Inside 5 solos, what makes this style sound like Marc Diglio and how to learn it
4
Go-To Tones
11-15
Home Zone
5
Core Licks
15m
Daily Plan
The Bottom Line
Marc Diglio's sound is built on the minor pentatonic with Dorian extensions (the 2nd and 6th). Jazzier and more open than straight minor. Home base: frets 12–15. A mix of smooth runs and interval leaps. Melodic but with surprises. Start with your minor pentatonic and add the 2, 3, 6. That gets you most of the way to this sound.
Technique Focus In This Pack
You will train tapping, bends, slides, legato inside real licks. Follow the tab articulation marks exactly (h, p, /, \, ^, ~, T) before chasing speed.
How to Use This Report
Quick Start (10 min) Begin at Section 04, then jump to Section 07. That gets your hands moving fastest.
Deep Dive (35 min) Read Sections 01–06 in order if you want the full why behind the note choices.
Practice Path (15 min) Go straight to Section 08 for the routine, then keep Section 09 open on your stand.
01 The Personal Scale
Which notes does Marc Diglio actually reach for? This is the melodic fingerprint. Use it to choose safe landing tones first, then color tones.
Lesson Setup
Estimated Time5 min
You NeedGuitar helpful | One quiet minute to hear the note colors
OutcomeYou know the notes that feel like home in Marc Diglio's sound.
What You Will Learn
Which notes Marc Diglio lands on when a phrase needs to feel finished
Which notes are color, not resting points
How to hear the difference before you read the chart
Skip IfYou want to jump straight to Section 07 and learn a lick first.
Start Here: The Notes That Sound Like Home
Marc Diglio builds phrases around R, 5, b7, 4. If you play nothing else today, land there first. Use 2, 6 after the landing tones feel automatic.
Pentatonic base with additions (2, 3, 6). A personal flavor shape. The charts below are the proof, not the starting point.
Try This Now
1) On the A string play frets 12 then 14. On the D string play frets 12 then 14.
2) Hear the sound: 4 -> 5 -> b7 -> Root. That is a safe Marc-style landing pocket in E minor.
3) Loop those four notes before you read the chart below.
Use the E Minor backing track so the note colors make musical sense right away.
Keep the line simple. Hear the landing tone before you move on.
Quick Vocabulary
Root (R)The home note. It sounds finished.
b3 / b5 / b7Flat 3rd = minor color. Flat 5th = blue note tension. Flat 7th = bluesy pull.
PentatonicThe 5-note scale most rock and blues players already know by feel.
Dorian / MixolydianDorian = minor with a brighter 6th. Mixolydian = major with a bluesy b7.
Play first: R, b3, 4, 5, b7, 6, b5. Park for later: b2, 2, 3, b6, 7. Core reminder: Land on R, 5, b7, 4. Add 6, 2, b3 once the core feels solid. Keep b5, b6, b2 and the other rare tones as passing color.
Start by landing on R, 5, b7, 4. Save 2, 6 for passing color once the phrase already feels stable. Next: Section 02 shows where those landing tones live on the neck.
Now that you know what Marc Diglio plays, let's see where on the neck.
02 Fretboard Heat Map
Where Marc Diglio lives on the neck. Brighter spots = higher priority practice zones.
Lesson Setup
Estimated Time3 min
You NeedGuitar in hand | Fretboard heat map on screen
OutcomeYou know where Marc Diglio physically lives on the neck before learning any lick.
What You Will Learn
Which 5-fret window should become your default practice lane
Which strings give this style its thicker center-of-neck sound
Skip IfYou already know the home zone and middle-string focus.
Where to Start
Marc Diglio's home base is frets 11–15. Start here when learning this style. Secondary zone: frets 5–9 for higher-register contrast.
Quick Win
Learn the shape at frets 11–15. This is the home lane for Marc Diglio's phrasing. Start every practice cycle here before moving anywhere else.
Try This Now
1) Put your hand at frets 11-15.
2) Stay mostly on 3rd (G) and 2nd (B). Play short phrases there before moving higher or lower.
3) End each phrase on R, 5, b7, or 4 so the zone sounds musical instead of random.
Use the E Minor backing track so the note colors make musical sense right away.
In Short
The first home lane is frets 11-15. Start there and let the hotter strings tell your hands where to stay. Next: Section 03 turns that hot zone into real song-by-song fretboard shapes.
The hot zones show you where. These position shapes show you exactly how.
03 Position Shapes by Song
Instead of blending all solos together (which smears different keys into noise), here are Marc Diglio's actual shapes from individual songs. Each diagram is one key, one position. These are pitch maps only; rhythm and bend depth are handled in Section 07.
Tuning Translation (Important)
Several songs in this pack are in Eb tuning (half-step down). That means fretboard shapes can look one fret higher than standard-tuned shape names. Example: a line analyzed in F# minor may sit in a G-shape area on an Eb-tuned guitar. If your guitar is standard E, play every fret one lower to match the same concert key.
Lesson Setup
Estimated Time12 min
You NeedGuitar | Metronome | Backing track in song key
OutcomeYou can find the exact lane on the neck where each song idea lives.
What You Will Learn
Which fret window belongs to each real song
Which notes are confirmed in that box before you improvise
Skip IfYou already know which song box you want to live in today.
Use the F# Minor backing track so the note colors make musical sense right away.
Use the slow track first. Stay in the green-ringed start box until your endings feel resolved.
H.H. Boogie · F# Minor · Fret area 0-5
ADD NEXT
Lower answer lane. Drop here after the main box feels solid.
Play this map as a note palette, not as a strict exercise. Land on orange/green tones first, then touch color tones as passing notes.
H.H. Boogie · F# Minor · Fret area 10-15
START HERE
Most-used lane in this song. Learn this shape first.
Play this map as a note palette, not as a strict exercise. Land on orange/green tones first, then touch color tones as passing notes.
H.H. Boogie (F# Minor)
Song tuning: Eb. Song tuning is Eb (half-step down). If your guitar is in standard tuning, play every fret one lower to match the same concert pitch/key.
Blue dots show the full b5 lane in this box. Ringed blue dots are the exact b5 hits from the solo.
Dorian-blues hybrid. Pentatonic plus the 2nd, 6th, and b5. Blues grit with extra color notes that keep lines moving.
Practice this shape slowly. Start from the Root (orange) and work through each degree in order. Then use the track buttons above and keep your first 3 minutes inside the start-here box only.
Don't Say No · B Major · Song lane overview
ADD NEXT: Box 1 (7-12)START HERE: Box 2 (14-19)
Start in Box 2 (frets 14-19). Then drop to Box 1 (7-12) for the lower-register answer.
Use the B Major backing track so the note colors make musical sense right away.
Use the slow track first. Stay in the green-ringed start box until your endings feel resolved.
Don't Say No · B Major · Fret area 7-12
ADD NEXT
Lower answer lane. Drop here after the main box feels solid.
Play this map as a note palette, not as a strict exercise. Land on orange/green tones first, then touch color tones as passing notes.
Don't Say No · B Major · Fret area 14-19
START HERE
Most-used lane in this song. Learn this shape first.
Play this map as a note palette, not as a strict exercise. Land on orange/green tones first, then touch color tones as passing notes.
Don't Say No (B Major)
Song tuning: Eb. Song tuning is Eb (half-step down). If your guitar is in standard tuning, play every fret one lower to match the same concert pitch/key.
Blue dots show the full b5 lane in this box. Ringed blue dots are the exact b5 hits from the solo.
Major Pentatonic base with additions: 4, b5, b7, 7.
Practice this shape slowly. Start from the Root (orange) and work through each degree in order. Then use the track buttons above and keep your first 3 minutes inside the start-here box only.
Face Down In The Gutter · F# Minor · Song lane overview
ADD NEXT: Box 1 (5-10)START HERE: Box 2 (15-20)
Start in Box 2 (frets 15-20). Then drop to Box 1 (5-10) for the lower-register answer.
Use the F# Minor backing track so the note colors make musical sense right away.
Use the slow track first. Stay in the green-ringed start box until your endings feel resolved.
Face Down In The Gutter · F# Minor · Fret area 5-10
ADD NEXT
Lower answer lane. Drop here after the main box feels solid.
Play this map as a note palette, not as a strict exercise. Land on orange/green tones first, then touch color tones as passing notes.
Face Down In The Gutter · F# Minor · Fret area 15-20
START HERE
Most-used lane in this song. Learn this shape first.
Play this map as a note palette, not as a strict exercise. Land on orange/green tones first, then touch color tones as passing notes.
Face Down In The Gutter (F# Minor)
Song tuning: Eb. Song tuning is Eb (half-step down). If your guitar is in standard tuning, play every fret one lower to match the same concert pitch/key.
Blue dots show the full b5 lane in this box. Ringed blue dots are the exact b5 hits from the solo.
Dorian-blues hybrid. Pentatonic plus the 2nd, 6th, and b5. Blues grit with extra color notes that keep lines moving.
Practice this shape slowly. Start from the Root (orange) and work through each degree in order. Then use the track buttons above and keep your first 3 minutes inside the start-here box only.
Try This Now
1) Open H.H. Boogie and stay only in the start-here box: frets 10-15.
2) Start on the orange Root, then play only confirmed notes from that one box for 2 minutes.
3) Do not leave the lane until you can end three phrases cleanly on a go-to tone.
Use the F# Minor backing track so the note colors make musical sense right away.
In Short
Pick one song lane only. Stay in that fret window for 3 minutes and end every phrase on a go-to tone before changing position. Next: Section 04 shows which extra notes to add to that same box without losing your pentatonic foundation.
These shapes come from the pentatonic foundation. Here's what Marc Diglio adds to it.
04 Your Pentatonic + Marc Diglio's Additions
You already know your pentatonic boxes. This section shows what Marc Diglio actually uses in each box, plus the b5 lane. Ringed dots = notes confirmed in the song. Solid dots = available color targets in the same box. Rhythm and expressive timing are applied in the lick studies.
Lesson Setup
Estimated Time10 min
You NeedGuitar | One pentatonic shape you already know | Slow backing track
OutcomeYou can add Marc Diglio flavor notes without losing your pentatonic foundation.
What You Will Learn
Which 2-3 notes change the sound fastest
How to hear those notes on piano first, then on one string, then in the full box
Skip IfYou already hear Dorian and Mixolydian color naturally over your pentatonic shapes.
Pentatonic (confirmed) Addition (personal) b5 lane (same note, other positions) b5 used in this song
H.H. Boogie · F# Minor · Pent+ fret area 0-5
SINGLE-STRING FIRST · 5th (A)
STRING FOCUS: Play this lane on the 5th (A string) only.
1) See it on piano2) Play one string3) Open the full box
Use open through fret 5 on this string, then open the full box.
b means flat. Example: b3 = flat 3rd, b5 = flat 5th.
Full shape also contains: 2, 3, 6, R, b7. Play this lane first, then add the extra dots.
PIANO BRIDGE (same target notes)
Cb5
D
E
F
G
Ab3
B4
C#5
Eb
F#
Ab
Bb
Fret 1
A
b3
flat 3rd
Finger 1
→W
Fret 3
B
4
4th
Finger 3
→H
Fret 4
C
b5
flat 5th
Finger 4
→H
Fret 5
C#
5
5th
Finger 4
Step 1: play ringed pentatonic notes only. Step 2: add one gold note. Step 3: blend the blue note as passing tension and resolve.
Add These to Your Minor Pentatonic
Song tuning: Eb. Song tuning is Eb (half-step down). If your guitar is in standard tuning, play every fret one lower to match the same concert pitch/key.
Dorian-blues hybrid. Pentatonic plus the 2nd, 6th, and b5. Blues grit with extra color notes that keep lines moving.
Marc Diglio adds 2, 3, b5, 6 at frets 0–5. Specifically: the 2nd (2): slide into it from the Root for a Dorian color; the major 3rd (3): bend the b3 up to hit this for the classic blues curl; the b5 (b5): the blue note. Never rest on it. Let it resolve to the 4th or 5th; the 6th (6): brightens the minor sound, use it as a passing tone between 5th and b7.
Blue-note map in this box: B2, A4.
Start with your normal minor pentatonic pattern. Add one new note at a time until the shape feels natural under your fingers.
Use the F# Minor backing track so the note colors make musical sense right away.
Play the ringed pentatonic notes first, then sneak in one gold note per phrase.
H.H. Boogie · F# Minor · Pent+ fret area 10-15
SINGLE-STRING FIRST · 3rd (G)
STRING FOCUS: Play this lane on the 3rd (G string) only.
1) See it on piano2) Play one string3) Open the full box
Use frets 10 through 15 on this string, then open the full box.
b means flat. Example: b3 = flat 3rd, b5 = flat 5th.
Full shape also contains: 3, 4, 5. Play this lane first, then add the extra dots.
PIANO BRIDGE (same target notes)
C
D
Eb7
F
Gb2
Ab3
B
C#
Eb
F#R
Ab2
Bb
Fret 10
E
b7
flat 7th
Finger 1
→W
Fret 12
F#
R
root
Finger 3
→H
Fret 13
G
b2
flat 2nd
Finger 4
→H
Fret 14
Ab
2
2nd
Finger 4
→H
Fret 15
A
b3
flat 3rd
Finger 4
Step 1: play ringed pentatonic notes only. Step 2: add one gold note. Step 3: blend the blue note as passing tension and resolve.
Add These to Your Minor Pentatonic
Song tuning: Eb. Song tuning is Eb (half-step down). If your guitar is in standard tuning, play every fret one lower to match the same concert pitch/key.
Minor Pentatonic base with additions: b2, 2, 3.
Marc Diglio adds b2, 2, 3 at frets 10–15. Specifically: the b2nd (b2); the 2nd (2): slide into it from the Root for a Dorian color; the major 3rd (3): bend the b3 up to hit this for the classic blues curl.
Blue-note map in this box: D11, B14.
Start with your normal minor pentatonic pattern. Add one new note at a time until the shape feels natural under your fingers.
Use the F# Minor backing track so the note colors make musical sense right away.
Play the ringed pentatonic notes first, then sneak in one gold note per phrase.
Don't Say No · B Major · Pent+ fret area 7-12
SINGLE-STRING FIRST · 3rd (G)
STRING FOCUS: Play this lane on the 3rd (G string) only.
1) See it on piano2) Play one string3) Open the full box
Use frets 7 through 12 on this string, then open the full box.
b means flat. Example: b3 = flat 3rd, b5 = flat 5th.
Full shape also contains: b7. Play this lane first, then add the extra dots.
PIANO BRIDGE (same target notes)
C
D
E4
F
G
A
B
C#2
Eb3
F#5
Ab
Bb
Fret 7
C#
2
2nd
Finger 1
→W
Fret 9
Eb
3
3rd
Finger 3
→H
Fret 10
E
4
4th
Finger 4
→W
Fret 12
F#
5
5th
Finger 4
Step 1: play ringed pentatonic notes only. Step 2: add one gold note. Step 3: blend the blue note as passing tension and resolve.
Add These to Your Major Pentatonic
Song tuning: Eb. Song tuning is Eb (half-step down). If your guitar is in standard tuning, play every fret one lower to match the same concert pitch/key.
Major Pentatonic base with additions: 4, b7.
Marc Diglio adds 4, b7 at frets 7–12. Specifically: the 4th (4); the b7th (b7).
Blue-note map in this box: B7, A9, G11.
Start with your normal major pentatonic pattern. Add one new note at a time until the shape feels natural under your fingers.
Use the B Major backing track so the note colors make musical sense right away.
Play the ringed pentatonic notes first, then sneak in one gold note per phrase.
Don't Say No · B Major · Pent+ fret area 14-19
SINGLE-STRING FIRST · 2nd (B)
STRING FOCUS: Play this lane on the 2nd (B string) only.
1) See it on piano2) Play one string3) Open the full box
Use frets 14 through 19 on this string, then open the full box.
b means flat. Example: b3 = flat 3rd, b5 = flat 5th.
Full shape also contains: 5, 6, 7, R. Play this lane first, then add the extra dots.
PIANO BRIDGE (same target notes)
C
D
E4
Fb5
G
A
B
C#2
Eb
F#
Ab
Bb
Fret 15
C#
2
2nd
Finger 1
→m3
Fret 18
E
4
4th
Finger 4
→H
Fret 19
F
b5
flat 5th
Finger 4
Step 1: play ringed pentatonic notes only. Step 2: add one gold note. Step 3: blend the blue note as passing tension and resolve.
Add These to Your Major Pentatonic
Song tuning: Eb. Song tuning is Eb (half-step down). If your guitar is in standard tuning, play every fret one lower to match the same concert pitch/key.
Major Pentatonic base with additions: 4, b5, 7.
Marc Diglio adds 4, b5, 7 at frets 14–19. Specifically: the 4th (4); the b5 (b5): the blue note. Never rest on it. Let it resolve to the 4th or 5th; the Maj 7th (7).
Blue-note map in this box: E14, e14, D16, B19.
Start with your normal major pentatonic pattern. Add one new note at a time until the shape feels natural under your fingers.
Use the F# Minor backing track so the note colors make musical sense right away.
In Short
Keep the pentatonic box fixed. Add only one gold or blue note at a time until you can hear the color before you play it. Next: Section 05 shows how to move those notes in a way that sounds like Marc instead of a scale exercise.
You know the notes and shapes. Now let's look at how Marc Diglio strings them together.
05 Phrasing & Movement
This section answers one question: how should your lines move to sound like Marc Diglio? Use the cards below as phrase rules, not stats.
Lesson Setup
Estimated Time5 min
You NeedGuitar helpful | One quiet backing track loop
OutcomeYou know how Marc Diglio moves between notes, not just which notes appear.
What You Will Learn
How to climb with small moves and release with a bigger jump
How to turn interval ideas into one 2-bar phrase right away
Skip IfYou only want fixed lick content today. Skip to Section 07.
What This Means For Your Playing
Marc Diglio mixes smooth runs with interval leaps. Practice both: scale runs for the smooth parts, then practice skipping strings and jumping intervals for the angular moments.
5 MOVEMENT IDEAS TO PRACTICE TODAY
Two-Fret Connector
Do: Move two frets to connect boxes, then land on R, b3, 5, or b7.
Avoid: Treat this as a connector, not a final destination.
Start here
Blues Drop
Do: From b7 or 5, drop a minor 3rd, then resolve to Root or b3.
Avoid: Do not chain this repeatedly without a resolution target.
Start here
Blues Jump
Do: Jump up a minor 3rd, then answer with a short descending run.
Avoid: If you leap up, do not stay hanging there. Answer the phrase.
Add next
Pedal Anchor
Do: Repeat one anchor tone while moving upper notes around it.
Avoid: Avoid robotic repetition. Change rhythm or surrounding notes.
Add next
Half-Step Color
Do: Use half-step motion as passing color into a stable landing tone.
Avoid: Do not park on the half-step note unless tension is intentional.
Color option
Try This Now (2 Bars)
Bar 1: start with Two-Fret Connector. Bar 2: answer with Blues Drop and resolve to R, b3, 5, or b7. Repeat at 60 BPM until the transition feels natural.
In Short
Use the movement cards as phrase rules: climb in small moves, answer with one jump, then resolve cleanly. Next: Section 06 shows which songs use the inside lane first and which ones add more color.
Let's see how each solo uses these ideas differently, and which one to practice first.
06 Solo Breakdown
Use these song cards as your practice order. Start with the easiest “inside” solo, then add color and tension songs.
Lesson Setup
Estimated Time3 min
You NeedNo guitar needed | Pick one song to study next
OutcomeYou can choose the right solo based on sound and difficulty, not guesswork.
What You Will Learn
Which solo stays closest to the core pentatonic lane
Which solo adds brighter color or blues tension
Skip IfYou already know which song you want to work on next.
START HERE
Can't Get Over You
Eb Major | Eb tuning
Mostly pentatonic with tasteful extensions.
Mixolydian = major with a bluesy b7.
Start here. The tightest pentatonic playing. Great for learning the core shapes.
Start with the most inside solo, then add the brighter or bluesier songs after the core lane feels natural. Next: Section 07 turns those song choices into playable phrase chunks.
Ready to play? Here are actual licks you can learn today.
07 Signature Licks + Box Connections
Real phrases extracted from the solos. Lick 1 is open by default so you can start immediately. Open the rest as needed.
Lesson Setup
Estimated Time20 min
You NeedGuitar | Metronome | Section 03 lane map | Section 04 add-note map
OutcomeYou can play complete phrases with the right timing and expression, then make your own variation.
What You Will Learn
How to start each lick in 30 seconds without losing your place
How to match articulation before speed
How to move one lick idea into your own 2-bar answer
How to connect nearby boxes without breaking phrase flow
Skip IfYou can already play all 5 licks cleanly at pass tempo in 2 keys.
2Match articulation marks first (h, p, /, \, ^, ~, T), not speed.
3After 3 clean reps, open lesson notes and add the backing track.
What You Build In This Section
You will practice bends, slides, legato in real musical context. Lock the articulation first, then increase tempo.
SIGNATURE LICKS
Before You Play
Start here first: Lick 3. It is the cleanest first win in this pack.
Core first: Lick 1, Lick 2, Lick 3. Then add: Lick 4. Color last: Lick 5. Read each tab column left to right. Hear it once, copy it exactly, then answer with your own 2-bar phrase.
Marc Diglio does not stay locked in one position. Here are phrases that move between positions. Important: a box label shows the full fret window (for example, Box 1 = frets 4-9), while one phrase may only use part of that window.
What Keeps Me Loving You: Box 1 (frets 4-9) → Box 2 (frets 10-15)
Bars 13
SESSION SOLOS ROUTE MAP
FROM BOXTO BOXPHRASE SPAN
Window 4-15Phrase 7-10
Box 1 (frets 4-9)
Box 2 (frets 10-15)
Phrase span 7-10
4791015
TAB (Read Columns Left to Right)
This specific phrase uses frets 7-10. This phrase starts in Box 1 (frets 4-9) and ends in Box 2 (frets 10-15). Practice moving between these two positions until the transition feels natural. Core Vocabulary transition.
Section 07 Recap + Assignment
Choose one lick. Play it in source feel, then in a second key. Finally write a 2-bar answer using the same contour and articulation marks.
In Short
Play first: Start with Lick 1 and lock articulation before tempo. Hear it in real music: You hear this vocabulary in What Keeps Me Loving You (E Minor), Face Down In The Gutter (F# Minor). Transfer rule: Move one lick to a second key before learning another lick.
Jargon Guide
Contour: the shape of your line as it rises and falls. Resolve: landing on a note that sounds settled (often R, b3, 5, b7). Articulation: how notes are connected or attacked (h, p, /, \, ^, ~, T).
Practice Checkpoint
Pass this section when you can play one lick cleanly at pass tempo in two keys, keep the original articulation, and record one 2-bar answer that lands cleanly on a target note.
Now put it all together with a structured practice routine.
08 Practice Patterns + DNA Summary
A structured practice routine to absorb Marc Diglio's vocabulary, plus the key findings from this analysis.
Lesson Setup
Estimated Time20 min per session
You NeedMetronome | One lick from Section 07 | Backing track in target key
OutcomeYou can take one idea from Marc and turn it into your own usable phrase.
What You Will Learn
How to run a 10-minute quick-start practice when time is tight
How to pick the right lick for the sound job you need
How to track start BPM and pass BPM with one clear target
How to convert one learned lick into your own phrase
Skip IfYou already run this routine cleanly 3 sessions in a row without losing time or form.
PRACTICE SYSTEM (LESS THEORY, MORE PLAYING)
This is your action plan. Follow it with guitar in hand and keep moving.
Move the same contour to a second key. Keep articulation identical.
7-10 min
Finish a phrase and land clearly. End on b3.
WHEN A LICK CLICKS, OPEN THE FULL SOLO
You just learned a chunk. Now place it in the whole song so your phrasing sounds musical, not isolated. Use the bar tag on the lick card to jump to the exact spot fast.
Play 5 clean reps with exact articulation marks (hammer-ons, pull-offs, slides, bends, vibrato).
3) 5 min - Transpose it
Move the same lick to a second key.
Keep contour and articulation identical.
4) 3 min - Make your own phrase
Use first 4 notes of the lick and write a 2-bar answer.
End on a go-to tone.
4-WEEK PLAN
Week 1
Focus: Landing control and clean timing
Assignment: Play each lick at start BPM and reach pass BPM cleanly by end of week. Target lick: L1 (71 -> 90 BPM).
Week 2
Focus: Color-tone phrasing without losing groove
Assignment: Insert one color lick every 2 bars while keeping rhythm steady. Target lick: L2 (87 -> 109 BPM).
Week 3
Focus: Tension + expressive technique
Assignment: Use b5 tension once per phrase and resolve within two notes. Target lick: L3 (62 -> 79 BPM).
Week 4
Focus: Build your own 8-bar solo
Assignment: Record two takes: one conservative, one with added color and tension. Target lick: L4 (69 -> 86 BPM).
WEEKLY PRACTICE LOG (PRINT + CHECK)
Week
Focus
Target Lick
Start
Pass
Sessions
Week 1
Landing control and clean timing
L1 (What Keeps Me Loving You)
71
90
Week 2
Color-tone phrasing without losing groove
L2 (Face Down In The Gutter)
87
109
Week 3
Tension + expressive technique
L3 (H.H. Boogie)
62
79
Week 4
Build your own 8-bar solo
L4 (Can't Get Over You)
69
86
MARC DIGLIO QUICK DNA
Go-To Tones
Root, 5th, b7th, 4th, 6th, 2nd. Resolve here when in doubt.
Blue-Note Rule
Use b5 as passing tension, then resolve to 4 or 5.
Main Application Rule
One lick, one key, one variation: learn it, transpose it, then write your own 2-bar answer.
In Short
Quick win: run the 10-minute flow first when practice time is limited. Main goal: one clean lick moved to a second key beats five sloppy new ideas. Progress marker: start BPM and pass BPM should rise without losing articulation.
Jargon Guide
Pass tempo: the BPM where you can play cleanly with full articulation. Transpose: move the same phrase shape to a new key. Target note: the note you aim to land on to end a phrase clearly.
Practice Checkpoint
Pass this section when you complete the full 20-minute script with no dropped time block, hit one pass-tempo target, and finish with a recorded 2-bar phrase in your own words.
Last step: keep this by your amp and use it every session.
09 Print + Gig Cheat Sheet
One-page quick reference you can screenshot, print, or pin to your stand.
Lesson Setup
Estimated Time2 min
You NeedPhone stand or printout | One glance between reps
OutcomeYou have the shortest possible reminder of what to play, where to start, and which lick to grab fast.
What You Will Learn
Core landing tones
Home zone on the neck
Which licks solve which musical jobs
Skip IfYou already know the pack and only need the quick reference.
Core Palette
Land on: R, 5, b7, 4 Color with: 2, 6
Neck Focus
Home lane: frets 11-15 Rule: start every session in this lane before moving.
Blue Note Rule
Use b5 as a passing tone. Resolve quickly to 4 or 5.
5 Licks by Job
L1 (What Keeps Me Loving You) - Finish a phrase and land clearly
L2 (Face Down In The Gutter) - Add color inside a phrase
L3 (H.H. Boogie) - Finish a phrase and land clearly
L4 (Can't Get Over You) - Finish a phrase and land clearly
L5 (Don't Say No) - Finish a phrase and land clearly
15-Min Reset
5 min lane tones -> 5 min one lick slow -> 5 min own 2-bar answer.
Stand Tabs
Keep these three mini tabs visible when you do not want to scroll back into Section 07.
What Keeps Me Loving You | Finish a phrase and land clearly | 71->90 BPM
e|------------------|
B|------------------|
G|5--7--5--4-----4--|
D|------------7-----|
A|------------------|
E|------------------|
b6 b7 b6 5 4 5
h p p