Guitar Techniques - - Lesson: Blues -

Our sec­ond study is a great ex­am­ple of how to shape a solo us­ing rhyth­mic den­sity. No­tice how things start very sparse over­all for the first half, with lots of sus­tained notes, bends and rests, be­fore be­com­ing in­creas­ingly busy in the later stages with less space pro­vid­ing a log­i­cal build in in­ten­sity, mak­ing the whole part mu­si­cally co­he­sive to the lis­tener. Through­out we use the C mi­nor blues scale (C Eb F Gb G Bb) with some ef­fec­tive po­si­tion shifts be­tween shapes three, two and one. Bar 9 is a clever four-note re­peat­ing mo­tif with some quirky bend­ing. The lick is played against a triplet (three notes per beat) feel but is four notes in length, re­sult­ing in rhyth­mic dis­place­ment, whereby the down beat of each triplet cor­re­sponds with a dif­fer­ent part of the lick as the rep­e­ti­tions go by. Things are drawn to a close with an in­ter­est­ing triplet pen­ta­tonic lick us­ing 4th in­ter­vals on the top two strings. Ex­e­cute the fin­ger­ing cleanly by push­ing the fret­ting hand el­bow for­ward and back slightly, al­low­ing the fin­ger pads of the fret­ting hand to roll across the 11th and 8th frets to ex­e­cute this phrase cor­rectly.

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