EX­AM­PLE 24barSolo

Guitar Techniques - - Stevie Ray Vaughan -

[Bars1-4] Ouropen­ingsalvoset­s­thestall­for­whati­s­about­to­fol­low; har­mon­i­callystraight­for­ward­butim­pec­ca­bl­y­s­e­lect­ed­bluesvo­cab­u­lary­that dis­playsana­cuteaware­nes­sof­t­hetra­di­tional,butisin­stant­lyrecog­nis­able asSte­vie.We’relookingat­a­com­bi­na­tionofBluess­cale(Rb34b55b7)along with­someE-form­boxshape­dou­ble-andtriple-stops.Thet­rick­i­est­parthere is­the­con­trolled­dis­so­nan­cein­bar1achieved­by­catch­ingth­eben­don­both fir­stand­sec­ond­strings,nodoub­ta­trick­Ste­viewould­havepickedupfrom Al­bertKing.The­lateGaryMoore­was­par­tic­u­lar­ly­fon­d­ofthisideaalso. [Bars5-8] For­thetran­si­tion­fromIV­toI­chord,we’reinPen­ta­ton­i­cland, stick­ing­toourCMi­norgun­sthrough­out(CEbFGBb),al­though­in­bar5 you’llseead­ec­o­ra­tiveem­bel­lish­ment­thatSte­viewas­par­tic­u­lar­ly­fon­d­ofby addingtheb2(Db),al­though­some­timeshe’dchoosethenoteasemi­tone higher,the­ma­jor2(D). [Bars9-12] Weswitchquick­ly­tothum­band­sec­ondfin­ger­to­pluck­these bluesy­dou­ble-stops.Thet­rick­tomak­ingth­is­tran­si­tion­at­speedis­to­tuck thep­ick­up­wardsin­tothebent­firstfin­ger,re­vers­ingth­e­p­ro­ce­dure­atthe end­of­bar10­forther­a­pidPen­ta­ton­i­clinesthat­fol­low.In­bar12,you’llfind Ste­vie’stakeon­the7#9chord–hep­er­son­alis­es­thisvoic­ing­byre­mov­ingthe root(here,G)an­daddingth­e5th(here,D)ontop,givin­gus­the­fol­low­ing in­ter­vals,low­to­high:3,b7,#9,5.It’sagreat­shapeto­haveiny­our­chord­bag.

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