EXAMPLE 2 SOLO 2
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.