

Stairway Loop:

In this opening lesson, we set the stage for the entire course by exploring the scales that form the backbone of drone riffs. You’ll see exactly which scales we’ll be working with, why they’re important, and how they connect to the riffs you’ll learn later. Colin also explains how these scales can be applied musically—not just as theory, but as practical tools you’ll use right away.

Make sure to download and print the Course Handbook, as it contains diagrams and reference material that will help you follow along more easily. This is the foundation you’ll keep coming back to as we layer riffs and expand your playing in later chapters.

Once you’re finished with this lesson, don’t forget to click the “Mark Complete” button to unlock the next chapter!