Tech­nique Fo­cus Phras­ing

Guitar Techniques - - Play: Blues -

Tran­scrib­ing the so­los of great mu­si­cians can un­lock the se­crets of how the melodies were con­structed. Ex­am­ine this month’s tran­scrip­tion and no­tice how Fred­die mostly starts his phrases on the off beat. If you count the quavers 1 + 2 + 3 + 4 + you’ll find most of the lines start on the ‘and of four’ and the ‘and of one’. This sounds less ob­vi­ous than start­ing on the down­beat and slightly more so­phis­ti­cated.

The main rhyth­mic sub­di­vi­sions are swung quavers, qua­ver triplets and crotchet triplets. The note choices come from Db ma­jor pen­ta­tonic and Db mi­nor pen­ta­tonic scales, mainly played in shape 1 which lim­its the de­ci­sion mak­ing process fur­ther. restrict­ing the rhyth­mic sub­di­vi­sions and the tonal pal­ette in this way helps to free up the cre­ativ­ity.

The scale di­a­grams op­po­site will help you vi­su­alise Fred­die’s fret­board roadmaps. A gen­eral rule is: Db ma­jor and Db mi­nor pen­ta­tonic scales work over chord I (Db7); and Db mi­nor pen­ta­tonic will work over chords IV and V (Gb7 and Ab7). Any note can be bent up to the next note in the scale but Fred­die avoids any three-fret bends here and sticks to the two-fret bend­ing points ex­clu­sively.

Once you have stud­ied Fred­die’s licks, try im­pro­vis­ing your own solo us­ing the scale shapes on this page, com­bin­ing them with some sim­ple rhythms. Hope­fully this ap­proach of lim­it­ing the pa­ram­e­ters of the im­pro­vi­sa­tion will free you up to be more ex­pres­sive and cre­ative.

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.