Guitar Techniques - - LESSON | VIDEO -

nigel starts his solo in the way most of us would: us­ing a mi­nor Pen­ta­tonic (Bar 2 is par­tic­u­larly in­ter­est­ing be­cause al­though he’s play­ing over a ii-v, he’s still us­ing the same scale). What’s im­por­tant to note is that he hap­pens to choose notes that be­long to the chords in that bar – Bm7b5 and e7. The main note is that d note that is, in fact, the b3rd of Bm7b5 and the b7th of e7. Co­in­ci­dence?

in bars 5 and 6 nigel uses d Har­monic mi­nor scale to high­light the v-i chord change – a7-dm. This is a very be-bop ap­proach, es­pe­cially the b9 (Bb) over the a7. also it’s in­ter­est­ing to note the ‘de­layed‘ res­o­lu­tion of bar 6, which hap­pens on beat 3 and lends a lovely lan­guid feel.

in this sec­tion nigel goes a bit more into the de­tails of the chord changes over which he’s im­pro­vis­ing and high­lights some oNftIhGeEkLey When this is done well we can po­ten­tially re­move the rhythm gui­tar and still hear the changes. in or­der to achieve this, nigel is re­ly­ing heav­ily on arpeg­gios as in bars 7 and 10.

This is the first turn­around and it’s very in­ter­est­ing to see how nigel ap­proaches it. in this in­stance he de­cides not to go into the har­mony and keep things easy and melodic. so his ap­proach to the first turn­around is sim­ply play­ing off the key cen­tre (am). in this case he’s play­ing a blues scale ‘ig­nor­ing’ the in­di­vid­ual chords of the turn­around.

The be­gin­ning of the sec­ond cho­rus al­ready shows a slight change in di­rec­tion. nigel is high­light­ing all the chord changes and bring­ing out more colour­ful notes in his phras­ing. You can tell that he’s to­tally in con­trol of the

bPyan­rot­ti4cin-g- hiDs­pal­raicoemCeonrt tehe chord tones.

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