Ex­am­ple ROCK’N’ROLL STYLE solo

Guitar Techniques - - Lesson: Session -

[Bars 21-24] These four bars use block triad ideas over the re­spec­tive chords. A B ma­jor triad (B D# F#) is played over the B7, but uses a pass­ing E ma­jor triad (E G# B) to add melodic move­ment. A Gm triad (G Bb D) is played over the C7 chord and a F#m triad over the B7. These sub­sti­tu­tions give the sound of C9 and B9 re­spec­tively. The ‘uni­son E’ lick in the sec­ond two bars is typ­i­cal rock‘n’roll. Fol­low the pick­ing sug­ges­tions for a fluid ap­proach. [Bars 25-28] A generic walk­ing bass line type riff starts this sec­tion, go­ing into some more Travis pick­ing in bar 27. Bar 28 is sim­i­lar, but in­stead of an al­ter­nat­ing bass line, just the sixth string is used in the bass. Try your fret­ting hand thumb for this, so you don’t have to fret a full chord shape. [Bars 29-32] An­other walk­ing bass line kicks off the first bar here, but then we’re straight into more Travis pick­ing! Again, due to the na­ture of the notes used in bar 30, I sug­gest us­ing your fret­ting hand thumb for the low A on the sixth string; this frees up your fin­gers to fret the rest of the chord. Bars 31 and 32 use the sixth and third string as the low notes in these Travis pick­ing fig­ures, so you only need fret the top three strings of the chord shape here. [Bars 33-36] The fi­nal four bars arpeg­giate through frag­ments of dif­fer­ent voic­ings of B7 and C7 be­fore fin­ish­ing with a pre­dom­i­nantly Em pen­ta­tonic (E G A B D) de­scend­ing run, but with the ma­jor 6th (C#) bor­rowed from the E ma­jor pen­ta­tonic to give more stylis­tic flavour. Fi­nally, the sweet Ema­jor 6/9 chord (E G# B C# F#) pro­vides the fi­nal bit of fairy dust to the solo. So rock on, and I hope you per­se­vere with this ex­cit­ing and rev­o­lu­tion­ary style.

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