EXAMPLE cOMPLETE SOLO
[Bars 0- 4] We launch straight into a cavalcade of unison bends sounding not unlike another Jimmy (Jimi). Bend the lower note up to the pitch of the higher and add vibrato, creating a pulsing oscillation as the notes and overtones move in and out of tuning. The effect is suitably psychedelic and goes hand in hand with the popular fuzz-laden sounds of the period. [Bars 5- 8] Rapid pentatonic sequences have gone on to form such a significant and highly exploited sound in the world of rock that occasionally licks such as these have become almost ‘clichés’ of the genre and are considered to be ‘public domain’. Way back in the late ‘60s however, Page’s playing was at the cutting edge of contemporary guitar technique. E Minor Pentatonic is the order of the day here (E G A B D), along with much of the melodic material to follow. [Bars 9-12] Page’s BB King influences are clear for all to see and hear with this collection of two and three-fret bends based around E Blues scale (E G A Bb B D) with the root on the second string. As with all bending ideas, ensure you are suitably warmed up and make sure you allocate the majority of the lifting working to a revolution of the forearm and not with the fingers. Jimmy used quite light string gauges, so this might help, but Stevie Ray Vaughan was capable of coaxing similar sounds from his Herculean set-up Strat, so good technique is the order of the day and anything is possible.