How to Embellish Your Chord Progressions

1. Why Add Embellishments?

A standard C – Am – F – G loop is perfectly serviceable—but guys like Hendrix, SRV & Mayer turned progressions like that into mini solos inside the song by:

1. Dropping in surrounding scale notes (mostly major / minor pentatonic) to add melody while the chord is still ringing.

2. Re-voicing chords (inversions) to create more bass-line motion

   
   

If you learn just those two moves, you’ll unlock countless “Hendrix-y” fills without memorising long licks.

2. Grab the Worksheet

Download the PDF you used in the video (link below). Each page pairs a chord shape with its matching pentatonic position so you always know which extra notes are safe.

Download: https://www.joemacedoguitar.com/product-page/how-to-add-melody-inside-your-chords

3. Core Concepts – Quick Recap

Concept	What it means	Where to see it in the PDF
Chord notes	The 3-4 tones that define the harmony.	Red dots on every diagram
Scale notes	“Neighbour” notes you can momentarily land on.	Green dots on every diagram
1st inversion	The 3rd of the chord is in the bass.	Blue dots on every diagram
Horizontal shapes	A scale runs along the neck instead of up & down one position.	Page 3, “Minor on E & A String + Horizontal Pentatonic”

4. Major-Chord (E & A-string root)

Worksheet page 1

1. Start with the E-shaped barre chord (root on the 6th string).

2. Notice how the Position 2 major-pentatonic boxes in the same fret area.

3. Next, play the A-shaped barre chord (root on the 5th string)

4. Position 5 pentatonic scale notes are in the same area

5. Practise playing the chord and then improvise using scale tones

Tip: Try playing 2 notes together on string next to each other and add hammer ons/pull offs (classic Hendrix “double-stop” sound).

5. Minor-Chord (E & A-string root)

Worksheet page 1 & 2

• Use the Em-shaped barre for any minor chord rooted on the 6th string.

• Notice that Position 1 minor pentatonic surrounds the chord

• Next, play the Am-shaped barre chord (root on the 5th string)

• Position 4 pentatonic scale notes are in the same area

  
  

6. Magic of 1st Inversions (A & E-string root)

Worksheet page 2

1. Barre the A,D,G & optionally B strings only and put your 3rd finger 2 frets across on the A string – that’s your 1st-inversion major triad.

2. Pentatonic Position 1 sits around it (green dots).

3. Next, play your normal E barre chord shape.

4. Put your 1st finger where your 2nd + 3rd were covering both string and use 3rd finger now to play E string 2 frets across from where your 1st finger is. This is your 1st inversion shape (same shape as A string)

5. Notes from Position 3 sit around this chord

   
   

7. Flow With Horizontal Pentatonics For Minor Chords

Worksheet page 3

I find the sound of a minor chord in 1st inversion isn't as cool, so instead you can

build the horizontal pentatonics around it to get lots of range & movement:

1. Play root minor chord ( E or A string )

2. Do try play entire range of horizontal shape and return back to root chord

   
   

8. Putting It All Together

1. Choose a four-chord loop (e.g., C – G – Am – F).

2. For each chord, locate its matching diagram in the worksheet.

3. Pick one tiny embellishment (a scale shape or inversion).

4. Cycle the progression and add just one fill per bar.

5. Gradually layer more ideas as your timing feels comfortable.

Record yourself—then compare: does the embellished version sing more than the stock chords? If so, you’re on the Hendrix path!

Happy jamming—keep those chords singing!