EX­AM­PLE cOM­PLETE SOLO

Guitar Techniques - - Lesson: Blues -

[Bars 13-16] Here we see the com­bi­na­tion of rapid Pen­ta­tonic pull- offs mixed with an as­cend­ing rock‘n’roll idea that would make Les Paul proud. This lick in bars 15-16 can be viewed as an E6 ar­peg­gio (E G# B C#) dec­o­rated with a stylis­ti­cally ap­pro­pri­ate mi­nor 3rd to ma­jor 3rd res­o­lu­tion (G to G#). [Bars 17-20] While the notes are quite straight­for­ward, the full- on in­ten­sity of Page’s solo­ing from this pe­riod will re­quire some stamina to match both his en­ergy and his sense of reck­less aban­don. The bend, re­lease, bend, re­lease in bar 18 can be par­tic­u­larly tir­ing so make sure you prac­tise th­ese ideas fre­quently but in short spells of time to al­low en­durance to build up nat­u­rally over time with­out fear of in­jury. [Bars 21-24] Here’s a salvo of Mi­nor Pen­ta­tonic, pep­pered with some choice dou­ble-stops in­clud­ing another bend­ing idea that again al­ludes to the in­flu­ence of BB and Al­bert King. We con­clude the piece with a pair of root-5th power chords (E and B), although the 5th in th­ese voic­ings has been raised by an oc­tave. Once again, this choice of notes is re­ally flat­tered by the use of fuzz and a fair amount of top- end tre­ble to avoid sound­ing mushy.

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