EX­AM­PLE Solo 2: BRAD Pais­ley StYle

Cd track 50

Guitar Techniques - - LESSON: BLUES -

[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.

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