Here’s a solo technique that sounds advanced but is surprisingly approachable once you get the mechanics down. It uses the high E string as a constant drone note while you play melody on the B string. The result is a vertical, one-string solo that has a rich, layered sound — and it’s a great tool to add to your guitar solo lessons toolkit.
The Setup: A 6-5-4 Chord Progression
This trick works over a 6-5-4 progression in the key of C major: Am – G – F. If that sounds familiar, it’s the same movement that shows up at the end of “Stairway to Heaven.” The chord roots (A, G, F) are the 6th, 5th, and 4th notes of the C major scale. Since A minor is the relative minor of C major, you can solo using both the A minor diatonic and A minor pentatonic scales.
Playing a Scale on One String
Instead of playing across multiple strings in a box pattern, you’re going to play the A minor diatonic scale entirely on the B string. The frets are: For a closer look at how this connects to the fretboard, see A minor pentatonic.
- B (open or fret 0)
- C (1st fret)
- D (3rd fret)
- E (5th fret)
- F (6th fret)
- G (8th fret)
- A (10th fret)
- B (12th fret)
For the pentatonic version, drop the 2nd (B) and 6th (F) scale degrees. That leaves you C, D, E, G, A — with bigger jumps between notes, which can sound more dramatic. For a closer look at how this connects to the fretboard, see scale shapes for soloing.
The Hammer-On and Drone Move
The core technique goes like this: pick the B string, hammer on to a note, then pick the open high E string underneath. The picking pattern is down (B string), hammer, up (high E). Both notes ring together, creating a two-note harmony that moves against a constant drone.
The key is keeping your timing steady and even. A lot of players rush the hammer-on at first. Work on getting a clean, even rhythm: pick, hammer, pick. Let both notes sustain.
You also need to be careful with your fretting hand. Whatever finger you hammer with, don’t let the fleshy part of your fingertip mute the high E string. You want that drone note ringing clearly underneath your melody.
Descending the Diatonic Scale with the Drone
Starting at the 12th fret (high B), descend through the diatonic scale while striking the open E drone between each note. It creates a two-bar phrase that sounds like two guitars playing together. The F note at the 6th fret creates a tense moment — a major second against the E drone — but since you’re passing through it, it works. Just don’t park on it.
Why This Works in a Band Setting
Colin points out that this technique works especially well in a band setting because it fills out the sound without needing another guitarist. When you have a bass player and drummer behind you, the drone note creates the illusion of a rhythm guitar still playing underneath your solo. It is one of the reasons Hendrix could play lead and rhythm simultaneously — he understood how open strings and drone notes could sustain a chord feel while his fretting hand played melody. Even at lower volumes, practicing this concept trains your ear to hear harmony in single-note lines.
Blending Pentatonic and Diatonic
The real fun starts when you mix the two scales together. The pentatonic gives you wider intervals for bigger melodic jumps, while the diatonic fills in the gaps for smoother runs.
This drone technique also works as a bridge between scale positions.
Practice it slowly over a backing track in A minor. Once the timing clicks, you’ll find yourself reaching for this trick any time you want to add a different texture to your solos.