Watch the Strategy 6: Create Collections online guitar lesson by Jon Herington from Ear IQ: Soloing Strategies

I think I'm going to let you explore the A sections of the solo on your own - I'm pretty sure it's familiar territory to a lot of you, and you can work with the track and the chart to get a handle on that stuff. But let's take a detailed look at some of the stuff in the B sections - where I use that diminished scale collection of notes. (Here are the notes in that collection that would sound over the Eb7#9 chord: Eb E F# G A Bb C Db. The notes over the E7#9 chord would be the same notes a half step higher). Right away, in bar 11, I'd like you to notice that the first 5 notes that I play are notes that are shared by each of the different "collections" I use in the two sections. In a way it sounds like I'm starting in the same key we've been in - E minor, or E blues, and ignoring the Eb7#9 chord. But as the line continues, it becomes clear that this is a different collection. Note also how this new collection contains a lot of the notes typically heard in blues, though it has quite a few "extras", too. It has Eb Gb A Bb and Db, all very common in blues vocabulary. But those extras really do offer a lot of expressive opportunity, as they really allow you to introduce new colors into the mix. If you spend some time with the diminished scale, you'll discover all sorts of wild patterns - there's something about the symmetry of the scale that you can make work for you - in a way you can get it to sound like you're superimposing other keys onto the key that you're in, so it can sound pretty wild but you're still anchored by sticking to notes in that scale. The best example of this effect in this solo is probably at measure 31. Because we know the sound of a major triad so well, this passage has the effect of sounding like I'm moving through four different keys, but all of those notes are notes in that one 8 note collection of the diminished scale. So that scale is a valuable one to explore - you get a lot of bang for your buck there.

So try to invent collections of the best sounding tones over a chord or a section of a solo, and consciously limit yourself to those tones until you feel at home with them. It's definitely a great way to break out of your normal routines and discover some new material to play.