EXAMPLE cOMPLETE SOLO
[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.