EXAMPLE Solo 2: BRAD Paisley StYle
Cd track 50
[Bars 1-4] We begin second solo number with some authentic blues vocabulary - a lick that BB King would be proud of - coming from a combination of major (R2-3-5-6) and minor (R-b3-4-5-b7) Pentatonic scales. We add a touch of country twang to the Blues scale line in bars 3 and 4 with the addition of a syncopated ringing open first string throughout. [Bars 5 - 8] Open strings, held bent notes, harmonics and behind-the-nut bends - bars 5-8 has the lot. Take each idea and technique in turn and live with each for a little while to explore the sonic potential before attempting the connect them together in such close succession. Reduce the tempo at first and aim for a relaxed and seamless transition from idea to idea. [Bars 9-12] Jimi Hendrix goes country in bar 9, although hybrid picking will enhance the twang. You’ll need to bring the picking hand fourth finger into play to achieve this, however, so go easy until those calluses begin to form. The sliding double-stops in bar 10 neatly define our underlying A7 (A-C#-E- G) and the rapid E Blues scale lick in bars 11-12 wouldn’t sound out of place in a Gar y Moore or Slash solo, although it’s doubtful they would do as I did here and opt for a combination of pick, second and third fingers to negotiate the nifty string changes.