Guitar Techniques - - Lesson: Blues -

[Bars 13-16] The two-string dou­ble-stops that open our sec­ond cho­rus are not dis­sim­i­lar in their ap­proach to typ­i­cal slide gui­tar vo­cab­u­lary. The idea is to con­sider each two-note group as a po­ten­tial chord frag­ment, start­ing with a com­bi­na­tion of 5th (E) and b7th (G). Yet more blues curl­ing in bar 14 and we break things off with a slip­pery blues line that fea­tures our mi­norto-ma­jor-3rd move (C to C# in bar 16) , along with some fur­ther semi­tone em­bel­lish­ments, although this time in a de­scend­ing di­rec­tion. [Bars 17-20] It’s only at this stage in the solo that we en­counter any real bend­ing, which for Clap­ton gen­er­ally is a ma­jor in­gre­di­ent in his solo­ing style. From a notes per­spec­tive, we’re look­ing at A Mi­nor Pen­ta­tonic (A C D E G) against our D7, while A7 and E7 are ne­go­ti­ated with their as­so­ci­ated arpeg­gios (A7: A C# E G, E7: E G# B D). [Bars 21-24] Clap­ton makes neat work of this fi­nal turn­around, choos­ing a com­bi­na­tion of Mi­nor Pen­ta­tonic for E7, D7 chord frag­ments for, you guessed it, D7, lead­ing to a tasty blues line against A7 us­ing both chord­tones and its as­so­ci­ated Mi­nor Pen­ta­tonic, be­fore round­ing things up with a pair of per­fectly placed 9th chord voic­ings (R 3 5 b7 9), al­beit leav­ing the root note to the bass player.

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